The J.

Paul Getty Museum

JOURNAL Volume 15/1987

Including Acquisitions/1986
1987 The J. Paul Getty Museum
17985 Pacific Coast Highway
Malibu, California 90265
T H E J. P A U L G E T T Y M U S E U M J O U R N A L Volume 15/1987

Contents
ANTIQUITIES

A B y z a n t i n e Pendant i n the J. Paul G e t t y M u s e u m 5

Jeffrey Spier

K o p i e oder N a c h s c h ö p f u n g . E i n e Bronzekanne i m J. Paul G e t t y M u s e u m 15

Michael Pfrommer

T h e G o d A p o l l o , a C e r e m o n i a l Table w i t h Griffins, and a V o t i v e B a s i n 27

Cornelius C Vermeule

DECORATIVE ARTS

T w o Pieces o f Porcelain Decorated b y Ignaz Preissler 35

i n the J. Paul G e t t y M u s e u m
Maureen Cassidy-Geiger

MANUSCRIPTS

T h e o k t i s t o s and Associates i n T w e l f t h - C e n t u r y C o n s t a n t i n o p l e : 53
A n Illustrated N e w Testament o f A . D . 1133
Robert S. Nelson

PAINTINGS

A Celibate M a r r i a g e and Franciscan Poverty Reflected i n a N e a p o l i t a n 79

Trecento D i p t y c h
Carl Brandon Strehlke

The Noblest o f Livestock 97

Peter Sutton

The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena: 111
A Rediscovered P a i n t i n g by Giuseppe M a r i a Crespi
John T Spike

A R o m a n Masterpiece by H u b e r t Robert: A Hermit Praying in the Ruins 117

of a Roman Temple
Victor Carlson

PHOTOGRAPHS

True Illusions: E a r l y Photographs o f Athens 125

Andrew Szegedy-Maszak
SCULPTURE A N D WORKS OF ART

D i e Bathseba des G i o v a n n i B o l o g n a 139

Herbert Keutner

A C Q U I S I T I O N S /1986

Introduction 153 Drawings 188

N o t e s to the Reader 158 Decorative A r t s 210

Antiquities 159 Sculpture and W o r k s o f A r t 216

Manuscripts 167 Photographs 222

Paintings 177 Trustees and Staff L i s t 239

A Byzantine Pendant in the J. Paul Getty Museum
Jeffrey Spier

A c o l l e c t i o n o f Greek and Etruscan gems acquired b y New York, The Metropolitan Museum of Art
the J. Paul G e t t y M u s e u m i n 1981 includes an engraved 17.190.1660. E x - c o l l . J. P i e r p o n t M o r g a n , purchased
Graeco-Persian g e m set i n a g o l d pendant. T h e entire f r o m A m a d e o Canessa, Paris, 1911. U n p u b l i s h e d .
c o l l e c t i o n was published by J o h n B o a r d m a n i n 1975, 1
4. G o l d pendant set w i t h agate cameo o f A p o l l o and
and the g e m i n the pendant was described, n o d o u b t Daphne (figs. 4 a - b ) . H : 2.5 c m (1"). W a s h i n g t o n ,
correctly, as b e l o n g i n g t o B o a r d m a n s " B e r n g r o u p " o f D.C., D u m b a r t o n Oaks Research L i b r a r y and C o l ­
the late f o u r t h c e n t u r y B . C . Based u p o n the engraved
2
l e c t i o n 69.15. Said t o have been f o u n d i n Sicily w i t h
design o n its back, the pendant was classed as Greek two g o l d buckles. Ross, D . O . Cat, v o l . 2, no. 5c,
and j u d g e d t o be o f early H e l l e n i s t i c date c o n t e m p o r a r y pp. 2, 8 - 9 .
w i t h the g e m . However, m o r e pendants o f this type, as
3

5. G o l d chain w i t h three g o l d pendants set with

w e l l as other g o l d objects o f s i m i l a r style, are k n o w n , banded agates (figs. 5a—b). Leningrad, State
and t h e i r early B y z a n t i n e o r i g i n can be f i r m l y estab­ Hermitage 2134/1. Found in Kuban, 1892. A.
lished. T h e nucleus o f the g r o u p was o r i g i n a l l y i d e n t i ­ Bank, Byzantine Art in the Collections of Soviet
fied b y M a r v i n Ross i n his discussion o f the examples Museums (Leningrad, 1985), nos. 93—94, with
in D u m b a r t o n Oaks, 4
and others can be added here, further literature.
i n c l u d i n g r o u g h l y datable examples w i t h reliable p r o v e ­
6. G o l d pendant set w i t h clear glass, u n d e r w h i c h
nience. T h e y are as follows:
is an enamel with a seated V i r g i n holding a
1. G o l d pendant set with a Graeco-Persian gem C h i l d (figs. 6 a - b ) . H : 4 c m ( l / i " ) .
9
6 Switzerland,
(figs. l a - c ) . H : 2.9 c m (lVs"). M a l i b u , T h e J. Paul private c o l l e c t i o n . Said t o be f r o m Asia M i n o r .
G e t t y M u s e u m 81. AN.76.101. J. B o a r d m a n , Intaglios Unpublished.
and Rings (London, 1975), no. 101, p. 99, i l l . 7. G o l d pendant f r o m the Lesbos treasure, f o u n d w i t h
p. 31 (color). j e w e l r y and coins o f Phocas and Heraclius (figs.
2. G o l d pendant o n g o l d l o o p - i n - l o o p chain with 7a—b). H : 2 c m ( W ) . Athens, B y z a n t i n e M u s e u m
o p e n w o r k t e r m i n a l s (figs. 2a—b). H (pendant): 3.2 3039. BCH 79 (1955), pp. 2 8 4 - 2 8 6 , figs. 5 - 8 ; M .
cm ( l / / ) . N e w York, The Metropolitan M u s e u m
1
Chatzidakis i n The Greek Museums (Athens, 1975),
of A r t 17.190.1659. E x - c o l l . J. P i e r p o n t Morgan, no. 17; D e p a r t m e n t o f A n t i q u i t i e s and A r c h a e o l o g i ­
purchased from Amadeo Canessa, Paris, 1911. cal Restoration, O f f i c e o f the M i n i s t e r t o the P r i m e
Unpublished. M i n i s t e r , Greece, Catalogue of the Ninth Exhibition
3. G o l d pendant, inscribed <|xos/£(of|, o n g o l d chain of the Council of Europe: Byzantine Art, An Euro­
made o f six short chains j o i n e d by h o o k s — s o m e pean Art (Athens, 1964), no. 388, pp. 365-366,
o r n a m e n t e d w i t h gemstones (fig. 3). H : 2.6 c m (1"). no illustration.

I w o u l d like to thank Dr. M y r t a l i Acheimastou-Potamianou, Byzantine and Early Mediaeval Antiquities in

Byzantine Museum, Athens; A m y S. Hatleberg, Dumbarton Oaks the Dumbarton Oaks Collection (Wash­
Research Library and Collection, Washington, D C ; Dr. Alfred ington, D C , 1962).
Bernhard-Walcher, Kunsthistorisches Museum, Vienna; Helen C. Ross, D.O. Cat., vol. 2: M . Ross, Jewelry, Enamels and Art of the Mi­
Evans, The Metropolitan Museum o f Art, N e w York; and V. Suslov, gration Period, vol. 2 o f Catalogue of the By­
State Hermitage, Leningrad, for their generous assistance i n p r o v i d ­ zantine and Early Mediaeval Antiquities in the
ing information, photographs, and permission to publish the items i n Dumbarton Oaks Collection (Washington,
this article. D C , 1965).
Abbreviations 1. J. Boardman, Intaglios and Rings (London, 1975).
Dalton, Early Christian: O. Dalton, Catalogue of Early Christian An­ 2. Ibid., no. 101, p. 99.
tiquities and Objects from the Christian East 3. Ibid., pp. 34-35.
(London, 1901). 4. Cf. Ross, D.O. Cat, vol. 2, no. 5c, pp. 8-9; no. 31, p. 31; no. 35,
Ross, D.O. Cat, vol. 1: M . Ross, Metalwork, Ceramics, Glass, Glyp­ p. 33.
tics and Painting, vol. 1 o f Catalogue of the
6 Spier

Figures la-c. Left, Pendant set w i t h Graeco-Persian g e m . Byzantine, circa s i x t h century. G o l d set w i t h earlier chalcedony scaraboid.
Center, back. Right, back. D r a w i n g b y M a r t h a B r e e n Bredemeyer. M a l i b u , T h e J. Paul G e t t y M u s e u m 81.AN.76.101.

8. G o l d p e n d a n t f o u n d w i t h j e w e l r y and g o l d coins o f intaglios appear t o have been made, and the reuse o f
Constans I I , C o n s t a n t i n e I V , and T i b e r i u s I I I (fig. earlier gems i n the B y z a n t i n e p e r i o d was n o t an unusual
8). H : 2.6 c m (1"). F o u n d i n Pantalica, Sicily; pres­ practice. Large Graeco-Persian gems were probably
ent l o c a t i o n u n k n o w n . P. O r s i , Sicilia bizantina f o u n d frequently, as they are today, and m a y have been
(Rome, 1942), v o l . 1, no. 7, p. 138, p i . 9. t h o u g h t t o have magical p r o p e r t i e s . 5

9. G o l d disc w i t h engraved cross, perhaps f r o m a p e n ­ Closest i n style t o the G e t t y pendant is a fine example
dant (fig. 9). H : 2.1 c m ( /s"). W a s h i n g t o n , D . C . ,
7
i n N e w Y o r k ( N o . 2, figs. 2a—b) o n a g o l d l o o p - i n - l o o p
D u m b a r t o n O a k s Research L i b r a r y and C o l l e c t i o n chain w i t h r o u n d o p e n w o r k t e r m i n a l s t y p i c a l o f s i x t h -
53.12.51. Said t o have been f o u n d i n C o n s t a n t i ­ c e n t u r y B y z a n t i n e w o r k . T h e e n g r a v i n g and p a t t e r n i n g
nople. Ross, D . O . Cat., v o l . 2, no. 35, p. 33. are v e r y s i m i l a r t o the G e t t y example, a l t h o u g h some­

10. Silver r e l i q u a r y pendant w i t h glass cover, relics i n ­ w h a t m o r e careful, and the border o f p u n c h e d dots is

side, f o u n d w i t h a h o a r d o f g o l d j e w e l r y . H : 3 c m the same. A beaded w i r e is also added t o the edge, b u t i t

(l /i6"). M i l a n , C i v i c o M u s e o A r c h e o l o g i c o . F o u n d
3 is somewhat thicker than that o n the G e t t y pendant.
i n the excavations at Caesarea M a r i t i m a , Israel, Whatever was set i n the pendant is n o w m i s s i n g .
1962. A n t o n i o Frova, Scavi di Caesarea Maritima A n o t h e r pendant i n N e w Y o r k ( N o . 3; fig. 3) is
( M i l a n , 1965), pp. 2 3 6 - 2 3 8 , figs. 2 9 5 - 2 9 7 . smaller than N o . 2 b u t is s i m i l a r l y constructed. The
shape of the engraved cross is slightly different,
T h e G e t t y pendant (figs, la—c) is composed o f a c i r ­ however, and the c o m m o n B y z a n t i n e c r u c i f o r m i n s c r i p ­
cular piece o f sheet g o l d , s l i g h t l y convex o n the back, t i o n c()cbs/£oi)f| ( l i g h t / l i f e ) is added o n the cross; this is
w i t h the edges folded over the g e m o n the f r o n t side. the o n l y example a m o n g the pendants presently u n d e r
T h e back is decorated w i t h an engraved circle; w i t h i n consideration t o have an i n s c r i p t i o n . T h e other side o f
this is a p a t t e r n o f f o u r acanthus leaves arranged so that N o . 3 is undecorated. T h e chain is composed o f six
the central unengraved space f o r m s the shape o f a cross. short l o o p - i n - l o o p chains j o i n e d together w i t h hooks
O u t s i d e the engraved circle is a border o f p u n c h e d dots. o n w h i c h gems were set; o n l y three o f these—an emer­
A t h i n , beaded w i r e is attached along the entire c i r c u m ­ ald and t w o amethysts—survive. T h e g o l d t e r m i n a l s are
ference o f the pendant, and a r i d g e d strip o f g o l d is heart shaped w i t h filigree openwork. A very similar
folded t o f o r m a l o o p for suspension. T h e g e m is a chain w i t h i d e n t i c a l t e r m i n a l s was f o u n d w i t h a s i x t h -
chalcedony scaraboid engraved w i t h a r u n n i n g horse, c e n t u r y B y z a n t i n e treasure n o w i n D u m b a r t o n O a k s . 6

and as n o t e d above, i t belongs to a Graeco-Persian A pendant ( N o . 4; figs. 4a—b), w h i c h was supposedly

w o r k s h o p o f the late f o u r t h c e n t u r y B . C . Few B y z a n t i n e f o u n d i n Sicily w i t h t w o g o l d belt buckles and is n o w i n

5. A n unpublished Graeco-Persian chalcedony scaraboid i n M a l ­ seventh or eighth century A.D.: See J. Boardman and M.—L. Vollen-
ibu (85.AN.444.1) was reengraved w i t h magical inscriptions i n the weider, Catalogue of the Engraved Gems and Finger Rings in the Ash-
third or fourth century A.D., and another Graeco-Persian scaraboid i n molean Museum (Oxford, 1978), vol. 1, no. 178, and a photo o f the back
Oxford bears Koranic texts i n Kufic script, which were added i n the i n P. Zazoff, Die antiken Gemmen (Munich, 1983), p. 4, pi. 41.
 A Byzantine Pendant 7

Figure 2a. Pendant o n l o o p - i n - l o o p c h a i n w i t h o p e n w o r k t e r m i n a l s . B y z ­

antine, circa s i x t h century. G o l d . H (pendant): 3.2 c m (l //).
1

N e w Y o r k , T h e M e t r o p o l i t a n M u s e u m o f A r t , G i f t o f J. P i e r -
p o n t M o r g a n , 17.190.1659. P h o t o : C o u r t e s y T h e M e t r o p o l i t a n
Museum o f Art, N e w York

D u m b a r t o n Oaks, is v e r y s i m i l a r t o the others. I t is,

however, m o r e oval shaped t h a n the previous circular
examples. This pendant again has the border of
p u n c h e d dots, and the added beaded w i r e is t h i n , l i k e
that o f the G e t t y example. I t is set w i t h a cameo depict­
i n g A p o l l o and Daphne. T h i s m a y be a rare example o f
c o n t e m p o r a r y B y z a n t i n e g l y p t i c , since i t has l i t t l e i n
c o m m o n w i t h R o m a n cameos and its i c o n o g r a p h y is
n o t o u t o f place i n this p e r i o d . 7

A g o l d necklace f o u n d at K u b a n o n the n o r t h coast o f

the B l a c k Sea i n 1892 and n o w i n L e n i n g r a d ( N o . 5; figs.
5a—b) has three pendants as w e l l as a clasp set w i t h a

Figure 2b. D e t a i l o f f i g u r e 2a. D r a w i n g by Martha

6. Ross, D O Cat, vol. 2, no. 179 C, p. 136.
B r e e n Bredemeyer.
7. Cf. Ross, D.O. Cat, vol. 2, p. 9, and the fifth-century Ravenna
ivory he cites. There is also an unpublished Byzantine belt buckle
w i t h the scene i n a Swiss private collection.
8 Spier

Figure 3. Pendant o n a c h a i n c o m p o s e d o f six s h o r t l o o p - i n - l o o p seg­

ments. B y z a n t i n e , circa s i x t h century. G o l d o r n a m e n t e d with
gemstones. H ( p e n d a n t ) : 2.6 c m (1"). N e w Y o r k , T h e M e t r o ­
p o l i t a n M u s e u m o f A r t , G i f t o f J. P i e r p o n t M o r g a n , 17.190.1660.
Photo: Courtesy The Metropolitan M u s e u m o f A r t , N e w York.

g o l d solidus struck at C o n s t a n t i n o p l e d u r i n g the b r i e f those seen o n N o . 4, w h i l e the larger central pendant

j o i n t r e i g n o f J u s t i n I and J u s t i n i a n i n A . D . 527. T h e has a m o d i f i e d p a t t e r n so that an I X C h r i s t o g r a m is
pendants are again oval shaped b u t are o f s l i g h t l y d i f ­ f o r m e d , again o u t l i n e d b y the stylized acanthus leaves.
ferent manufacture f r o m the previous examples. T h e y T h e engraved p a t t e r n o f a pendant i n a Swiss private
are flatter, and the f r o n t sides are set w i t h banded-agate c o l l e c t i o n ( N o . 6; figs. 6a—b) is h i g h l y stylized, b u t the
gems s u r r o u n d e d b y t w o r o w s o f beaded w i r e w i t h a w o r k m a n s h i p is v e r y fine. T h e e n g r a v i n g is b o l d , and
p l a i t e d - w i r e b a n d b e t w e e n t h e m . T h e y d o n o t have the the leaves are accentuated by rows o f punched dots
border o f p u n c h e d dots. A l l three pendants have a l o o p d o w n the spines. T h e added beaded w i r e is t h i c k and
at the b o t t o m for a s m a l l pendant, o n l y one o f w h i c h carefully m o l d e d , and the pendant i t s e l f is one o f the
survives—pear shaped w i t h a beaded-wire r i m set w i t h largest o f the g r o u p . I t is set w i t h a remarkable c o n ­
a g e m . T w o o f the pendants have patterns s i m i l a r t o s t r u c t i o n consisting o f a glass cover over an enamel that

8. Ross, D O Cat, vol. 2, no. 145, pp. 100-101. See K . Wessel, and needs further examination. The goldwork appears certainly
Byzantine Enamels (Shannon, Ireland, 1969), no. 16, pp. 66—67, w h o genuine.
dates the D u m b a r t o n Oaks example circa A.D. 900. 10. P. Orsi, Sicilia bizantina (Rome, 1942), vol. 1, pp. 135-141. That
9. The enamel is both stylistically and technically very unusual the pendant belongs to the group here under discussion was already
 A Byzantine Pendant 9

depicts a seated V i r g i n and C h i l d ; a l l o f this is m o u n t e d

i n a g o l d frame. T h e enamel is u n l i k e the m a i n series o f
the M i d d l e B y z a n t i n e p e r i o d b u t seems stylistically
close t o one relatively early example i n D u m b a r t o n
Oaks s h o w i n g a standing V i r g i n and C h i l d , m o s t l i k e l y
d a t i n g f r o m the late n i n t h or early t e n t h c e n t u r y A . D . 8

I n b o t h examples the unusual colors, n o t a b l y the w h i t e

s k i n , and the large, r o u n d eyes are similar. A t e n t h -
c e n t u r y date is therefore best for the e n a m e l w o r k o f
N o . 6, b u t the pendant i t s e l f clearly belongs w i t h the
others i n the s i x t h or seventh century. T h e pendant,
w h i c h p r o b a b l y o r i g i n a l l y h e l d a gemstone or relic,
m u s t have been reused several h u n d r e d years after its
manufacture. 9

T h e Lesbos treasure—now i n A t h e n s — o f B y z a n t i n e
Figure 4a. Pendant set w i t h agate cameo o f A p o l l o a n d
g o l d j e w e l r y w i t h coins o f Phocas ( A . D . 602—610) and Daphne. S u p p o s e d l y f o u n d i n Sicily, circa
Heraclius ( A . D . 610—641) i n c l u d e d another example ( N o . s i x t h century. G o l d . H : 2.5 c m (1"). W a s h ­
7; figs. 7a—b). I t is v e r y small, and the w o r k is crude. ington, D.C., D u m b a r t o n Oaks Research

T h e stylized leaves are barely distinguishable, and a d d i ­ L i b r a r y a n d C o l l e c t i o n 69.15. P h o t o : C o u r ­

tesy D u m b a r t o n O a k s Research L i b r a r y a n d
t i o n a l hatch m a r k s are added i n the field. T h e r e is n o
Collection, Washington, D C .
border o f p u n c h e d dots.
A n o t h e r pendant ( N o . 8; fig. 8) was f o u n d early i n
this c e n t u r y i n a h o a r d o f g o l d j e w e l r y and coins at
Pantalica, Sicily. T h e i l l i c i t find was q u i c k l y dispersed,
b u t P. O r s i was able t o reconstruct m u c h o f i t u s i n g
photos o f the j e w e l r y and descriptions o f the coins. 10

T h e p h o t o g r a p h published b y O r s i shows the pendant

v i e w e d t h r o u g h the o p e n i n g w h e r e the gemstone or
other object, n o w m i s s i n g , was set. T h e e n g r a v i n g ap­
pears t o be somewhat better t h a n that o f the Lesbos
treasure example ( N o . 7; figs. 7a—b) b u t is s t i l l s i m p l e
and stylized. N o border o f p u n c h e d dots is visible, n o r
is there an added beaded w i r e . I n a d d i t i o n t o a suspen­
sion l o o p o n top, there are t w o o n the sides and one
below, perhaps for suspension o f smaller pendants
in the manner o f the L e n i n g r a d examples ( N o . 5;
figs. 5a—b). T h e coins said t o have been f o u n d at Pan­ Figure 4b. B a c k o f f i g u r e 4a. P h o t o : C o u r t e s y D u m b a r ­
talica i n c l u d e s o l i d i o f Constans I I (A.D. 641—668), t o n O a k s Research L i b r a r y a n d C o l l e c t i o n ,
Washington, D C
Constantine IV ( A . D . 668—685), and Tiberius I I I
( A . D . 698—705). M o s t o f the other j e w e l r y f r o m the
Sicilian h o a r d is o f unusual style and n o t easily paral­ T h e acanthus leaf p a t t e r n is abandoned i n this instance
leled b y other B y z a n t i n e w o r k ; a late seventh-century for s i m p l e hatch m a r k s that appear b e t w e e n the arms o f
date is m o s t likely. T h i s a d d i t i o n a l j e w e l r y m a y have the cross.
been manufactured i n a local w o r k s h o p . 11
Finally, a h o a r d o f B y z a n t i n e j e w e l r y f o u n d i n the
Ross has plausibly suggested that a g o l d disc i n D u m ­ excavations at Caesarea M a r i t i m a i n Israel includes a
b a r t o n Oaks ( N o . 9; fig. 9) m a y be a f r a g m e n t a r y p e n ­ comparable example i n silver w i t h a glass cover ( N o .
dant; i n w h i c h case, i t w o u l d be another crude example. 10). I t is v e r y corroded, and pieces o f the back are m i s s -

noted by Ross, D.O. Cat, vol. 2, p. 9. an antique heirloom at the time o f its burial.
11. A fine ring set w i t h an aquamarine intaglio depicting Nemesis
was also said to be from the find, Orsi (supra, note 10), no. 1, p. 137,
fig. 60, pi. 9. It appears to be o f first-century date and must have been
10 Spier

i n g , m a k i n g i t d i f f i c u l t t o see the engraved pattern. I t

appears t o be a facing, n i m b a t e bust rather t h a n the
cross and acanthus leaf design. O t h e r details, such as
the circular shape, the border o f p u n c h e d dots, and the
added beaded wire, however, a l l correspond to the
m a i n series o f pendants u n d e r consideration. T h i s par­
ticular example served as a reliquary.
W i t h the exception o f the last ( N o . 10), the pendants
all share a basic decorative pattern: a central cross sur­
r o u n d e d b y engraved acanthus leaves placed b e t w e e n
the arms and sometimes a d d i t i o n a l hatched lines i n the
field. T h e f o r m o f the cross varies, as does the q u a l i t y o f
the e n g r a v i n g and the care g i v e n t o the pattern. T h e
cross m a y have arms o f equal l e n g t h w i t h flaring ends
(Nos. 1—3); i t m a y have l o n g e r vertical t h a n h o r i z o n t a l
branches ( N o . 4; t w o o f the pendants i n N o . 5; and N o s .
7, 8); or i t m a y approach the f o r m o f a Maltese cross
(Nos. 6, 9). I n one example ( N o . 5) the cross is m o d i f i e d
t o become an I X m o n o g r a m .
O r i g i n a l l y the i n t e n t i o n was t o m a k e a simple, u n ­
derrated cross subtly stand o u t f r o m the complex
b a c k g r o u n d o f floral decoration that o u t l i n e s i t . T h e
m o s t successful examples are i n M a l i b u and N e w Y o r k
(Nos. 1, 2), w h e r e the carefully engraved acanthus pat­
terns are b o l d e r t h a n the cross. T h e crosses o n the sub­
sequent pendants are more easily visible, and the
acanthus leaves hence become m o r e stylized; they n o
longer appear r o u n d e d i n shape w i t h c u r v i n g veins b u t
as s i m p l e oval or t r i a n g u l a r areas w i t h a central spine
and straighter veins. T h e y fill the fields i n a m o r e h a p ­
Figure 5a. C h a i n w i t h three pendants set w i t h b a n d e d hazard manner and m a y degenerate t o a state w h e r e the
agates. F o u n d K u b a n , Russia, circa s i x t h c e n ­
leaves are a l m o s t i n d i s t i n g u i s h a b l e a m o n g the lines
tury. Gold. Leningrad, State Hermitage
( N o . 7) or are replaced e n t i r e l y b y s i m p l e hatch m a r k s
2134/1. Photo: Courtesy State H e r m i t a g e ,
Leningrad. ( N o . 9).
A l t h o u g h the p a t t e r n o f acanthus leaves o u t l i n i n g a
cross does n o t appear elsewhere i n B y z a n t i n e art, the
use o f the acanthus leaf as a subsidiary decorative device
o n m e t a l w o r k was v e r y popular. I t is frequently seen
engraved o n silver plate i n the f o u r t h c e n t u r y A . D . and
continues i n t o the s i x t h and seventh centuries, as Ross
has observed. 12
Elaborate patterns based o n acanthus
leaves are also t y p i c a l l y f o u n d engraved b e l o w the b o w l s
o f s i x t h - and seventh-century, silver l i t u r g i c a l spoons. 13

A related p a t t e r n o f acanthus leaves and cross is seen

o n the g o l d b o x - p e n d a n t r e l i q u a r y o f Saint Zacharias
said t o be f r o m C o n s t a n t i n o p l e and n o w i n D u m b a r t o n
O a k s (figs. 10a—c). 14
T h e back, carefully executed i n

Figure 5b. D e t a i l o f figure 5a. Drawing by Martha

12. Ross, D.O. Cat., vol. 1, no. 7, p. 9, and cf. E. D o d d , Byzantine
Breen Bredemeyer.
Silver Treasures (Bern, 1973), pp. 12—13. I n addition, the cross and
acanthus leaf pattern o f the pendants is seen as a decorative m o t i f i n
the borders o f a pair o f unpublished sixth- or seventh-century, silver
 A Byzantine Pendant 11

Figures 6a-b. Left, Pendant set w i t h a glass-covered enamel o f the V i r g i n a n d C h i l d .

Supposedly f o u n d i n A s i a M i n o r , circa s i x t h o r seventh century. G o l d
w i t h enamel o f later date. H : 4 c m (l /ie"). 9
Right, back. S w i t z e r l a n d ,
private collection.

Figures 7a-b. Left, Pendant. F o u n d i n Lesbos, circa s i x t h century. G o l d . H : 2 c m

( W ) . Right, back. A t h e n s , B y z a n t i n e M u s e u m 3039. P h o t o s : Courtesy
Byzantine M u s e u m , Athens.

repousse, shows a cross w i t h i n a w r e a t h s u r r o u n d e d b y c e n t u r y g o l d w o r k . T h e differences are m o s t notable i n

f o u r acanthus leaves, all w i t h i n a square linear border; the e x e c u t i o n o f the fine opus interrasile and repousse
a r o u n d this central c o m p o s i t i o n is a cable border. The w o r k . T h e opus interrasile is s i m i l a r t o the best f o u r t h -
sides are decorated w i t h acanthus patterns, also w o r k e d c e n t u r y C o n s t a n t i n i a n w o r k f r o m the Eastern Empire
i n repousse. T h e f r o n t is set w i t h an engraved gem (probably f r o m C o n s t a n t i n o p l e ) , 15
and i t is u n l i k e the
(perhaps n o t the o r i g i n a l setting, as Ross notes) sur­ less s k i l l f u l o p e n w o r k frequently seen i n s i x t h - and
r o u n d e d by vegetal and lozenge patterns i n fine opus seventh-century B y z a n t i n e j e w e l r y ; the careful repousse
interrasile and a b e a d e d - w i r e border. w o r k also has l i t t l e i n c o m m o n w i t h the k n o w n g o l d -
w o r k o f the s i x t h century. T h e s i m i l a r i t i e s t o f o u r t h -
The reliquary o f Saint Zacharias is o f exceptional
c e n t u r y w o r k and the differences f r o m t y p i c a l s i x t h -

q u a l i t y and stands apart technically f r o m o t h e r s i x t h -

Interrasile from a Late Antique Workshop," Jewellery Studies 1

book covers now i n a Swiss private collection. (1983-1984), pp. 15-19, see p. 17 for attribution to Constantinople.
13. Cf. the examples i n Dalton, Early Christian, p. 35.
14. Ross, D.O. Cat, vol. 2, no. 31, pp. 3 0 - 3 1 .
15. Cf. most recently D. Buckton, "The Beauty o f Holiness: Opus
 12 Spier

Figure 8. Pendant. F o u n d i n Pantalica, Sicily, circa s i x t h Figure 9. E n g r a v e d disc, perhaps f r o m a pendant. Sup­
c e n t u r y . G o l d . H : 2.6 c m (1"). Present l o c a t i o n p o s e d l y f o u n d i n C o n s t a n t i n o p l e , circa s i x t h
unknown. D r a w i n g by M a r t h a Breen Bre- century. G o l d . H : 2.1 c m ( /s"). W a s h i n g t o n ,
7

d e m e y e r after P. O r s i , Sicilia bizantina ( R o m e , D . C . , D u m b a r t o n O a k s Research L i b r a r y a n d

1942), v o l . 1, n o . 7, p. 138, p i . 9. C o l l e c t i o n 53.12.51. P h o t o : C o u r t e s y D u m b a r ­
ton Oaks Research L i b r a r y and C o l l e c t i o n ,
Washington, D . C .

and seventh-century B y z a n t i n e g o l d w o r k suggest a g o l d beads, and central glass paste i n l a y o n one side.
s l i g h t l y earlier date for the r e l i q u a r y t h a n that proposed I n a v a r i a t i o n o f the pendants' m o t i f , the other side o f
b y Ross, perhaps i n the f i f t h century, a l t h o u g h n o close the cross has engraved acanthus leaves i n each a r m
parallels are k n o w n . (fig. 12). 17
O t h e r s i m i l a r crosses are n o t e d b y Ross,
T h e w e l l - k n o w n g o l d r e l i q u a r y b o x f o u n d i n the o l d as are rings decorated w i t h s i m i l a r plaited w i r e , i n c l u d ­
basilica at Pola (present-day Pula, Yugoslavia) and n o w i n g an example i n O x f o r d set w i t h a c o i n o f Z e n o
in Vienna 16
f o r m s a l i n k b e t w e e n the D u m b a r t o n Oaks ( A . D . 474-491). 18

r e l i q u a r y and the g r o u p o f pendants (figs. 11a—c). Its l i d T h e s i m i l a r i t i e s i n the decoration o f the D u m b a r t o n

appears t o have been i n s p i r e d b y the design o f the Oaks cross, the V i e n n a r e l i q u a r y box, and the g r o u p o f
D u m b a r t o n Oaks reliquary, b u t this has become h i g h l y pendants indicate that a l l are products o f the same koine
stylized. T h e repousse cross w i t h i n a w r e a t h is replaced style. A B y z a n t i n e koine style o f j e w e l r y , attested b y a
b y a cross w i t h glass paste i n l a y s u r r o u n d e d b y a w r e a t h large n u m b e r o f finds f r o m all parts o f the B y z a n t i n e
o f plaited g o l d w i r e . F o u r p y r a m i d a l clusters o f g o l d E m p i r e , developed b y the early s i x t h century, flourished
beads appear i n the corners instead o f the f o u r acanthus i n the r e i g n o f J u s t i n i a n , and c o n t i n u e d w e l l i n t o the
leaves. T h e short sides have crosses bordered w i t h cables seventh century. T h e r e can be l i t t l e d o u b t that m u c h o f
as i n the D u m b a r t o n Oaks example, b u t here, u n l i k e the m a t e r i a l was manufactured i n C o n s t a n t i n o p l e and
the Saint Zacharias reliquary, the stylized acanthus that w o r k s h o p s located elsewhere, w h e t h e r i n the east
leaves fill the areas b e t w e e n the arms o f the cross i n the or the west, closely f o l l o w e d the fashions set i n the
m a n n e r o f the pendants. capital. T h e style encompasses a large b o d y o f m a t e r i a l
Perhaps f r o m the same w o r k s h o p is a g o l d cross i n ( i n c l u d i n g personal j e w e l r y , such as belt buckles, ear­
D u m b a r t o n Oaks, w h i c h shares w i t h the V i e n n a r e l i ­ rings, finger rings, necklaces, and pendants, as w e l l as
q u a r y b o x the a d d i t i o n o f plaited g o l d w i r e , clusters o f crosses and reliquaries), and the sharing o f decorative

16. H . Buschhausen, Die spaetroemischen Metallscrinia und decorative detail can also be identified. For example, a small gold
fruehchristlichen Reliquiare (Vienna, 1971), no. B 20, pp. 249-252, p i . cross ( H : 2.83 cm [ l W ] ) engraved w i t h the same pattern as the larger
57, and K . Weitzmann, ed., The Age of Spirituality (New York, 1979), example at Dumbarton Oaks (fig. 12) is n o w i n a Swiss private collec­
no. 568, pp. 630-631. tion; i t is unpublished. Another similar example was on the London
17. Ross, D.O. Cat., vol. 2, no. 10, p. 15. market a few years ago and was exhibited by Jack Ogden L t d . (In the
18. Ibid., no. 10, p. 15; E. T. Leeds, Antiquaries Journal 20 (1944), no. Wake of Alexander, November 17—December 1, 1982, no. 27). The use
4, p. 334, pi. 51. o f punched-dot borders is seen, for example, on an openwork ring
19. Other gold objects that display similarities i n manufacture and from Smyrna (British Museum M & L A A F 308; Dalton, Early Chris-
 A Byzantine Pendant 13

Figures Wa-c. Left, B o x - p e n d a n t r e l i q u a r y o f Saint Zacharias. Supposedly f o u n d i n C o n s t a n t i n o p l e , circa f i f t h century. G o l d set

w i t h an engraved g e m , p o s s i b l y o f later date. H : 3 c m ( l W ) ; W : 2.5 c m ( /i6").
1 5
Center, back. Right, side.
W a s h i n g t o n , D . C . , D u m b a r t o n O a k s Research L i b r a r y a n d C o l l e c t i o n 57.53. P h o t o s : C o u r t e s y D u m b a r t o n O a k s
Research L i b r a r y a n d C o l l e c t i o n , W a s h i n g t o n , D . C.

Figures lla-c. Left, R e l i q u a r y B o x . F o u n d i n Pula, Y u g o s l a v i a , circa s i x t h century. G o l d w i t h glass paste inlay. H : 1.6 c m (Vs");
W : 2.3 c m ( /s"); D : 1.9 c m ( W ) . Center,
7
t o p . Right, side. D r a w i n g b y M a r t h a B r e e n Bredemeyer. Vienna,
K u n s t h i s t o r i s c h e s M u s e u m V I I 761. P h o t o s : C o u r t e s y K u n s t h i s t o r i s c h e s M u s e u m , V i e n n a .

patterns and technical details a m o n g different types o f was f o u n d i n the excavations w i t h a h o a r d o f j e w e l r y

objects is t y p i c a l . 19
that, although not precisely datable, is of typically
The circumstances o f discovery o f the pendants ex­ s i x t h - or early s e v e n t h - c e n t u r y style. M o r e h e l p f u l is
a m i n e d here f i r m l y place t h e m i n the s i x t h and seventh the L e n i n g r a d necklace ( N o . 5), w h i c h has a clasp set
centuries and associate t h e m w i t h o t h e r j e w e l r y o f the w i t h a c o i n precisely datable t o the j o i n t r e i g n o f J u s t i n I
koine style. T h e silver e x a m p l e f r o m Caesarea M a r i t i m a and J u s t i n i a n i n A . D . 527. T h e Lesbos treasure c o n t a i n e d

Han, no. 212, p. 33) and on the ubiquitous pear-shaped and lunate Also apparently related to the style and technique o f the goldwork
openwork earrings, which usually show t w o confronted peacocks (cf. under consideration is the Olbia treasure o f Gothic jewelry from
the recent summary o f the literature, T. Ergil, Earrings [Istanbul, south Russia, now i n Dumbarton Oaks (Ross, D O . Cat, vol. 2, no.
1983], no. 157, p. 62, to which others could be added). The tails o f the 166, pp. 117—118). The date is controversial, but the similarity o f the
peacocks often resemble the stylized acanthus leaves o f our N o . 6, engraved decoration and pattern to Byzantine goldwork, as well as
w i t h a row o f punched dots down the spine from which engraved other details, suggests a dependence on Byzantine prototypes. A
veins branch o f f (cf. A . Pierides, Jewellery in the Cyprus Museum [ N i c ­ sixth- rather than early fifth-century date may be preferable.
osia, 1971], no. 10, p. 56, pi. 38).
14 Spier

a q u a n t i t y o f j e w e l r y o f t y p i c a l type, as w e l l as coins o f
Phocas and Heraclius datable t o the m i d - s e v e n t h cen­
tury. T h e pendant i n this h o a r d shows a f u r t h e r d i v e r ­
gence f r o m the o r i g i n a l p a t t e r n and m a y be i n d i c a t i v e o f
the later examples o f the g r o u p . T h e pendant f r o m the
Pantalica hoard, w h i c h contained coins spanning the
second h a l f o f the seventh century, is also rather crude
b u t fits w e l l i n t o the m a i n g r o u p , a l t h o u g h the a c c o m ­
p a n y i n g j e w e l r y is n o t t y p i c a l o f the seventh-century
B y z a n t i n e style. T h e w i d e d i s t r i b u t i o n o f the pendants
includes A s i a M i n o r , s o u t h Russia, Palestine, Lesbos,
and Sicily, and a s i m i l a r range is seen for the c o m p a r ­
able j e w e l r y . T h i s again suggests a central o r i g i n for
the style, i f n o t for the actual manufacture—surely
C o n s t a n t i n o p l e itself.
Figure 12. Cross. C i r c a s i x t h c e n t u r y . G o l d w i t h glass
paste inlay. H : 2.7 c m (IVIÖ"). W a s h i n g t o n ,
D . C . , D u m b a r t o n O a k s Research L i b r a r y a n d M e r t o n College
Collection 50.20. Photo: Courtesy D u m b a r ­ Oxford
t o n O a k s Research L i b r a r y a n d C o l l e c t i o n ,
Washington, D C .
Kopie oder Nachschöpfung.
Eine Bronzekanne im J. Paul Getty Museum
Michael Pfrommer

D i e ü b e r d r e i ß i g Z e n t i m e t e r h o h e K a n n e m u ß z u den d ü n n e n W a n d u n g gegossen. Dies g i l t auch für den i n

3

qualitätvollsten erhaltenen Bronzegefaßen mit orna­ K a l t a r b e i t ü b e r g a n g e n e n B l a t t k e l c h . I m Gegensatz z u

m e n t a l e m D e k o r gerechnet w e r d e n ( A b b . 1—3, 5 ) . 1
der v o l l s t ä n d i g m i t Silber eingelegten W e i n r a n k e a u f
D i e reiche D e k o r a t i o n der K a n n e ist v o n a u ß e r g e ­ d e m Hals, zeigen a u f d e m G e f ä ß k ö r p e r n u r einige w e ­
wöhnlicher Qualität, sowohl i m E n t w u r f wie auch nige B l ü t e n d e t a i l s silberne E i n l a g e n , die i n A b b . 12
i n der A u s f ü h r u n g . Den Gefäßkörper schmückt ein schwarz gekennzeichnet sind. Das gleiche g i l t auch für
zweireihiger, ä g y p t i s c h e r N y m p h a e a N e l u m b o - K e l c h , das lesbische K y m a t i o n . D e r H e n k e l ist separat ge­
zwischen dessen B l a t t s p i t z e n italische S t o c k w e r k b l ü t e n gossen u n d a n g e l ö t e t bzw. m i t N i e t e n befestigt.
geschaltet s i n d ( A b b . 10—12). E i n plastisch gegebenes
lesbisches K y m a t i o n akzentuiert den Halsansatz. D e n GEFÄSSFORM
Hals selbst s c h m ü c k t eine aus Silberblech geschnit­ T y p o l o g i s c h folgt die K a n n e i n etwa der v o n J. D .
tene u n d eingelegte Weinranke. F i g ü r l i c h verziert ist Beazley als 5a bezeichneten Gruppe. 4
Bronzekannen
allein der H e n k e l , bei d e m e i n Panskopf die untere A t - dieses Typs s i n d meines Wissens k a u m erhalten, d o c h
tasche b i l d e t ( A b b . 6), w ä h r e n d ein kleiner Silens- zeigt eine g r o ß e Bronzekanne aus d e m thrakischen T u ­
k o p f als oberer Henkelabschluß i n das Gefäßinnere m u l u s v o n M a l Tepe, d a ß der Typus i m 3. Jahrhundert
b l i c k t ( A b b . 7). geläufig war (Abb. 4 ) . 5

Das G e f ä ß w u r d e m ö g l i c h e r w e i s e v o r der ägypti­ Das i n der A u s f ü h r u n g u n g l e i c h bescheidenere M a l

schen K ü s t e i n der N ä h e v o n A l e x a n d r i a i m M e e r ge­ Tepe-Exemplar l ä ß t sich i n e i n i g e n f o r m a l e n Datails
funden. M u s c h e l n u n d andere A b l a g e r u n g e n b e s t ä t i g e n m i t der M a l i b u - K a n n e vergleichen. Dies g i l t e t w a für
eine m a r i n e H e r k u n f t , ohne d a ß eine exaktere E i n g r e n ­ die m i t e i n e m Eierstab verzierte L i p p e , den m i t e i n e m
z u n g des Fundortes a u f diesem Wege m ö g l i c h w ä r e . 2
P r o f i l v o n der Schulter abgesetzten Hals u n d ebenso für
W i e zu zeigen sein w i r d , v e r m a g die Ornamentanalyse die s p u l e n f ö r m i g e F i n g e r s t ü t z e a u f der oberen H e n k e l ­
die Z u w e i s u n g an eine ä g y p t i s c h e Werkstatt zu s t ü t z e n . biegung. D i e E n t w i c k l u n g der F i n g e r s t ü t z e l ä ß t sich i m
makedonischen u n d italischen R a u m seit d e m aus­
TECHNIK gehenden 4. Jahrhundert beobachten, doch besitzen
W i e das Fehlen j e g l i c h e r Spuren v o n Treibarbeit i m diese G e f ä ß e i n der Regel gedrungenere P r o p o r t i o n e n
Inneren bezeugt, w u r d e die K a n n e t r o t z der extrem u n d keine v o n der Schulter abgesetzte H a l s p a r t i e . 6

Für die Publikationserlaubnis b i n ich M . True zu herzlichem Dank 3. Für diese technische Auskunft b i n ich J. Podany und seinem
verpflichtet. Für Hilfe und Hinweise verschiedener A r t danke ich Stab verbunden. Die Technik des Gusses derartig d ü n n w a n d i g e r
ebenfalls K . Manchester und J. Podany. Verbunden b i n ich weiterhin Gefäße, einschließlich eines reliefierten Dekors, hat i n der ägypti­
i m besonderen M a ß e M . Breen-Bredemeyer für die Erstellung der schen Toreutik lange Tradition: Pfrommer, "Studien," 77f, 84 K B k 1,
Zeichnungen. 7-15, Taf. 6-9; 11; 12; 48c, d.
Abkürzungen 4. Als Beispiel klassischer Zeit vgl. man etwa eine Kanne des
Außer den i m AJA üblichen A b k ü r z u n g e n w i r d i m folgenden Mannheimer Malers i n Oxford, Inv. 298, Ashmolean Museum: CVA
verwendet: Oxford I (III 1), Taf. 43, 14.
Pfrommer, "Studien": "Studien zu alexandrinischer und g r o ß g r i e ­ 5. Sofia, Archäol. Mus.: B. Filow, BIABulg 11 (1937), 56, N r . 18,
chischer Toreutik frühhellenistischer Zeit," Abb. 55, 56. Als sicher römisches Beispiel m i t einem lesbischen
Archäologische Forschungen 16 (Berlin, 1987). Kymation am Ü b e r g a n g von Hals und Schulter v g l . eine Kanne i n
1. Malibu, The J. Paul Getty Museum 85.AB.78. H ö h e : 32 cm; Belgrad br. 2835/III: L j . B. Popovic, D. Mano-Zisi, M . Velickovic,
Durchmesser: 20.3 cm. B. Jelicic, Anticka Bronza u Jugoslaviji, Narodni Muzej Beograd
2. Nach Auskunft des ozeanographischen Instituts i n Los Angeles (Belgrad, 1969), 124, N r . 217, Abb. 217.
zeigen die Ablagerungen, daß die Kanne aus dem Meer und nicht aus 6. Kannen aus dem "Philippgrab" von Vergina i n Thessaloniki
16 Pfrommer

Abb. 1. Bronzekanne. H : 32 cm (127s"); D : 20.3 cm (8"). Malibu, TheJ. Paul Getty Museum 85.AB.78.
 Kopie oder Nachschöpfung 17

Abb. 2. B r o n z e k a n n e . H : 32 c m (12 / ") D : 20.3 c m (8"). M a l i b u , T h e J. Paul G e t t y M u s e u m 85. A B . 7 8 .

5
8 ;
18 Pfrommer

Abb. 3. Profilzeichnung der Bronzekanne i n Abb. 1. Zeichnung von Martha Breen Bredemeyer.
 Kopie oder Nachschöpfung 19

In frühhellenistischer Zeit findet sich auch der

Eierstabdekor der M ü n d u n g 7
u n d das lesbische K y m a -
t i o n an der Nahtstelle v o n K ö r p e r u n d H a l s . D i e f o r - 8

m a l e n Details der M a l i b u - K a n n e k ö n n t e n s o m i t für

eine D a t i e r u n g i m 3. J a h r h u n d e r t v . C h r . sprechen.

DER H E N K E L U N D DER FIGÜRLICHE DEKOR

D i e H e n k e l f o r m m i t der g r o ß e n Pansattasche u n d der
s p u l e n f ö r m i g e n F i n g e r s t ü t z e ( A b b . 3, 5, 6) l ä ß t sich, w i e
gesagt, bereits i n frühhellenistischer Zeit belegen. 9

Dies g i l t auch für Details w i e den ins Gefäßinnere

schauenden Silenskopf ( A b b . 7 ) , 10
oder die V o l u t e n z u
beiden Seiten des Panskopfes. 11

D i e M i t t e l r i p p e des H e n k e l s gestaltete der Toreut als

silbern eingelegte Schlange, e i n D e t a i l , für das mir
keine f r ü h e Parallele g e l ä u f i g ist.
W ä h r e n d m a n d e m Schlangendekor schwerlich c h r o -
nologische Signifikanz z u b i l l i g e n w i r d , l i e g t der Fall b e i
den i n F o r m v o n S c h w a n e n k ö p f e n gebildeten oberen
E n d e n des H e n k e l s g ä n z l i c h anders. Schwanenkopfat-
taschen dieser A r t s i n d ganz a l l g e m e i n t y p i s c h für k a i -
serzeitliche T o r e u t i k , w i e etwa e i n silberner Skyphos-
h e n k e l des f r ü h e n 1. nachchristlichen Jahrhunderts aus
V i z e i n O s t t h r a k i e n bezeugt ( A b b . 8 ) . 12
Neben pompe-
janischen F u n d e n 13
ist v o r a l l e m auch a u f G u ß f o r m e n
derartiger H e n k e l aus d e m r ö m i s c h e n Ä g y p t e n z u ver- Abb. 4. B r o n z e k a n n e aus d e m M a l Tepe. Sofia, A r c h ä o -

weisen. 14
Trotz der zahlreichen f r ü h h e l l e n i s t i s c h e n D e - logisches Museum. Zeichnung von Martha
B r e e n Bredemeyer.
t a i l f o r m e n ist die K a n n e s o m i t schwerlich v o r der au-
gusteischen Z e i t gefertigt w o r d e n .
A u c h der g r o ß e Panskopf zeigt u n ü b e r s e h b a r s p ä t e , gebleckte Z u n g e n o c h v e r s t ä r k t w i r d .
eklektische Z ü g e . D i e G e s i c h t s z ü g e m i t den o r n a m e n - Eine Reminiszenz an frühhellenistische Formen fassen
talen U b e r a u g e n b ö g e n u n d der w u l s t i g e n Nase e r i n - w i r w e i t e r h i n i n den steil aufgerichteten P a n s h ö r n e r n . 1 5

nern noch durchaus an frühhellenistische Beispiele, Weit entfernt v o n der differenzierten, teilweise n a t u -
d o c h w i r d unschwer e i n M a n g e l an plastischer D u r c h - ralistischen Bartbehandlung frühhellenistischer Bei-
b i l d u n g d e u t l i c h , der einen beinahe maskenartigen E i n - spiele 16
ist s c h l i e ß l i c h die schematische, unplastische
d r u c k h e r v o r r u f t , e i n E i n d r u c k , der d u r c h die kleine, Wiedergabe des Bartes, der v o n d e m Toreuten nur

Royal Tombs and the Ancient City (Athens, 1984), 152£, Abb. 115, 116, Melanges Mansel I (Ankara, 1974), 335-343, Taf. 113-116.
158, Abb. 124. Z u weiteren Beispielen dieses Kannentyps vgl. Pfrom- 13. Aus Boscoreale, Paris, Louvre: A . Heron de Villefosse, MonPiot
mer, op. cit., 239-240, Abb. 1, 2. 5 (1899), Taf. 20; 23, 3; 24, 2.
7. S.o. A n m . 6. 14. Turin, Museo Egizio: T. Schreiber, Die Alexandrinische Toreutik
8. Als Beispiel des ausgehenden 4. Jhs. vgl. man eine Silberkanne (Leipzig, 1894), Taf 1, i n London, Brit. Mus.: op. cit, Taf. 3b.
thrakischen Typus aus Varbitza i n Sofia, Archäol. Mus. 51: Gold der 15. M a n vgl. eine Bronzekanne i n Boston (Mus. o f Fine Arts
Thraker, Ausstellung Köln, M ü n c h e n , Hildesheim (Köln, 1979), 161, 99.485), bei der die H ö r n e r zweier antithetischer Bocksköpfe i n
Nr. 318, Abb. 318. Für das 3. Jh. vgl. man kleine Silberkännchen i n analoger Weise auf dem Henkel angeordnet sind. M . Pfrommer,
N e w York, Metropolitan Museum o f A r t 1972.118.156; 1982.11.13: D. v. Jdl 98 (1983), 240, Abb. 2 (mit Parallelen). Z u dem Kannentypus
Bothmer, BMMA 42 (1984), 49, N r . 84, Abb.; 57, N r . 96, Abb. s. o. A n m . 6.
9. S.o. A n m . 6. 16. Pan-Attasche eines Holzkohlen-Behälters (?) oder einer Lampe
10. Dieses M o t i v findet sich i n klassischer Zeit etwa bei Kannen aus dem "Philippgrab" von Vergina i n Thessaloniki: M . Pfrommer,
des Typs 2: T. Weber, Bronzekannen (Frankfurt am M a i n , 1983), 91ff, Jdl 98 (1983), 255-256, Abb. 15. M . Andronicos, Vergina. The Royal
Taf. 13. V g l . weiterhin P t o l e m ä e r k a n n e n : D. B. Thompson, Ptole- Tombs and the Ancient City (Athens, 1984), 162f, Abb. 130, 131. Der
maic Oinochoai and Portraits in Faience (Oxford, 1973), Taf. 49, 60, K o p f wurde von m i r versehentlich als Silen m i t einem Blätterkranz
N r . 218, 220. angesprochen. Es handelt sich jedoch fraglos u m einen für Pan ver-
11. V g l . die Kannen o. A n m . 6. wendeten Silenskopftypus. Die Attasche der Kanne ist allerdings auch
12. Istanbul, Archäol. Mus.: L. Byvanck-Quarles van Ufford, nicht m i t dem tierischen Pansbild einer Eimerattasche i n Toronto zu
20 Pfrommer

durch parallele, straffe Strähnen gegliedert wurde.

Vergleiche wären hier eher in frühklassischer Zeit
zu suchen. 17

Demgegenüber entspricht das plastisch aber k o m ­

pakt gegebene H a u p t h a a r s p ä t h e l l e n i s t i s c h e n B i l d u n g e n
(Abb. 9). D i e erste u n d die zweite Reihe der zapfenar­
tigen, symmetrisch geordneten Locken sind streng
voneinander abgesetzt u n d die hintere Reihe steil aufge­
richtet ( A b b . 3, 6).
V e r w a n d t , w e n n auch n i c h t identisch, ist die H a a r a n ­
lage bei den Silenskopf-Attaschen späthellenistischer
u n d f r ü h k a i s e r z e i t l i c h e r M a r m o r k r a t e r e . Z u n e n n e n ist
hier der bereits i n d e m gegen 100 v . C h r . gesunkenen
Mahdiaschiff vertretene Typus Mahdia-Borghese, 18

sowie der j ü n g s t v o n H . F r o n i n g d e m m i t t l e r e n 1. v o r ­
Abb. 5. B r o n z e k a n n e . H : 32 c m (12 /s"); D : 20.3 c m (8").
5

christlichen Jahrhundert zugewiesene Medicikrater. 19

M a l i b u , T h e J. Paul G e t t y M u s e u m 85.AB.78.
Das Ende der Reihe b i l d e t e i n f r ü h k a i s e r z e i t l i c h e r K r a ­
ter mit Rankendekor im Kapitolinischen Museum
(Abb. 9 ) . 2 0
W i r fassen hier s o m i t einen ü b e r l ä n g e r e Z e i t
beliebten Attaschentypus, der sich insbesondere auf­
g r u n d der Haaranlage v o n f r ü h h e l l e n i s t i s c h e n B i l d u n ­
gen absetzt. 21

Das s p ä t h e l l e n i s t i s c h e M o t i v der p r o t u b e r a n z ä h n l i c h
hochfliegenden Haare ist bei unserer B r o n z e k a n n e z i ­
tiert, j e d o c h e k l e k t i s c h m i t einer B a r t b i l d u n g des 5.
Jahrhunderts k o m b i n i e r t .
Der vor die spulenförmige Fingerstütze gesetzte
k l e i n e Silenskopf (Abb. 7) zeigt eine ä h n l i c h eklektische
M i s c h u n g hellenistischer u n d klassischer Charakteri­
stika. D i e etwas schematische Wiedergabe des Bartes
erinnert durchaus an den Panskopf ( A b b . 6). Details,
w i e der Efeukranz m i t den g r o ß e n K o r y m b e n , folgen da­
gegen V o r b i l d e r n des s p ä t e n 4. u n d 3. Jahrhunderts. 22

A u f f ä l l i g s i n d j e d o c h die nach s p ä t h e l l e n i s t i s c h e r M a ­
nier eingezogenen K o n t u r e n einiger E f e u b l ä t t e r . 23

D e r f i g ü r l i c h e D e k o r steht s o m i t e i n e m bereits v o n

vergleichen (Toronto 910.205.3): J. W. Hayes, Greek, Roman, and Re­

lated Metalware in the Royal Ontario Museum (Toronto, 1984), 26ff., N r .
31, Abb. 31.
17. Silenskopf an einem Kantharos des 5. Jhs. aus Goljamata
Mogila i n Plovdiv, Archäol. Mus. 1634: I . Venedikov, T. Gerassimov,
Abb. 6. H e n k e l der K a n n e i n A b b . 1 m i t e i n e m Pans- Thrakische Kunst (Wien, 1973), 344, Taf. 168.
k o p f als Attasche. 18. Kratertypus Mahdia-Borghese: H . Froning, Marmor-Schmuck­
reliefs mit griechischen Mythen im 1. Jh. v. Chr. (Mainz, 1981), 141—142,
Taf. 56, 1; 57, 1 (mit L i t . ) . Z u einem antiquarischen Detail vgl. Pfrom­
mer, "Studien," A n m . 73, 77. K P 117 (3. Jh.).
19. Froning, op. cit. 140-153, Taf. 57, 2.
20. Rom, Kapitolinisches Museum 275: Froning, op. cit. 141f.,
Anm. 9
21. M a n vgl. etwa die Attasche eines Bronzeeimers aus Derveni.
Thessaloniki Mus.: M . Pfrommer, Jdl 98 (1983), 254, Abb. 12 (mit
Parallelen). Pfrommer, GettyMusJ 11 (1983), 142, Abb. 16.
22. S. o. A n m . 21.
23. Z u Vorstufen: Pfrommer, "Studien," 114. Die Einziehung ist
 Kopie oder Nachschöpfung 21

Abb. 7. Obere Henkelattasche der Bronzekanne i n Abb. Abb. 8. Henkel eines silbernen Skyphos aus Vize. Istan­
1 m i t dem K o p f eines Silens. bul, Archäologisches Museum. Photo: m i t
freundlicher Genehmigung, Deutsches Archäo­
logisches Institut, Istanbul; W. Schiele.

den Schwanenattaschen der H e n k e l nahegelegten f r ü h -

kaiserzeitlichen Ansatz n i c h t i m Weg.

DER B L A T T K E L C H
W i e die G e f ä ß f o r m l ä ß t sich auch der g r o ß e , den G e ­
fäßkörper u m h ü l l e n d e Blattkelch auf Vorbilder frühhel­
lenistischer Z e i t z u r ü c k f ü h r e n . D i e dreireihige, i n fla­
chem Relief ausgeführte Dekoration gehört zu den
N y m p h a e a N e l u m b o - K e l c h e n m i t ü b e r f a l l e n d e n Trauf­
spitzen ä g y p t i s c h - f r ü h h e l l e n i s t i s c h e n T y p s . 24
D i e Trauf­
spitzen s i n d nach p t o l e m ä i s c h e r T r a d i t i o n ornamental
verziert. 25
W i e bei einer Reihe f r ü h h e l l e n i s t i s c h e r De­
k o r a t i o n e n w u r d e n z w i s c h e n die B l a t t s p i t z e n Blüten
eingeschaltet. 26

W i e zu zeigen sein w i r d , erweist sich, ungeachtet

einiger s p ä t e r e r Details, der gesamte D e k o r als A u f g r i f f
einer D e k o r a t i o n des m i t t l e r e n 3. Jahrhunderts.

jedoch bei weitem nicht so stark wie an anderen frühkaiserzeitlichen

D e n k m ä l e r n . M a n vgl. etwa Efeu am Bel-Tempel von Palmyra:
H . Seyrig, R. Amy, E. W i l l , Le temple de Bei ä Palmyre (Paris, 1975),
Taf 45, oben links.
24. Z u m vorhellenistischen Typus, Pfrommer, "Studien," 86—91.
Z u frühen Beispielen m i t eingeschalteten Blüten, Pfrommer, "Stu­
dien," 87, K B k 58, 61, Taf 60. Aus frühhellenistischer Zeit sind bis
heute nur m i t Akanthus gemischte Kelche bekannt, Pfrommer, "Stu­
dien," 95ff, doch dürfte dies dem Zufall der Überlieferung Abb. 9. Henkelattasche eines Marmorkraters. Rom, Ka­
zuzuschreiben sein. Für einen reinen Nymphaea-Kelch m i t ägypti­ pitolinisches Museum 275.
schen Kronen anstelle der Blüten, vgl. Pfrommer, "Studien," 100, 116,
120f, K B k 60, Taf 61. Pfrommer, GettyMusJ\2> (1985), 15, Abb. 9. Z u
einem reinen Nymphaea-Kelch vgl. auch ein Bronzebecken i m J. Paul
Getty Mus. 80.AC.84:. Pfrommer, GettyMus] 13 (1985), 9-18, Abb. 1.
25. Pfrommer, "Studien," 111, 120f Pfrommer, GettyMusJ 13
(1985), 14-17.
26. Pfrommer, "Studien," 95-116, Taf. 52; 53a, b.
22 Pfrommer

Abb. 10. B l ü t e n s c h m u c k des Blattkelchs a u f d e m K ö r p e r Abb. 11. B l ü t e n s c h m u c k des Blattkelchs a u f d e m K ö r p e r

der B r o n z e k a n n e i n A b b . 1 ( B l ü t e n g r u p p e A ) . der B r o n z e k a n n e i n A b b . 1 ( B l ü t e n g r u p p e B ) .

D e r B l ü t e n s c h m u c k der ü b e r f a l l e n d e n Traufspitzen miniaturisierter Akanthus, 31

sowie einfach gezahntes
der ersten u n d z w e i t e n K e l c h r e i h e s c h l i e ß t eine D a t i e ­ Blattwerk. I m Grundaufbau ist der Blattkelch j e d o c h
r u n g der m u t m a ß l i c h e n V o r b i l d e r v o r d e m m i t t l e r e n 3. nicht v o n f r ü h h e l l e n i s t i s c h e n Beispielen zu trennen. Dies
J a h r h u n d e r t aus. 27
D i e D e t a i l d u r c h f o r m u n g des N y m - gilt auch für die Verwendung ornamental gefüllter Trauf­
phaeablattwerks selbst ist u n m i t t e l b a r m i t d e m D e k o r spitzen bei den N y m p h a e a b l ä t t e r n .
einer Bronzevase v o r g e b l i c h iranischer Provenienz zu
v e r b i n d e n , die n i c h t f r ü h e r als das 1. vorchristliche Jahr­ DIE BLÜTENFORMEN
h u n d e r t angesetzt w e r d e n k a n n . 2 8
Z u vergleichen s i n d D i e z w i s c h e n den Blattspitzen stehenden B l ü t e n k o m ­
v o r a l l e m D e t a i l s w i e die feine D o p p e l k o n t u r der B l a t t ­ p o s i t i o n e n folgen d e m italisierenden, makedonischen
r ä n d e r u n d M i t t e l r i p p e n . A b w e i c h e n d v o n klassischen Blütenrepertoire. 3 2
S o w o h l der B l ü t e n g r u p p e A ( A b b .
und frühhellenistischen Beispielen mit Nymphaea 10, 12) w i e auch B ( A b b . 11, 12) liegen S t o c k w e r k b l ü t e n
N e l u m b o - D e k o r a t i o n w u r d e n die B l a t t a d e r n n i c h t k o n ­ italischen Typs z u g r u n d e ( A b b . 1 3 ) . 33

vex herausgearbeitet, 29
sondern w i e b e i der Bronzevase B e i m Typus A w ä c h s t aus einer g r o ß e n K e l c h b l ü t e
u n d b e i e i n e m B e c k e n gleichen Materials i m J. Paul m i t a u f w e n d i g e m Basiskelch eine g r o ß e Knospe, die
Getty Museum eingetieft. 30
Frühhellenistische und ihrerseits aus e i n e m g r o ß e n K e l c h m i t zur Seite geschla­
späthellenistisch-frühkaiserzeitliche Blattprofilierungen genen B l ä t t c h e n e n t w i c k e l t ist. D i e K o m p o s i t i o n ist i n
verhalten sich somit bei diesen Beispielen w i e Positiv der italisch-makedonischen O r n a m e n t i k bereits i m aus­
zu Negativ. gehenden 4. J a h r h u n d e r t angelegt, w i e e t w a die B l ü t e n ­
I m Gegensatz zu der normalerweise ü b l i c h e n K e l c h ­ k o m p o s i t i o n a u f T e x t i l i e n des " P h i l i p p g r a b e s " i n Ver-
anordnung reduzierte der Toreut bei der M a l i b u - K a n n e gina zeigt ( A b b . 1 3 ) . 34
Verwandte K o m p o s i t i o n e n f i n ­
die H ö h e der zweiten u n d dritten Kelchreihe, u m R a u m den sich auch i m f r ü h p t o l e m ä i s c h e n R e p e r t o i r e . 35
Auch
für die g r o ß e n B l ü t e n k o m p o s i t i o n e n zu schaffen. Bemer­ die aus dieser g r o ß e n B l ü t e wachsenden k l e i n e n B l ü t -
kenswert ist w e i t e r h i n der alternierende Wechsel der chen unterschiedlichen Typs k e h r e n i n nahezu i d e n ­
Blattformen i n d e m hintersten Kelchregister. N e b e n w i n ­ tischer F o r m a u f den z i t i e r t e n T e x t i l i e n w i e d e r — w i e
zigen N y m p h a e a Nelumbo-Blättchen findet sich hier etwa die k l e i n e n , i m P r o f i l gegebenen K e l c h b l ü t e n m i t

27. Als eines der frühesten Beispiele vgl. einen Becher i n N e w 30. S.o. A n m . 24.
York, B r o o k l y n Mus., 55.183: Pfrommer, "Studien," 119 K B k 66, K a B 31. Möglicherweise bezog der Toreut seine Anregung von den
A 48, Taf. 61. Pfrommer, GettyMusJ 13 (1985), 15, Abb. 8. Bei diesem, Miniaturakanthusblättchen i n ptolemäischen Blattkelchdekorationen
aus einer ägyptischen Werkstatt stammenden Gefäß, ist das Füllmotiv des 3. Jhs.: Pfrommer, "Studien," 116.
rein abstrakt und nicht pflanzlich. 32. Z u diesem Repertoire Pfrommer, Jdl 97 (1982), 119-190, bes.
28. N e w York, Metropolitan Mus. o f A r t 66.235: Pfrommer, 140-147.
GettyMusJ 13 (1985), 12, Abb. 5a. Pfrommer, "Studien," A n m . 518. 33. Z u r Definition: Pfrommer, Jdl 97 (1982), 126, Abb. 1.
V g l . auch das o. A n m . 24 zitierte Becken. 34. Pfrommer, Jdl 97 (1982), 145, Abb. 8. M . Andronicos, Vergina.
29. V g l . Pfrommer, "Studien," 86—91 und die dort zitierten The Royal Tombs and the Ancient City (Athens, 1984), 195, Abb. 156,
Beispiele. 157. Pfrommer, GettyMusJ 13 (1985), 17, Abb. 11.
 Kopie oder Nachschöpfung 23

Abb. 12. Z e i c h n u n g des B l a t t k e l c h s u n d des lesbischen K y m a t i o n s a m Halsansatz der K a n n e i n A b b . 1. Z e i c h n u n g v o n M a r t h a

B r e e n Bredemeyer.

den silbern eingelegten F r u c h t k n o t e n . S p ä t e Beispiele

dieses Typs begegnen noch im mittleren 3.
Jahrhundert. 36

E i n i g e E i g e n t ü m l i c h k e i t e n unterscheiden die B l ü t e n ­
gruppe A ( A b b . 10, 12) v o n spätklassisch-frühhelleni­
stischen Beispielen. Z u nennen ist etwa die L o t o s b l ü t e n
a n g e n ä h e r t e Ausgestaltung der eigentlichen K e l c h b l ü t e .
Diese Variante des s p ä t k l a s s i s c h e n M o t i v s begegnet als
b e k r ö n e n d e B l ü t e auch bei der B l ü t e n k o m p o s i t i o n B
(Abb. 11, 12) u n d ist, w i e das zitierte Bronzebecken i n
M a l i b u zeigt, i n dieser Ausgestaltung wahrscheinlich
d e m 1. J a h r h u n d e r t v . C h r . z u z u w e i s e n . 37
Auch hier
Abb. 13. B l ü t e n k o m p o s i t i o n eines Stoffes aus d e m " P h i l ­
liegen j e d o c h die W u r z e l n i m f r ü h h e l l e n i s t i s c h e n Re­
i p p g r a b " v o n Vergina. Thessaloniki, Archäo­
pertoire, w i e e i n G i p s a b g u ß einer p t o l e m ä i s c h e n Phiale
logisches M u s e u m .
des f r ü h e r e n oder m i t t l e r e n 3. Jahrhunderts b e s t ä t i g t . 3 8

B e i der K o m p o s i t i o n A ist w e i t e r h i n die ü b e r a u s feste Diese D e t a i l f o r m ist meines Wissens i m Repertoire

Verbindung von Kelchblüte und b e k r ö n e n d e r Knospe des s p ä t e n 4. u n d f r ü h e r e n 3. Jahrhunderts n i c h t g e l ä u ­
bemerkenswert. D i e beiden B l ü t e n stecken f ö r m l i c h i n ­ fig, sie f i n d e t sich j e d o c h i n der z w e i t e n H ä l f t e des
einander, w i e w i r es s p ä t e s t e n s seit augusteischer Z e i t 3. Jahrhunderts auf dem Giebel des Sirenensarko­
an Blütenkandelabern kennen. 39
Auch dieses Detail phags aus M e m p h i s , 4 0
eine Parallele, die angesichts des
spricht für eine E n t s t e h u n g der Vase n i c h t v o r d e m aus­ ägyptischen Nymphaea Nelumbo-Kelches der Kanne
gehenden 1. J a h r h u n d e r t v . C h r . und ihres mutmaßlichen Fundortes sicherlich n i c h t
B e a c h t u n g verdient w e i t e r h i n die Ausgestaltung des zufällig ist.
oberen B l ü t e n r a n d e s der K e l c h b l ü t e n . A u f den über­ D i e B l ü t e n g r u p p e B ( A b b . 11, 12) ist ä h n l i c h aufge­
fallenden B l ü t e n r a n d setzte der Toreut eine Perlreihe. baut w i e A , d o c h k o m m t hier das frühhellenistische

35. M a n vgl. etwa Blüten auf den Reliefs des Petosirisgrabes von 38. Hildesheim, Pelizaeus Mus. 1141: Reinsberg, op. cit., 55f., 299,
Hermupolis: Pfrommer, Jdl 97 (1982), 180, Abb. 20b, sowie einen Abb. 21. Pfrommer, "Studien," 153, A n m . 375, 990.
Gipsabguß aus M i t Rahine i n Hildesheim, Pelizaeus Mus. 1161: C. 39. M a n vgl. etwa die Ä r a Pacis: G. Moretti, Ära Pacis Augustae
Reinsberg, Studien zur hellenistischen Toreutik (Hildesheim, 1980), 66f., (Rom, 1948), Taf. 1 (Rankenpfeiler).
303, N r . 19, Abb. 32. Pfrommer, Jdl 97 (1982), 186, Abb. 23, 34. 40. Kairo, Ägyptisches Mus. C G 33102: C. C. Edgar, Graeco-Egyp-
36. A n den Antenkapitellen des Naiskos von Didyma: T h . tian Coffins, Masks and Portraits, Catalogue Generale des Antiquites Egyp-
Wiegand, H . Knackfuß, Didyma. Die Baubeschreibung (Berlin, 1941), F tiennes (Kairo, 1905), 2f. Taf. 2. Pfrommer, Jdl 97 (1982), 179f, Abb. 19
530, Taf. 190. Z u r Datierung vgl. Pfrommer, Istanbuler Mitteilungen 37 (Blüte). Pfrommer, "Studien," 135, A n m . 884, 1079 (mit L i t . ) .
(1987), i m Druck.
37. Pfrommer, GettyMusJ 13 (1985), 17.
24 Pfrommer

F o r m e n g u t n o c h unverkennbarer z u m Tragen. D i e b e i ­ i m Z e n t r u m findet sowohl spätklassische w i e auch f r ü h ­

den B l ü t e n der S t o c k w e r k k o m p o s i t i o n s i n d n o c h re­ hellenistische Parallelen. 48
Dasselbe g i l t für die k l e i n e n
gelrecht m i t e i n e m Stiel v e r b u n d e n u n d stecken n i c h t r a h m e n d e n B l ü t c h e n m i t silbernen F r u c h t k n o t e n . 49

so fest ineinander. Der dreiblättrige Basiskelch der Entgegen der h ä n g e n d e n O r i e n t i e r u n g der Palmetten
g r o ß e n K e l c h b l ü t e e r i n n e r t allerdings an s p ä t e s t h e l l e - i n den Traufspitzen a u f d e m e r w ä h n t e n Bronzebecken
nistische Bildungen wie an dem Bronzebecken in in Malibu 5 0
s i n d die B l ü t e n g r u p p e n i n den B l a t t s p i t z e n
Malibu, 4 1
j e d o c h lassen sich für den B l ü t e n t y p u s m i t der O i n o c h o e nach oben o r i e n t i e r t . D a es sich j a u m
gezacktem Kelchrand unschwer spätklassische und nach v o r n e ü b e r h ä n g e n d e Traufspitzen h a n d e l n soll,
frühhellenistische Analogien anführen. 4 2
Dasselbe g i l t w ä r e eine h ä n g e n d e A n o r d n u n g der D e k o r a t i o n an u n d
für die D i f f e r e n z i e r u n g z w i s c h e n d e m d r e i d i m e n s i o n a l für sich konsequenter, doch finden w i r seit f r ü h h e l l e n i ­
gegebenen u n t e r e n B l a t t w e r k der L o t o s b l ü t e u n d den stischer Z e i t i n der Regel stehende B l ü t e n k o m p o s i t i o n e n .
i n Profilansicht a u s g e f ü h r t e n oberen B l ä t t e r n . 4 3

Chronologisch v o n g r o ß e r Bedeutung sind schließ­ BLATTKELCH U N D BLÜTEN.

l i c h die l ä n g l i c h e n Arazeen, die sich f o r m a l an Beispiele ZUSAMMENFASSUNG

a m L a o d i k e b a u i n M i l e t a n s c h l i e ß e n , e i n G e b ä u d e , das S o w o h l i m B l a t t k e l c h w i e auch i n den B l ü t e n f o r m e n

w a h r s c h e i n l i c h i n das m i t t l e r e 3. J a h r h u n d e r t datiert. 44
spiegeln sich z w e i unterschiedliche Phasen der Orna­
A u c h diese B l ü t e n f o r m deutet s o m i t a u f e i n f r ü h h e l ­ mententwicklung. Der Entwurf w i e auch die über­
lenistisches V o r b i l d der D e k o r a t i o n . wiegende Z a h l der Einzelformen sind dem Reper­
I m Gegensatz z u diesen f r ü h e n F o r m e n steht der erst t o i r e des ausgehenden 4. u n d der ersten H ä l f t e des 3.
i m ausgehenden H e l l e n i s m u s a u f k o m m e n d e Typus der Jahrhunderts verpflichtet, w o b e i die e n t w i c k l u n g s g e ­
bekrönenden Lotosblüte mit überdimensionierter Zen­ schichtlich s p ä t e s t e n D e t a i l f o r m e n i n die M i t t e des 3.
t r a l b l ü t e , a u f den bereits v e r w i e s e n w u r d e . 4 5
Jahrhunderts datieren. D i e s g i l t insbesondere für die i n
dieser Z e i t i m p t o l e m ä i s c h e n B e r e i c h aufkommenden
DIE B L Ü T E N I N D E N BLATTSPITZEN DER " g e f ü l l t e n " Blattspitzen.
NYMPHAEA-BLÄTTER A u f der anderen Seite sprechen einige E i g e n t ü m l i c h ­
Eine Lotosblüte wie die bekrönende Blüte der k e i t e n der B l ü t e n w i e auch die Gestaltung der R ä n d e r
G r u p p e B d i e n t auch als F ü l l m o t i v der ü b e r h ä n g e n d e n der N y m p h a e a N e l u m b o - B l ä t t e r für eine Entstehung
Traufspitzen der ersten Kelchreihe (Abb. 12). Als der Vase n i c h t v o r d e m s p ä t e n 1. J a h r h u n d e r t v . C h r .
F ü l l b l ü t e des L o t o s ist diesmal eine K e l c h b l ü t e m i t Angesichts dieses Befundes b i e t e n sich z w e i D e u ­
gewelltem, jedoch nicht überfallendem Rand g e w ä h l t . 4 6
t u n g s m ö g l i c h k e i t e n an. E n t w e d e r haben w i r es b e i der
Die beiden rahmenden, aus der großen Lotosblüte D e k o r a t i o n m i t einer N a c h s c h ö p f u n g i m S t i l des 3.
entwickelten Blüten mit dreiblättrigem Basiskelch Jahrhunderts z u t u n , oder es handelt sich u m eine ge­
f i n d e n engste A n a l o g i e n a u f e i n e m frühhellenistischen ringfügig i m S t i l der f r ü h e n Kaiserzeit m o d i f i z i e r t e
K i e s e l m o s a i k aus Pella V I . 4 7
A u f der K a n n e s i n d b e i K o p i e eines f r ü h p t o l e m ä i s c h e n O r n a m e n t s . D i e s ist o r ­
diesen B l ü t e n die F r u c h t k n o t e n bzw. das B l ü t e n i n n e r e namentgeschichtlich v o n g r o ß e m Interesse, da bisher
m i t Silber eingelegt. D i e ganze B l ü t e n g r u p p e wächst u n t e r den erhaltenen f r ü h p t o l e m ä i s c h e n Dekorationen
aus z w e i w i n z i g e n , g e g e n s t ä n d i g e n V o l u t e n , die i n ganz die a u f der K a n n e vertretene E n t w i c k l u n g s s t u f e alexan-
unnaturalistischer Weise aus den R ä n d e r n der großen drinischer B l a t t k e l c h o r n a m e n t i k n i c h t ü b e r l i e f e r t ist.
N y m p h a e a b l ä t t e r entwickelt wurden.
I m Aufbau verwandte B l ü t e n k o m p o s i t i o n e n s c h m ü c k e n DIE WEINRANKE
s c h l i e ß l i c h die ü b e r f a l l e n d e n B l a t t s p i t z e n der z w e i t e n D i e W e i n r e b e n s i n d zeitlich weitaus schwerer e i n z u ­
g r o ß e n K e l c h r e i h e ( A b b . 12). D i e aus e i n e m A k a n t h u s - grenzen. Vergleichbar, w e n n auch ohne die k o m p l i z i e r ­
k e l c h b z w . aus g l a t t e m B l a t t w e r k wachsende K n o s p e ten V e r s c h l i n g u n g e n , ist der D e k o r des Kratertypus

41. Pfrommer, GettyMus] 13 (1985), 17, Abb. I d ( A - C ) . Weiterhin Trendall, A . Cambitoglou, The Red-Figured Vases of Apulia I I (Oxford,
17, Abb. 5b. 1982), 923, Taf. 358 (unten Mitte, hinter dem linken Eros). Ver­
42. Etwa ein Kieselmosaik aus Athen: Pfrommer, Jdl 97 (1982), gleichbar ist hier nur die perspektivische Ansicht und nicht der B l ü ­
168, Abb. 14, oder eine apulische Schale i n Ruvo: op. cit., 125, Abb. 27. tentypus an sich.
43. V g l . etwa B l ü t e n an der Goldlarnax des "Philippgrabes." Thes­ 47. D. Salzmann, "Untersuchungen zu den antiken Kieselmo­
saloniki Mus.: Pfrommer, Jdl98 (1983), 249, Abb. 7. saiken," Archäologische Forschungen 10 (Berlin, 1982), 29f, N r . 105, Taf.
44. M . Pfrommer, Istanbuler Mitteilungen 36 (1986), 84, Taf 27.1. 38, 5 (links). Pfrommer, "Studien," 128f, 131, 138.
45. S.o. A n m . 24. 48. Als Beispiel für viele etwa ein Kieselmosaik aus Pella: Salz­
46. Als Beispiel für viele: Krater i n Neapel, Privatbesitz: A . D. mann, op. cit., 105f, N r . 98, Taf. 31, 4.
 Kopie oder Nachschöpfung 25

Abb. 14. Z e i c h n u n g der W e i n r a n k e a u f d e m H a l s der B r o n z e k a n n e i n A b b . 1. Z e i c h n u n g v o n M a r t h a B r e e n Bredemeyer.

Borghese-Mahdia, 51
d o c h l ä ß t sich der gestreckte R a n ­
k e n v e r l a u f der Z w e i g e bereits i n s p ä t k l a s s i s c h e r Z e i t
belegen. 52

Die Weinblätter der Oinochoe entsprechen nicht

mehr den v i e r ö s i g e n Beispielen des s p ä t e r e n 4. u n d 3.
Jahrhunderts, d o c h ist zu beachten, d a ß b e i W e i n b l a t t ­
w e r k i n der Regel o h n e h i n mehrere Varianten nebenein­
ander stehen. 53

D i e k o m p l i z i e r t e V e r s c h l i n g u n g der Z w e i g e an den
K r e u z u n g s p u n k t e n l ä ß t sich bereits an einer p t o l e m ä -
ischen D e k o r a t i o n des 3. Jahrhunderts belegen ( A b b .
15), 54
so d a ß auch hier e i n f r ü h h e l l e n i s t i s c h e s V o r b i l d ,
u n t e r U m s t ä n d e n sogar e i n p t o l e m ä i s c h e s , angenom­
men werden kann.

DAS LESBISCHE K Y M A T I O N
Das lesbische K y m a t i o n l ä ß t sich ebenfalls a u f eine
A n r e g u n g des f r ü h e r e n 3. Jahrhunderts z u r ü c k f ü h r e n .
Beispiele m i t geschwungener K o n t u r u n d relativ h o h e r
Blattspitze erscheinen bereits gegen 300 v . C h r . 5 5
Der
Verzicht a u f eine breite Blattspitze deutet eher a u f einen
Ansatz i m f r ü h e n als i m mittleren 3. Jahrhundert. Etwas
b e f r e m d l i c h w i r k t die i n der Traufspitze der B l ä t t e r m i t
e i n e m K n i c k w e i t e r g e f ü h r t e , dreifach k o n t u r i e r t e B l a t t -
rahmung des K y m a t i o n s . M ö g l i c h e r w e i s e zeigt sich
hier die H a n d s c h r i f t des f r ü h k a i s e r z e i t l i c h e n Toreuten.
W a h r s c h e i n l i c h ist dies indes b e i der k u r z e n , keilför­
Abb. 15. G i p s a b g u ß aus Memphis. Hildesheim, Peli-
m i g e n Spaltung der K y m a t i e n b l ä t t e r , eine E i g e n t ü m ­
zaeus M u s e u m 1135.
l i c h k e i t , die sich auch an anderen toreutischen K y m a t i e n

49. M a n vgl. etwa das Gnosismosaik aus Pella: Salzmann, op. cit., V. v. Graeve, "Der Alexandersarkophag und seine Werkstatt," Ist-
107f., N r . 103, Taf. 29 (neben dem Petasos des rechten Jägers). Forsch 28 (Berlin, 1970), Taf. 5—7. Als Gegenbeispiel vgl. man zwei
50. Pfrommer, GettyMusJ13 (1985), 15, Abb. I d : H . der Begleittheken: op. cit., Taf. 3.
51. H . Froning, Marmor-Schmuckreliefs mit griechischen Mythen im 54. A b g u ß , wahrscheinlich eines Schwertknaufs aus M i t Rahine i n
l.Jh. v. Chr. (Mainz, 1981), 146, Taf. 58, 1. Hildesheim, Pelizaeus Mus. 1135: Reinsberg, op. cit., 64f, 302, N r . 17,
52. Golddekorierte Schwarzfirniskeramik. Krater aus Capua i n Abb. 25. Pfrommer, "Studien," 94, A n m . 65, 1324 K B k 95.
London, Brit. Mus. 71.7-22.3: G. Kopeke, AM 79 (1964), 32, N r . 42, 55. vgl. etwa Pfrommer, GettyMusJ\2> (1985), 12, Abb. 4.
Beil. 19, 1 (oben rechts).
53. Z u m vierösigen Typus vgl. man etwa den Alexandersarkophag:
26 Pfrommer

des ausgehenden H e l l e n i s m u s nachweisen l ä ß t . 5 6

ischen Formen ziehen, w o b e i die i m ptolemäischen
D i e anstelle der Z w i s c h e n s p i t z e n i n d e m K y m a t i o n Ä g y p t e n vorauszusetzende italisierende, makedonische
verwendeten Palmetten u n d B l ü t e n entsprechen d e m Ornamenttradition i m m e r wieder bei dem B l ü t e n r e p e r ­
Repertoire s p ä t k l a s s i s c h e r u n d f r ü h h e l l e n i s t i s c h e r T o - t o i r e z u m Tragen k a m . D i e D e k o r a t i o n i m i t i e r t oder
r e u t i k , so d a ß m a n auch das K y m a t i o n a u f e i n f r ü h h e l ­ k o p i e r t eine Stilstufe p t o l e m ä i s c h e r O r n a m e n t e n t w i c k ­
lenistisches V o r b i l d z u r ü c k f ü h r e n d a r f . 57
l u n g , die uns bisher an Beispielen dieser Q u a l i t ä t n i c h t
erhalten ist.
ZUSAMMENFASSUNG Das O r i g i n a l oder die V o r b i l d e r der D e k o r a t i o n w i r d
O b w o h l b e i der K a n n e i n F o r m u n d D e k o r i n be­ m a n i m p t o l e m ä i s c h e n Bereich z u suchen haben. Ver­
trächtlichem U m f a n g frühhellenistische Formen zitiert b i n d e t m a n dies m i t d e m m u t m a ß l i c h e n F u n d o r t i m
sind, ist sie schwerlich v o r der augusteischen Z e i t gear­ M e e r v o r A l e x a n d r i a , so w i r d m a n a u f e i n a l e x a n d r i -
beitet w o r d e n . Diese s p ä t e Entstehungszeit s c h l ä g t sich nisches A t e l i e r etwa der augusteischen Z e i t s c h l i e ß e n
u n t e r anderem i n der eklektischen B i l d u n g der Pans- dürfen, das gezielt auf das überkommene eigene
kopf-Attasche nieder. I m ornamentalen Bereich f i n d e t F o r m e n g u t z u r ü c k g r i f f . Trotz i h r e r s p ä t e n Entstehung
sie i h r e n besten A u s d r u c k i n den Schwanenatt as chen steht die Kanne somit i n der Tradition hellenistischer Ge­
des H e n k e l s . fäßkopien. 5 8
N i c h t m e h r z u k l ä r e n ist, ob die K a n n e
Insbesondere der B l a t t k e l c h l ä ß t sich a u f das früh- i n F o r m u n d D e k o r a u f e i n einziges V o r b i l d z u r ü c k g e h t ,
alexandrinische Repertoire z u r ü c k f ü h r e n u n d auch b e i oder ob der alexandrinische Toreut seine A n r e g u n g v o n
anderen F o r m e n l i e ß e n sich V e r b i n d u n g e n z u p t o l e m ä - verschiedenen G e f ä ß e n u n d D e k o r a t i o n e n bezog.

Deutsches A r c h ä o l i g i s c h e s
I n s t i t u t , Istanbul

56. Pfrommer, Getty Mus] 13 (1985), 12, Abb. 1, e: A . Diese Eigen­ 57. Z u diesem M o t i v : Pfrommer, GettyMusJ 13 (1985), 11, Abb. 1,
tümlichkeit findet sich auch gelegentlich auf älteren Kymatien. Situla c; e.A.
aus Pastrovo i n Plovdiv, Archäologisches Museum 1847: I . Venedikov, 58. V g l . M . Pfrommer, GettyMusJW (1983), 135-146.
T. Gerassimov, Thrakische Kunst (Wien, 1973), 339, Taf. 107.
The God Apollo, a Ceremonial Table with Griffins,
and a Votive Basin
Cornelius C. Vermeule

T h r e e v e r y different w o r k s o f Greek art have come t o m y m i n d , one s m a l l piece o f evidence c o n n e c t i n g the

M a l i b u together (figs. 1—3). T h e m o s t reliable i n f o r m a ­ lekanis, or l o u t e r (basin), w i t h the trapezophoros (table
t i o n seems t o indicate that they were f o u n d as a g r o u p support); after a few m y t h o l o g i c a l and geographical
i n r u i n s i n a m o u n d , p r o b a b l y i n w e s t e r n Greek lands. speculations, this l i n k can be made t o e x t e n d t o the
T h e statue o f A p o l l o has been carved f r o m marble statue o f A p o l l o . These connections suggest that an i m ­
w h i c h certainly comes f r o m A t t i c a , and the t w o elegant p o r t a n t person i n t o u c h w i t h b o t h M a c e d o n i a n and I t a l ­
objects o f f u r n i t u r e — a ceremonial table and a v o t i v e ian-Greek affairs, perhaps K i n g P y r r h u s h i m s e l f , d e d i ­
basin—have been fashioned o u t o f marble f r o m the cated this ensemble i n a sacred area somewhere a l o n g
Aegean Islands o f Greece, n o t Thasos i n the n o r t h b u t the western coast o f the A d r i a t i c Sea.
the area o f Paros or N a x o s i n the Cyclades.
T h e purpose o f this study is t o argue that a l l three APOLLO
sculptures were fashioned about the same t i m e , near the T h e y o u t h f u l g o d stands w i t h his w e i g h t o n the left
e n d o f the f o u r t h c e n t u r y B . C . or at the b e g i n n i n g o f the leg, the left h i p t h r o w n s l i g h t l y o u t w a r d (fig. 1). T h e
t h i r d , and that they were made or assembled as a cohe­ r i g h t leg and r i g h t f o o t were s l i g h t l y advanced. There
sive g r o u p i n a n t i q u i t y . F u r t h e r m o r e , w h e n considered
1
are remains o f a g r i f f i n seated at the left foot, its r i g h t
together, the subjects and i c o n o g r a p h i c details o f the w i n g c u r l i n g u p b e t w e e n the god's left h i p and the
three objects suggest connections b e t w e e n the M a c e d o ­ cloak w r a p p e d a r o u n d his left a r m . T h i s cloak is d r a w n
n i a n k i n g d o m s after the death o f A l e x a n d e r the Great a r o u n d , and covers m o s t of, the back; i t hangs over the
and Megale Hellas, the Greek w o r l d i n s o u t h e r n Italy. r i g h t shoulder w i t h an extra f o l d . I n his hair the g o d
T h e p o w e r f u l personality w h o l i n k e d these regions t o ­ wears a fillet, flanked b y braids. T h i s f i l l e t is t i e d w i t h a
gether at this t i m e was Pyrrhus, King of Epirus k n o t at the back; the t w o ends l i e over the carefully
(319—272 B . C . ) , w h o for a p e r i o d before 283 B . C . c o n ­ arranged hair. A t the b r o w , the hair is t u c k e d u n d e r the
t r o l l e d h a l f o f M a c e d o n i a and Thessaly. S h o r t l y thereaf­ fillet i n such a w a y as t o a l l o w t w o curls t o spiral d o w n
ter, he came t o the s o u t h e r n m o s t part o f Italy t o help i n f r o n t o f the ears. 2

T a r e n t u m i n the struggle against the Romans. A p o l l o ' s l o w e r e d left hand, perhaps h o l d i n g an arrow,
A t L o c r i E p i z e p h y r i i , located o n the b a l l o f the f o o t rested above the w i n g s o f the g r i f f i n , and the r i g h t
o f the Italian " b o o t , " i n ancient B r u t t i u m (Reggio C a l ­ hand, perhaps h o l d i n g a bow, was raised and extended.
abria), K i n g P y r r h u s struck a silver d i d r a c h m that is, t o A l t e r n a t i v e l y , the extended r i g h t h a n d m a y have h e l d a

A t the Getty Museum thanks are due to John Walsh, Director, 2. Accession number 85.AA.108. H (max.): 148 c m (58V4"); W
M a r i o n True, Curator, and A r t h u r Houghton, former Associate (max. at the rib cage): 46 cm (Wis), (max. at plinth): 57.5 cm (22 /s"); 5

Curator, for permission to publish these sculptures. Sandra Knudsen D (max. at the left side o f the plinth between the griffin's forepaws):
Morgan, former Editor, was, as she has been for well over a decade, a 24.8 cm (9 A"). H (max. o f plinth): 3 c m ( I W ) .
3

constant source o f help and inspiration. Jifi Frei was extremely helpful Greek marble w i t h fine but evident crystals, i n m y opinion, proba­
w i t h scholarly ideas and general information at the time these sculp­ bly Pentelic and surely from Attica. Remains o f an iron dowel are
tures first came to notice. A t the Museum o f Fine Arts, Boston, Jan found i n the rectangular hole below the cloak, against the right shoul­
Fontein, Director, and colleagues i n the Department o f Classical der. The mark o f a modern plow runs from below the right shoulder
A r t — M a r y Comstock, John Herrmann, Florence Wolsky, E m i l y Ver­ to the middle o f the right thigh. The breaks are visible i n the photo­
meule, and Michael Padgett—have been most supportive. graphs. There are no restorations. The surfaces o f the flesh were well
1. These sculptures were catalogued by the present writer as nos. finished but were not highly polished. The same is true o f the drapery
8, 9, and 10 i n Catalogue of a Collection of Greek, Etruscan and Roman or cloak, both front and back. Hair and diadem are less finely
Antiquities (Cambridge, Mass., 1984), when they were i n private hands finished, save for the diadem i n front which matches the flesh sur­
i n N e w York and London. Thanks also are offered to the former faces. There are root marks and encrustation at various places over the
owners for help i n studying the three sculptures, and other works o f god, the griffin, and the plinth. See "Acquisitions/1985," The J . Paul
28 Vermeule

l i b a t i o n dish (phiale) and the l o w e r e d left, the bow, or

even b o t h a b o w and an a r r o w . 3

T h i s impressive statue is neither a w o r k o f the pe­

r i o d b e t w e e n late A r c h a i c and early Transitional Greek
sculpture n o r a sleek eclectic creation o f the Pasitelean
p e r i o d i n Naples and R o m e o f circa 85 B . C . and later i n
the first c e n t u r y . W h i l e i n c o r p o r a t i n g m e m o r i e s o f A t ­
4

tic and S o u t h Italian Greek sculpture at the t i m e o f the

Persian Wars, the stance and the softened f o r m s o f the
b o d y m a r k this c a r v i n g as a w o r k o f the late f o u r t h
c e n t u r y B . C . or a generation later, influenced b y the so-
called Praxitelean traditions o f Greek sculpture. The
techniques o f c a r v i n g — t h e f i n i s h i n g i n the hair, flesh,
diadem, and drapery and the details o f a n i m a l and
plinth—as w e l l as the s i m p l i f i e d p i e c i n g w i t h dowels,
c o n f o r m t o practices o f a r o u n d 300 B . C . T h i s A p o l l o
belongs a m o n g the rare examples o f so-called " A r ­
chaizing" Greek art o f the p e r i o d before the late
H e l l e n i s t i c age.
Research over the past century, p a r t i c u l a r l y since the
First and Second W o r l d Wars, makes i t evident that
" A r c h a i s t i c " Greek art began i n the fifth or f o u r t h cen­
tury, rather t h a n i n the p e r i o d o f c o p y i s m i n the first
century B.C. Modern terminologies ("Archaizing,"
" A r c h a i s t i c , " and " L i n g e r i n g A r c h a i c " ) are explained b y
B . S. R i d g w a y i n The Archaic Style in Greek Sculpture. 5

T h e Getty A p o l l o , by Ridgway's criteria, can be classed

as " A r c h a i z i n g . " I t is "a w o r k o f sculpture w h i c h be­
longs clearly and u n e q u i v o c a l l y t o a p e r i o d later t h a n
480 and w h i c h , for a l l its differences i n plastic treatment
o f drapery and t r i d i m e n s i o n a l i t y o f poses, retains a few
f o r m a l traits o f A r c h a i c style, such as coiffure, p a t t e r n o f
folds, gestures or the l i k e . " U n l i k e the A p o l l o f r o m the
6

H o u s e o f M e n a n d e r at P o m p e i i w i t h its cold, p o l i s h e d

Figure 1. Statue o f the god Apollo. Greek, circa

3. A precedent for the griffin as attribute and support placed close
320-280 B . C . Marble. H (max.): 148 cm
to one leg is found i n a statue o f Dionysos w i t h his panther positioned
(58 //); W (max. at the rib cage): 46 cm
1

at the b o t t o m o f the drapery that falls from his right wrist; the sculp­
(18V8 ); D (max. at the left side o f the plinth):
W

ture was found i n a house at Priene. See Theodor Wiegand and H .

24.8 cm ( 9 W ) . Malibu, The J. Paul Getty Schräder, Priene (Berlin, 1904), pp. 368-369, fig. 463.
Museum 85.AA.108. 4. The truly Roman version o f such a statue is the youthful A p ­
ollo i n the Archaic style i n the Museo Nazionale, Naples, from the
House o f Menander at Pompeii. See J. B. Ward-Perkins, A . Claridge,
and J. Herrmann, Pompeii, A.D. 19 (Boston, 1978), vol. 2, no. 83, p.
148. The archetype o f the Apollo studied here was copied i n Julio-
Claudian times i n the small marble statue i n the Palazzo della Banca
d'ltalia, Via Nazionale, Rome, showing that the original belonged to
the first years after, or, i n Sicily, the last moments of, the Persian-
Carthaginian wars. See E. Paribeni, " D i u n nuovo tipo di Apollo d i
stile severo," Antike Plastik 17, Teil 6 (1978), pp. 101-105, pis. 50-52.
5. See Christine Mitchell Havelock, "Archaistic Reliefs o f the
Hellenistic Period," AJA 68 (1964), pp. 42, 44, pi. 17, fig. 1, a relief o f
Hermes and the nymphs belonging to the fourth century B.C., circa
320. See B. S. Ridgway, The Archaic Style in Greek Sculpture (Prince­
ton, 1977), pp. 303-319, and bibliography, pp. 320-322.
6. Ridgway (supra, note 5), p. 303.
 The God Apollo 29

Figures 2a-b. Top, C e r e m o n i a l table w i t h g r i f f i n s . G r e e k , circa 320—280 B.C. M a r b l e . H ( m a x . at t o p o f w i n g s ) : 95 c m (37

7 i " ) ; W ( m a x . at p l i n t h ) : 20 c m (77s"), (at t o p o f w i n g s ) : 22 c m (87s"); L ( m a x . ) : 148 c m ( 5 8 7 " ) . Bottom, back.
6 2

M a l i b u , T h e J. Paul G e t t y M u s e u m 85. A A . 1 0 6 .
30 Vermeule

Figure 3a. V o t i v e basin. G r e e k , circa 320—280 B . C . M a r b l e . H ( m a x . ) : 30.8 c m (1276"); D i a m ( m a x . i n c l u d i n g handles): 60 c m

(237s"), ( m a x . at r i m ) : 56 c m (22"). M a l i b u , T h e J. Paul G e t t y M u s e u m 85. AA.107.

b o d y and its s i l l y g r i f f i n l o o k i n g l i k e a p u p p y b e g g i n g m e t a l or w o o d e n support for the table top, w h i c h rested

for a biscuit, this A p o l l o shows its o r i g i n a l i t y b y i n c o r ­ o n the c u r l i n g upper surfaces o f these w i n g s . 7

p o r a t i n g o n l y those " A r c h a i z i n g " elements, n o t a b l y the T h e h i g h q u a l i t y o f the c a r v i n g and the stylistic de­
coiffure, necessary t o i d e n t i f y the statue as a m o d e r n tails o f the animals, n o t a b l y the eye treated as a raised
( f o u r t h c e n t u r y B . C . ) r e s t y l i n g o f a venerable image circle or h a l f a b a l l , a l l indicate a date o f execution
w i t h n o attempts at academic i m i t a t i o n . w i t h i n the p e r i o d o f the last A t h e n i a n funerary beasts,
w h i c h extended f r o m a r o u n d the t i m e o f A l e x a n d e r the
TABLE SUPPORT: T W O GRIFFINS A T T A C K I N G A Great's death t o the second decade o f the t h i r d c e n t u r y
FALLEN DEER B . C . For the f u n c t i o n a l use o f these griffins and the deer
T h e t w o griffins c r o u c h over t h e i r fallen prey, a deer, as part o f a piece o f f u r n i t u r e , however, w e have t o seek
o n a r o u g h base s i m i l a r t o those used for A t t i c funerary parallels i n the best decorative c a r v i n g o f the p e r i o d
animals i n the f o u r t h c e n t u r y B . C . (figs. 2a—b). The a r o u n d 80 B . C . and later, w h e n so m a n y m o r e m o n u ­
c u r l i n g " I o n i c , " or t r a d i t i o n a l l y East Greek, w i n g s are m e n t a l marble tables and t h e i r c o m p o n e n t s survive. 8

solid between, each h a v i n g a large, rectangular and Evidence f r o m P o m p e i i and H e r c u l a n e u m c o n f i r m s that

h o r i z o n t a l slot and a vertical groove o n the facing, i n n e r elaborate tables i n marble or m e t a l had t h e i r places i n
surface. T h i s arrangement was p r o b a b l y designed for a the homes o f the wealthy, b u t they were also d e f i n i t e l y

7. Accession number 85.AA.106. H (max. at top o f wings): 95 cm dug into the unfortunate beast. The eyes o f the griffins and especially
(37 he"); W (max. at plinth): 20 cm (7 7s"), (at top o f wings): 22 cm
7
their eyeballs had b r o w n underpainting, and the fallen animal's eyes
( 8 W ) ; L (max.): 148 cm (58V ").2 were red. The plinth is roughly finished; the griffins' bodies are the
Crystalline Greek island marble. There are numerous breaks care­ smoothest parts o f the sculpture. See "Acquisitions/1985," The J. Paul
fully mended w i t h small pieces attached but w i t h no restorations. Getty Museum Journal 14 (1986), no. 4, p. 180.
Many traces o f the red, blue, and golden b r o w n colors survive—to 8. This ensemble has also been published, w i t h o u t illustration, by
w i t , the blue for the griffins' wings, bright red for the griffins' combs, the writer i n "Bench and Table Supports: Roman Egypt and Beyond,"
b r o w n or fawn color for the fallen quadruped, red also for the blood Studies in Ancient Egypt, the Aegean, and the Sudan: Essays in Honor of
around the mouths o f the griffins and the areas where their claws have Dows Dunham on the Occasion of His 90th Birthday, June 1, 1980, ed. W.
 The God Apollo 31

Figure 3b. I n t e r i o r o f f i g u r e 3a.

part o f the f u r n i s h i n g s o f temples and h a d t h e i r places the forces o f c i v i l i z a t i o n over b a r b a r i s m , the p o w e r o f

i n elaborate t o m b s . T h i s was p r o b a b l y even m o r e the the sun rising f r o m the east, or the d i v i n e d e t e r m i n a t i o n
case i n the p e r i o d a r o u n d 300 B . C . o f death (sometimes sudden and q u i x o t i c ) t o m o r t a l s . 9

G r i f f i n s w e r e m y t h o l o g i c a l creatures associated w i t h A s a piece o f f u r n i t u r e , the subject as treated here was

A p o l l o i n the east, and b y Classical t i m e s the m o t i f o f n o mere d e c o r a t i o n for a G r e e k garden b u t was a p o w e r ­
these beasts a t t a c k i n g a weaker q u a d r u p e d s y m b o l i z e d f u l statement t o be i n s t a l l e d i n a m a j o r v o t i v e c o n t e x t . 10

K . Simpson and W. Davis, Jr. (Boston, 1981), p. 183. i n the Metropolitan Museum o f A r t (51.11.10): BMMA 10, no. 5 (1952),
9. The ensemble has its painterly parallel o n the front side o f the pp. 145—149, w i t h illustrations o f the subject o n both sides o f the
neck o f the red-figured volute krater by the Aurora Painter, from kantharos, o n the wall o f the Francois Tomb, and o n the end o f the
Falerii o f about 325 B . C . See M . Sprenger, G. Bartolini, and M . older o f the t w o Prince o f Canino sarcophagi from Vulci i n the M u ­
Hirmer, Die Etrusker, Kunst und Geschichte (Munich, 1977), p. 149, seum o f Fine Arts, Boston (86.145). For the sarcophagi, see also M . B.
pi. 228. Comstock and C. C. Vermeule, Sculpture in Stone (Boston, 1976), no.
Dietrich v o n Bothmer has adduced and discussed parallels for the 383, pp. 244-246.
griffins attacking a fallen deer i n Etruscan painting and sculpture o f 10. The same school o f Attic or South Italian Greek sculptors w h o
about 300 B.c. i n the publication o f an Etruscan red-figured kantharos carved the magnificent table support also modeled the t w o large ter-
32 Vermeule

B A S I N W I T H S C U L P T E D DETAILS A N D A his side was carved i n a style that b l e n d e d late A r ­

P A I N T E D SCENE I N T H E I N T E R I O R chaic features w i t h the softened f o r m s o f Praxitelean
T h e p a i n t i n g i n the b o w l ' s i n t e r i o r comprises a w h i r l ­ youthfulness. To this splendidly accomplished statue
i g i g o f three nereids, one o n a h i p p o c a m p and t w o o n was added a table supported b y an ensemble c o n s i s t i n g
k e t o i ; T h e t i s is s h o w n h o l d i n g the shield o f A c h i l l e s o f t w o griffins slaying a deer. T h e leg o f this table
(figs. 3a—b). O n e other nereid holds a cuirass and the was large and s t r o n g e n o u g h t o support a l i g h t t o p o f
t h i r d a h e l m e t . T h e b o w l has ovolo, or egg-and-dart, stone, m e t a l , or w o o d o n its o w n ; there has been some
m o l d i n g a r o u n d the l i p ; fluted handles w i t h floral bases, speculation that there m a y have been a pendant trape-
w h i c h j o i n the b o d y as i f cast i n m e t a l and r i v e t e d or zophoros, w h i c h w o u l d be i n k e e p i n g w i t h the c o n ­
soldered o n ; a circular f o o t enriched w i t h w a t e r l e a f de­ s t r u c t i o n o f such tables i n the Greek w o r l d f r o m early
sign; and, finally, b e l o w the fillet o f this foot, three H e l l e n i s t i c t o J u l i o - C l a u d i a n and Flavian (Pompeiian)
a n i m a l - f o o t supports r i s i n g t o the circular f o o t with times. Finally, there is a basin w i t h a l o w , r o u n d e d foot,
Ionic fluting. 11
These a n i m a l feet are set o n a t h i n , handles, and careful e n r i c h m e n t i m i t a t i n g Greek m e t a l -
s l i g h t l y i r r e g u l a r base, and there is a heavy, c o l u m n a r w o r k o f the f o u r t h c e n t u r y B . C . T h e i n t e r i o r o f the
support for the entire ensemble u n d e r n e a t h . 12
Much of basin was p a i n t e d w i t h a m a r i n e m y t h o l o g i c a l w h i r l ­
the p a i n t remains, and the colors used are: g o l d for the i g i g , featuring T h e t i s r i d i n g o n a sea beast and c a r r y i n g
shield; p u r p l e for the nereids' garments; reds and blues the shield o f A c h i l l e s .
for the m a r i n e creatures as w e l l as the f o o t o f the b o w l , T h e table support and the basin were also p r o b a b l y
the a n i m a l feet, the support, and the p l i n t h . carved d u r i n g the years w h e n A l e x a n d e r the Great's
T h e fragile nature o f the p a i n t i n g i n the i n t e r i o r o f successors were c o n s o l i d a t i n g t h e i r power, 320 t o 280
this b o w l , a t r a d i t i o n a l Greek f o o t b a t h , indicates that B . C . T h e griffins k i l l i n g the deer were carried o u t as a
the object was n o t made for practical use b u t for cere­ masterful elaboration i n p a i n t e d marble o f m o t i f s and
m o n i a l purposes. Such a basin w o u l d have made a per­ c o m p o s i t i o n s f a m i l i a r i n S o u t h Italy f r o m the g i l d e d
fect d e d i c a t i o n i n a t e m p l e or shrine; i t c o u l d also have terracotta reliefs o f T a r e n t u m . 14
T h e basin represented
been m a d e as an o f f e r i n g t o the gods and shades i n a the best i m i t a t i o n i n marble o f m e t a l w o r k f r o m the
t o m b , a l t h o u g h this p a r t i c u l a r p a i n t i n g w i t h i n an object Peloponnesus or T a r e n t u m , embellished w i t h a p a i n t e d
carved circa 300 B . C . w o u l d have conveyed a p o i n t e d design p o p u l a r i n the koine o f the f o u r t h and t h i r d cen­
mythological, dynastic, and political message. The turies B . C . f r o m O l y n t h o s i n M a c e d o n i a t o T a r e n t u m
scene o f T h e t i s w i t h the shield o f A c h i l l e s as focal p o i n t and b e y o n d t o E t r u r i a .
o f a w h i r l i g i g o f nereids and sea creatures is w a t e r y i n ­ To m y m i n d , the chain that l i n k s these three w o r k s o f
deed, as befits a f o o t b a t h , b u t its s y m b o l i s m is deliber­ art together is the silver didrachm struck by Pyrrhus o f
ately associated w i t h the E p i r o t e ancestry o f the r u l i n g E p i r u s , M a c e d o n i a , and Thessaly at L o c r i s o m e t i m e be­
Macedonians ( A l e x a n d e r the Great t h r o u g h his m o t h e r fore 280 B . C . (figs. 4a—b). 15
T h e reverse o f T h e t i s o n a
O l y m p i a s ) and t h e i r cousins and renewed connections sea beast w i t h the shield o f A c h i l l e s symbolizes the de­
in Epirus. 13
T h e m o s t memorable o f these at this t i m e scent o f b o t h A l e x a n d e r the Great and P y r r h u s from
was K i n g P y r r h u s . that hero; i t is also the m a i n device p a i n t e d i n the i n t e ­
r i o r o f the Getty's marble basin. G r i f f i n s appear o n the
CONCLUSION sides o f the h e l m e t o f A c h i l l e s o n the coin's obverse,
B e t w e e n about 320 and 280 B . C . , p r o b a b l y closer t o and these fantastic creatures w h o conquer i n the east, as
the latter date, an A p o l l o standing w i t h his g r i f f i n at d i d A l e x a n d e r and A c h i l l e s , are i d e n t i f i e d w i t h A p o l l o ,

racotta heads o f stags or deer i n W ü r z b u r g . See E. Simon et al., Führer delVarte antica, classica e Orientale (Rome, 1963), vol. 5, pp. 421—423, and S.
durch die Antikenabteilung des Martin von Wagner Museums der Universität Reinach, Repertoire de peintures grecques et romaines (Paris, 1922), p. 40.
Würzburg (Mainz, 1975), p. 226, pi. 56. There are Roman decorative 12. Accession number 85.AA.107. H (max.): 30.8 cm (12V8"); D i a m
carvings o f comparable quality, but they are rare, e.g., the head o f a (max. including handles): 60 cm (23 /s"), (max. at r i m ) : 56 cm (22").
5

panther from a table support. See Jacques Chamay i n J. D ö r i g et al., Crystalline Greek island marble. A curved section is missing at the
Art antique: Collections privees de Suisse Romande (Geneva, 1975), bowl's r i m , and there are chips around the molding o f the r i m . The
no. 375. handles have been broken, repaired, and rejoined. See "Acquisi­
11. The famous nereid on a sea beast (ketos) depicted i n relief on tions/1985," The J. Paul Getty Museum Journal 14 (1986), no. 5, p. 180.
the l i d o f a pyxis (jar) i n gold and silver from Canosa d i Puglia that is 13. Gold medallions from A b o u k i r w i t h the bust o f Olympias on
now i n the Museo Nazionale, Taranto, is a contemporary parallel. See the obverse and Thetis i n a nereid and triton composition on the
E. Langlotz and M . Hirmer, Ancient Greek Sculpture of South Italy and reverse are w o r k o f the late Severan period (A.D. 230) i n the tradition
Sicily (New York, 1965), pp. 69-70, pi. X X . For other, varied views o f o f early Hellenistic Macedonia. See The Search for Alexander: An Ex­
the subject, see H . Sichtermann, "Nereo e nereide," i n Enciclopedia hibition (Boston, 1980), nos. 10, 11, pp. 103-104. A full bibliography on
 The God Apollo 33

Figures 4a-b. Left, Didrachm (obverse). Struck at Locri by K i n g Pyrrhus o f Epirus, Figure 5. Roundel w i t h bust o f Apollo.
before 280 B . C . Silver. Diam: 23.5 m m ( / i 6 " ) . Right, reverse. Boston,
1 5
Early Hellenistic period.
Museum o f Fine Arts, Theodora Wilbour Fund i n Memory o f Zoe Gilded silver. Diam: 7 cm
Wilbour, 1985.235. Photos: Courtesy Museum o f Fine Arts, Boston. (2 A"). Boston, Museum o f
3

Fine Arts, Theodora Wilbour

Fund i n Memory o f Zoe
Wilbour, 1985.333. Photo:
Courtesy Museum o f Fine
Arts, Boston.

a fact made clear by the presence o f the beast beside the " A r c h a i s t i c " t o recall C a u l o n i a s famous i m a g e o n silver
g o d i n the Getty's marble statue. staters o f 550 t o 480 B . C . , albeit i n an updated sculptural
Zeus, Demeter, and K o r e , rather than A p o l l o , were f o r m . A p o l l o Katharsios had cured the Sagras coast o f
the major d i v i n i t i e s o f L o c r i . 1 6
A p o l l o was present i n a plagues. C o u l d this ensemble, the statue, the table, and
secondary w a y at R h e g i u m , a r o u n d the toe o f the I t a l ­ the basin have been the dedication o f a p r o m i n e n t E p i -
ian " b o o t " f r o m L o c r i E p i z e p h y r i i , b u t at C a u l o n i a j u s t rote M a c e d o n i a n , l i k e K i n g P y r r h u s , i n t e n d e d t o keep
t o the northeast, across the Sagras River, he was the the armies i n Megale Hellas free o f illness as w e l l as
major patron divinity. Caulonia, however, was de­ f r o m the s u r g i n g p o w e r o f Rome? Such is a possible
stroyed b y D i o n y s i u s I o f Syracuse about 388 B . C . , and explanation for three such unusual masterpieces o f
its t e r r i t o r y was presented t o the L o c r i a n s . 17
Rhegium Greek sculpture and p a i n t i n g i n a single context.
was treated i n s i m i l a r fashion i n 387, b u t this c i t y was G i v e n the theme o f T h e t i s w i t h the shield o f A c h i l l e s
restored b y D i o n y s i u s I I before 350 B . C . I t was at this o n the inside o f the marble basin (fig. 3b) and o n the
t i m e (350—300 B . C . ) that R h e g i u m ' s bronze coinage fea­ reverse o f the d i d r a c h m o f P y r r h u s (fig. 4b), there
t u r e d a y o u t h f u l A p o l l o w i t h l o n g hair s i m i l a r t o the s h o u l d have been arms and a r m o r f o u n d w i t h this d e d i ­
image o n a s i l v e r - g i l t plaque o f the f o u r t h c e n t u r y B . C . cation. Such a r m o r o u g h t t o have been o f the highest
(fig. 5 ) . « artistic level and finest q u a l i t y p r o d u c e d i n the Greek
T h u s , i n a shrine t o A p o l l o early i n the t h i r d c e n t u r y w o r l d i n the age o f A l e x a n d e r the Great or the t w o
B . C . , i t w o u l d seem suitable that a statue o f the g o d be generations o f his successors and relatives. F i g u r a l de-

nereids w i t h the arms o f Achilles is given by Stella G. Miller, "Eros 13, 1985, lot 269. E. S. G. Robinson, Lloyd Collection, vol. 2 o f Sylloge
and the A r m s o f Achilles," AJA 90 (1986), p. 159, n. 2. Nummorum Graecorum (London, 1933), no. 657, pl. X X I .
14. See Lidia Forti and A t t i l i o Stazio, " V i t a quotidiana dei Greci 16. See E. Langlotz and M . H i r m e r (supra, note 11), p. 271, pis.
d'ltalia," i n Megale Hellas: Storia e civiltä della Magna Grecia (Milan, 71—75, terracotta reliefs from Locri, dating about 450 B.C. These re­
1983), p. 699, fig. 720, an example o f a griffin and a stag, a heavily liefs feature stylistic details o f up to half a century earlier, perhaps
gilded relief i n just the schema o f this table support. H . Hoffmann, setting the taste that produced the "Archaistic" marble A p o l l o o f the
Ten Centuries That Shaped the West: Greek and Roman Art in Texas late fourth century B.C.
Collections (Houston, 1970), no. 135, p. 280, on the general meaning o f 17. B. V. Head, Historia Numorum (Oxford, 1911), pp. 92-94. A t ­
these plaques. H . Herdejürgen, Die tarentinischen Terrakotten des 6. bis tilio Stazio, "Moneta e scambi," i n Megale Hellas: Storia e civiltä della
4. Jahrhunderts v. Chr. im Antikenmuseum Basel, Veröffentlichungen des Magna Grecia (Milan, 1983), pp. 122-123, 136, figs. 94-99.
Antikenmuseums Basel, Band 2 (Basel, 1971), nos. 71, 72, pp. 68—69, 18. See Sale 6, Bank Leu A . G , Zurich, M a y 8, 1973, lots 43, 44.
pl. 21, a stag facing a griffin as pendant plaques.
15. This specimen is from the J. Vinchon sale, M o n t e Carlo, A p r i l
34 Vermeule

tails c e r t a i n l y w o u l d have been i n c l u d e d , and the sub­

jects, again, o u g h t t o have been l i n k e d w i t h the m y t h s
o f A c h i l l e s , the greatest Greek hero and an ancestor o f
A l e x a n d e r and P y r r h u s .
T h e r e is a scrap o f evidence that meets a l l these c r i t e ­
ria, i n c l u d i n g the possibilities o f provenance. T h e left
shoulder-plate o f a bronze cuirass features a female head
i n an A m a z o n i a n cap, the side flaps o f w h i c h t u r n i n t o
decorative volutes at the c u r v i n g edges o f the back­
g r o u n d (fig. 6). She wears earrings o f L y d i a n or I o n i a n
f o r m and a slender torque w i t h a flower suspended f r o m
it. T h i s sad-faced A m a z o n can o n l y be Q u e e n P e n t h -
esilea, and her slight i n w a r d t u r n o f the head affirms the
d e d u c t i o n that another head rose o u t o f the opposite
shoulder-plate. 19
T h e head o n the wearer's r i g h t , the
place o f h o n o r , c o u l d o n l y have been A c h i l l e s . The
b o d y o f the cuirass was p r o b a b l y undecorated, b e y o n d
suggesting the ideal a n a t o m y c o m m o n t o such objects
at the t i m e , b u t the c o m p l e t e ensemble w o u l d have been
f u l l y w o r t h y o f a p r i n c e l y d e d i c a t i o n i n the Italic after­
m a t h o f A l e x a n d e r the G r e a t . 20

M u s e u m o f Fine A r t s
Boston

Figure 6. Queen Penthesilea on the left shoulder-plate

o f a cuirass. Early Hellenistic period. Bronze.
H : 16 cm ( 6 / i 6 " ) . Boston, Museum o f Fine
5

Arts, Frank B. Bemis Fund, 1986.242. Photo:

Courtesy Museum o f Fine Arts, Boston.

19. H (max.): 16 c m (6 /i6"); W (max.): 12 c m (4 /ie"). The patina

5 n
Also, H . B. Walters, Catalogue of the Greek, Roman, and Etruscan
is the rich, deep green o f the finest Greek metalwork from 350 to Bronzes in the Department of Greek and Roman Antiquities (London,
275 B.C. 1899), no. 285, pp. 39-40, pi. V I I I . I n reasonably high relief, mirrored
20. The comparable right shoulder-plates (covering the straps) o f pairs o f Greeks attack fallen Amazons, similarly balanced. They are
Greek bronze cuirasses o f the fourth century B.C. are collected on pp. possibly Achilles slaying Penthesilea on the left, and Ajax Oileus
51—54 o f A r n o l d Hagemann, Der Metallharnisch, vol. 1 o f Griechische dispatching Derinoe on the right. The southeast coast o f Italy as well
Panzerung: Ein entwicklungsgeschichte Studie zur antiken Bewaffnung as western Mainland Greece, the Peloponnesus, and, lately, Mace­
(Leipzig and Berlin, 1919). The famous Siris Bronzes i n the British donia or Thrace are the sources for a number o f these plates or cover­
Museum (pp. 51—52, fig. 62) are basically the left and right shoulder- ings for cuirass fastenings.
plates and back o f the neck and shoulders o f such a piece o f armor.
Two Pieces of Porcelain Decorated by
Ignaz Preissler in the J. Paul Getty Museum
Maureen Cassidy-Geiger

T h e Breslau physician and chronicler, Johann C h r i s ­ Breslau (present-day Wroclaw, Poland) was the capital
t i a n K u n d m a n n (1684—1751), w r i t i n g i n 1726 o n the n o ­ o f Silesia, a province under H a p s b u r g rule. F r o m the
table collections o f art, books, i n s t r u m e n t s , and c u r i ­ Renaissance, i t was an i m p o r t a n t center for the arts,
osities t o be f o u n d i n his city, reported that a m a n notably m e t a l w o r k i n g , and i n the eighteenth c e n t u r y i t
named "Preussler" had w o r k e d for seven years decorat­ developed i n t o an i m p o r t a n t intellectual and religious
i n g over one h u n d r e d pieces o f porcelain i n grisaille and center. C o n t e m p o r a r y travel guides praised the c i t y for
w i t h g i l d i n g for the p r o m i n e n t collector H e r r E r n s t its m a n y fine libraries and museums. T h e n o b i l i t y w i t h
B e n j a m i n v o n L ö w e n s t ä d t u n d R o n n e b u r g (d. 1729). I n estates i n Silesia and palaces i n Prague and V i e n n a b u i l t
the middle of the lengthy descriptions of von n e w palaces i n Breslau, thereby attracting leading artists
L ö w e n s t ä d t ' s Kunst- und Raritäten-Kammer—which fol­ and craftsmen t o the city. T h e glassmaking i n d u s t r y
low an e n u m e r a t i o n o f the paintings, bronzes, and was l o n g established i n the r e g i o n , and the heavily
carved sculpture and a s u m m a r y o f the artists repre­ w o o d e d estates were cleared by the glassworks, w h i c h
sented i n p r i n t s and d r a w i n g s and w h i c h precede a were p e r m i t t e d t o operate o n t h e i r lands. G i v e n these
comprehensive l i s t i n g o f the n u m e r o u s and varied c u r i ­ developments, Breslau i n the 1720s became a center o f
osities i n the c o l l e c t i o n — K u n d m a n n states that " G a n t z Hausmaler a c t i v i t y (a Hausmaler b e i n g a craftsman w h o
was sonderbares hat Er i n Ost-Indischen Porcellain decorated glass and ceramic wares o n a free-lance basis,
gesammlet v o n allerhand Farben; insonderheit besitzet either independently or i n a w o r k s h o p n o t affiliated w i t h
E r ü b e r 100. S t ü c k grosse Schalen, Teller u n d andere any factory operation). I t is therefore n o t s u r p r i s i n g that
G e f ä s s e v o n Preusslern i n grau u n d grau gemahlet; Ja E r the w o r k o f the Hausmaler referred t o as "Preussler"
hat Selbsten es so weit gebracht, dass Er unter­ (also the name o f a p r o m i n e n t f a m i l y o f glassmakers i n
schiedliche Porcellaine Becher vergolden u n d d o c h n o c h Bohemia) was described i n detail i n contemporary
darauf mahlen lassen: W o r z u er gantzer V I I . Jahr chronicles and was valued as a collector's i t e m .
gedachten Preussler gehalten." 1
Various porcelains w i t h Schwarzlot decoration ( l i t e r ­
In 1737, Kundmann reported that after von ally Schwarzlot means "black lead," b u t i t is actually a
L ö w e n s t ä d t ' s death his entire " c a b i n e t " o f porcelain transparent black enamel painted o n t o the surface and
decorated by "Preussler," including many vessels, scratched t h r o u g h w i t h a needle before f i r i n g ) that can
plates, b o w l s , teabowls, and saucers, was acquired b y be a t t r i b u t e d t o Preissler were already i n the c o l l e c t i o n
Franz, C o u n t v o n H a t z f e l d , I m p e r i a l C o u n c i l o r and o f A u g u s t u s the S t r o n g i n 1721, and others were added
Frey Standes-Herr i n Silesia. 2
A fire at the H a t z f e l d i n 1722. These pieces are described i n the Inventarium
estate i n the eighteenth c e n t u r y is presumed to have über das Palais zu Alt-Dresden Anno 1721 under the chap­
destroyed m o s t o f the f a m i l y treasures, i n c l u d i n g the ter heading "Weiss S ä c h s i s c h e Porcelain" as follows:
porcelain c o l l e c t i o n . I t therefore becomes o b v i o u s f r o m
3

N.7. 3. Stk. extra feine runde am Rand vergoldete

the large b o d y o f r e m a i n i n g w o r k b y Preissler (the cor­ Chocolate Tassen u. Schaalen, darauff m i t einer
rect s p e l l i n g o f the artist's name) that he had other c l i ­ rothen Couleur sauber en Crotesque gemahlet ist;
ents d u r i n g the seven years he was w o r k i n g o n v o n Diese Arbeit is i n P ö h m e n gefertiget worden, und
Löwenstädt's commission. jede Tasse und Schaale ist von differenter

1. Johann Christian Kundmann, Promtuarium rerum Naturalium et heiten der Natur und Kunst des Kundmannischen Naturalien-Cabinets
Artificialium Vratislaviensae (Vratislaviae, 1726), p. 62. I wish to thank (Breslau and Leipzig, 1737), pp. 640—641.
the Archdiocese o f Wroclaw for permitting me the use o f their library 3. Gustav E. Pazaurek, Deutsche Fayence- und Porzellan-Hausmaler
where I consulted this and other volumes by the same author. (Leipzig, 1925), vol. 1, p. 209, n. 6.
36 Cassidy-Geiger

Z e i c h n u n g . Z w e y Tassen d a r v o n s i n d schadhafft, none are signed and few are dated, their histories
j e d e aber 3. Z . t i e f f u n d 272. i n d i a m . eine Schaale were lost.
aber A . Z . t i e f f 5. Z . i n d i a m .
3

I n f o r m a t i o n published i n the 1920s and 1930s i n t r o ­

duced Ignaz Preissler as a porcelain and glass painter
( T h e above e n t r y correctly assigns the decoration t o a
w o r k i n g i n K r o n s t a d t (present-day K u n s t ä t ) , B o h e m i a ,
B o h e m i a n painter.)
circa 1729—1732, for Franz K a r l , C o u n t Liebsteinsky v o n
N . 8 . 3. Stk. d e r g l . C h o c o l a t e Tassen u . Schaalen, so m i t K o l o w r a t (d. 1753). T h a t the "Preussler" w o r k i n g i n
8

schwarzer Farbe en C r o t e s q u e g e m a h l e t s i n d , es Breslau i n the 1720s is the same Ignaz Preissler w o r k i n g

s i n d alle v o n differenter Z e i c h n u n g u n d j e d e Tasse i n K r o n s t a d t circa 1729 was o r i g i n a l l y debated b u t is
3. Z . tieff. 272. Z . i n d i a m . eine Schale aber 74.
n o longer i n doubt. H e was b o r n i n Friedrichswalde
Z . tieff. 5. Z . i n d i a m . H i e r z u g e h ö r e t e i n a u s w e n ­
(present-day Bedrichovka), o n the border o f B o h e m i a and
d i g b r a u n e r Spiel N a p f f d a r a u f f N e p t u n u s m i t a l -
Silesia, i n 1676, the son o f a porcelain painter named
lerhandt Nayaden und Tritonen, sehr sauber
D a n i e l Josef N o r b e r t Preissler (circa 1636—1733) and his
schwarz u n d g o l d t G e m a h l e t ist, i n w e n d i g ist fein
wife, D o r o t a (nee Keller, d. 1723). H e m o v e d w i t h his
schwarz C r o t e s q u e A r b e i t . 3. Z . tieff. 672. Z.
in diam. 4 f a m i l y to K r o n s t a d t , his mother's village, i n 1680/81 and
r e t u r n e d there later i n his life t o w o r k and care for his
A n n o 1722 i m M o n a t h J u n y haben I h r o K ö n i g l . M a y t .
elderly father, w h o s e second w i f e had d i e d i n 1730. I g ­
v o n d e m H e r r n G r a f e n Lagnasco b e k o m m e n u . i n das
naz Preissler's o w n first wife, A n n a Steiner, also died i n
Palais gegeben, w i e folget:
1730, and the following year, he married Zuzana
N . 6 4 . 2. stk. K r u g e i g e n d a r a u f H o l l . Paysagen m i t r o t h
U h r b a n o f the n e i g h b o r i n g v i l l a g e o f K e r n d o r f . H e died
und schwartzer Couleur amaliret sind, mit
i n 1741 at the age o f sixty-five. A son, also n a m e d Ignaz,
H e n c k e l n so v e r g o l d e t s i n d . 4. Z . t i e f f u . 372 Z .
was apprenticed t o a t a i l o r i n Reichenau (present-day
in diam.
R y c h n o v ) , the K o l o w r a t f a m i l y seat, located about t h i r ­
N . 6 5 . 2. stk. d e r g l . d a r a u f f Wasser Jadgen m i t s c h w a r t ­
ty-five kilometers from Kronstadt.
zer C o u l e u r a m a l i r e t sind, v o n o b i g e r H ö h e . 5

T h e w o r k o f the K r o n s t a d t p e r i o d can be d e t e r m i n e d
A beaker, saucer, and b o w l c o r r e s p o n d i n g to those using documents from 1729—1732, w h i c h consist of
n u m b e r e d " N . 7 . " and " N . 8 . " are s t i l l i n the Porzellan­ invoices and letters exchanged b e t w e e n Preissler and
s a m m l u n g o f the Staatliche K u n s t s a m m l u n g e n Dresden his p a t r o n , C o u n t v o n K o l o w r a t , or his p a t r o n s ser­
( P O 3130 and 3132). 6
A l l three are not, however, of vant Tobias H a n n u s c h , a close f r i e n d o f Preissler's and
Meissen porcelain b u t are o f Chinese porcelain deco­ himself a porcelain and glass decorator at Reich­
rated i n underglaze blue or i r o n - r e d . T w o s m a l l t a n ­ enau. T h e d o c u m e n t s reveal, a m o n g other things, that
9

kards c o r r e s p o n d i n g t o those n u m b e r e d " N . 6 4 . " and Preissler painted chiefly chinoiseries, b u t also " d i f f i c u l t
" N . 6 5 . " were i l l u s t r a t e d i n 1925 b u t are n o l o n g e r i n poetic subjects," o n porcelain ( p r i m a r i l y oriental) and
the c o l l e c t i o n . 7
glass p r o v i d e d by the count. He worked primarily
K u n d m a n n s accounts and the 1721 i n v e n t o r y o f A u ­ i n Schwarzlot and i r o n - r e d w i t h g o l d b u t began t o use
gustus the Strong's c o l l e c t i o n demonstrate that Preissler p u r p l e m o n o c h r o m e and p o l y c h r o m e colors at the end
o b v i o u s l y w o r k e d for patrons o f w e a l t h and r a n k and o f this p e r i o d .
that his w o r k was w i d e l y a d m i r e d and collected i n his The w o r k belonging to the Breslau period was
o w n l i f e t i m e b y m e m b e r s o f the aristocracy. I t was n o t b r o u g h t i n t o focus i n 1983 i n an article by A n n e d o r e
until the twentieth century, however, that authors Müller-Hofstede, w h i c h was published i n Keramos. 10

r e t u r n e d t o the subject o f Ignaz Preissler and b r o u g h t T h i s year w i l l see the p u b l i c a t i o n i n the Journal of Glass
t o l i g h t c h u r c h and archival records that p r o v i d e d his Studies o f an article by R u d o l f Strasser i n w h i c h he at­
g i v e n name, the correct s p e l l i n g o f his surname, and tributes a g r o u p o f glasses t o the Breslau p e r i o d and
some details o f his life. I n the i n t e r v e n i n g centuries, his another g r o u p t o an even earlier p e r i o d , circa 1695—1715,
w o r k s retained t h e i r appeal for collectors, b u t because w h e n the painter was i n his twenties and t h i r t i e s . T h e

4. Parts o f the inventory are transcribed i n Böttgersteinzeug Böttger- (1961), p. 27, fig. 1.
porzellan aus der dresdener PorZellansammlung (Dresden, 1969). This sec­ 7. Illustrated by Pazaurek (supra, note 3), p. 219, figs. 183, 184.
tion appears on p. 36. 8. See the following: F[rantisek] X[aver] Jink, " K dejinam por-
5. Ibid., p. 40. culänu v Cechäch. D o m ä c k y malir skia a porculänu v Kunstätu Igna­
6. I w o u l d like to express m y thanks to Dr. Ingelore Menzhausen tius Preissler (1728—1732)," i n Zprdva Kuratoria za Spravni Rok 1923
and Dr. Friedrich Reichel for their generous assistance during m y visit (Prague, 1924), pp. 24-41, pis. I I I , I V ; Pazaurek (supra, note 3), pp.
to the collection. The bowl is illustrated i n Dr. Menzhausen's article 209-249; Frantisek Xaver Jifik, Ceske Sklo . . . (Prague, 1934), pp.
"Das erste Inventar der dresdener Porzellansammlung," Keramos 12 51—52; Annedore Müller-Hofstede, "Der schlesisch-böhmische
 Two Pieces of Porcelain 37

Figure la. Ignaz Preissler ( B o h e m i a n , 1676—1741). B o w l decorated w i t h allegories o f s p r i n g ( i n t e r i o r ) and s u m m e r ( e x t e r i o r ) , circa

1715—1720. C h i n e s e p o r c e l a i n w i t h underglaze-blue d e c o r a t i o n and overglaze d e c o r a t i o n i n Schwarzlot and g o l d . H :
7.3 c m (27s"); D i a m : 14.9 c m (57s"). M a l i b u , T h e J. Paul G e t t y M u s e u m 86.DE.738.

decoration o f these groups o f glasses, i n particular, sug­ shaped dish o f Meissen porcelain w i t h decoration i n
gests that Preissler m a y have trained i n N u r e m b e r g be­ i r o n - r e d and g o l d .
fore a r r i v i n g i n Breslau and therefore w o u l d have been T h e b o w l (figs, la—h) is a type o f porcelain p r o d u c e d
one o f the last o f the followers o f J o h a n n Schaper b e t w e e n circa 1710 and 1740. I t has incised
11
floral-scroll
(1621—1670), the glass painter credited w i t h the transfer decoration beneath the glaze o n the outside, framed b y
o f the Schwarzlot technique f r o m flat glass t o h o l l o w diaper-patterned borders i n underglaze blue; o n the i n ­
glass and faience. side, the same borders are painted a r o u n d the r i m and i n
I n the wake o f this recent interest i n Ignaz Preissler's the center, f o r m i n g a w r e a t h . T h i s was the type o f o r i ­
early years i n Breslau, the D e p a r t m e n t o f Decorative ental porcelain used m o s t frequently by Preissler, and i t
A r t s o f the J. Paul G e t t y M u s e u m has acquired t w o was also used b y Hausmaler w o r k i n g i n A u g s b u r g , circa
important examples o f his w o r k from this p e r i o d . 1725—1730. 12
I t is o b v i o u s l y that described i n the i n ­
O n e is a b o w l o f Chinese porcelain decorated i n Schwarz­ voices from the K o l o w r a t commissions as "Weijss
lot w i t h m y t h o l o g i c a l scenes. The other is a leaf- m i t B l a w e n Randt." T h e lack o f b o l d l y decorated sur-

Hausmaler Ignaz Preissler," Keramos 100 (1983), pp. 3—50. I wish to forthcoming article i n the Journal of Glass Studies.
acknowledge the generous assistance o f the late Dr. Zdenka Munzer 10. Müller-Hofstede (supra, note 8).
in the translation o f the works published i n Czechoslovakian. 11. Regina Krahl et al., Chinese Ceramics in the Topkapi Saray
9. These documents were first published by J i n k (supra, note 8) Museum Istanbul . . . (London, 1986), vol. 3, p. 952.
in 1923 and were reprinted by M ü l l e r - H o f s t e d e (supra, note 8), 12. Rainer Rückert, Meissener Porzellan 1710-1810, ex. cat. (Munich,
pp. 44—50. The surname o f the painter referred to as "Tobias" i n the 1966), nos. 53-55, pp. 60-61, pis. 17, 18.
documents was provided to me i n 1984. The significance o f his rela­
tionship to Ignaz Preissler w i l l be brought to light i n Rudolf Strasser's
38 Cas sidy-Geiger

Figure lb. D e t a i l o f the e x t e r i o r o f f i g u r e l a . Figure 1c. D e t a i l o f the e x t e r i o r o f f i g u r e l a .

Figure Id. D e t a i l o f the e x t e r i o r o f f i g u r e l a .

faces p r o b a b l y made this t y p e o f b l u e - a n d - w h i t e ware gravings after a cycle o f the four seasons b y Pierre I .
less attractive as a cabinet piece and m o r e suitable for M i g n a r d (1612—1695), w h i c h was painted i n 1677 for the
use as a sort o f " b l a n k " ware t o be painted b y the Galerie d ' A p o l l o n i n the Chateau de S a i n t - C l o u d . T h e
Hausmaler and refired i n t h e i r m u f f l e - k i l n s . scene o n the i n t e r i o r o f the b o w l , w h i c h shows the
Preissler added the m y t h o l o g i c a l scenes painted i n marriage o f Flora and Zephyr (fig. l g ) , represents
Schwarzlot w i t h touches o f g o l d that decorate the inside spring, and the sacrifice o f Ceres o n the exterior (fig. I d )
and outside o f the b o w l . H e often decorated the inside represents summer.
or underside o f dishes, b o w l s , and vases, t h o u g h gener­ L o u i s X I V ' s brother, M o n s i e u r ( P h i l i p p e I , due d ' O r -
ally n o t w i t h such f u l l p i c t o r i a l scenes b u t w i t h a f o r m leans), acquired the chateau i n 1655 and c o m m i s s i o n e d
o f a u x i l i a r y decoration. T h e latter was often c o m p r i s e d M i g n a r d , L e B r u n s r i v a l and later his successor, t o deco­
o f o r n a m e n t a l w o r k , i n some cases enclosing isolated rate the galerie. T h e c o m p l e t e d p r o g r a m was widely
f i g u r a l elements. Traces o f g o l d over the underglaze- acclaimed, according to Mignard's biographer, the
blue borders o n the G e t t y b o w l suggest that they were A b b e de M o n v i l l e , and even the k i n g is reported t o have
o r i g i n a l l y h i g h l i g h t e d w i t h g i l d i n g , a feature o f other said, "Je souhaite fort que les peintures de m a gallerie
wares o f this type decorated b y Preissler. de Versailles repondent ä la beaute de celles-ci." 13

T h e scenes depicted can be traced t o a series o f e n ­ T h e p a i n t i n g s , w h i c h were destroyed i n the 1870 fire
 Two Pieces of Porcelain 39

Figure le. I n t e r i o r o f f i g u r e l a .

at the chateau, are evoked i n M o n v i l l e ' s eloquent de­ glacpns: lä des vaisseaux sur u n e m e r agitee paroisserit
scriptions o f t h e m : le j o u e t des vents & de la t e m p e t e ; Boree & les
f o u g u e u x A q u i l o n s soufflent par t o u t la neige, le g r e s i l
L a Terre sous le s y m b o l e de C y b e l e , elevant vers le d e l
Sc les f r i m a t s : les Hyades i n o n d e n t les campagnes de
ses tristes regards, i m p l o r e le r e t o u r de Soleil, qu'on
pluyes; V u l c a i n presente ä C y b e l e u n brasier, auquel se
appercpit dans l ' e l o i g n e m e n t , sans eclat, presque sans
chauffe u n enfant q u i est derriere la Deesse; ses l i o n s
l u m i e r e . C'est ä u n e i m a g e si vraie t o u t ensemble & si
sont ä ses pieds, ils s e m b l e n t avoir p e r d u u n e p a r t i e
p o e t i q u e , que le spectateur r e c o n n o i t l ' h y v e r , d o n t les
de leur ferocite, & partager l ' a b a t t e m e n t de t o u t le reste
f ä c h e u x effets sont e x c e l l e m m e n t e x p r i m e z . I c i le D i e u
de la nature.
d ' u n fleuve appuie sur son urne, n en v o i t s o r t i r que des
40 Cassidy-Geiger

Le Printems designe par l'Hymen de Zephire & de

Flore, offre aux yeux une belle campagne, ou la nature
rajeunie, prodigue les fleurs les plus precieuses: Flore en
recpit rhommage des mains de Zephire; les Amours,
les Ris & les jeux melez avec les Nymphes, paroissent
occupez ä choisir les fleurs les plus belles, & ä en
composer des des [sic] guirlandes: un elegant badinage
prete encore des graces nouvelles ä l'agrement infini de
tableau: les personnages episodiques qu'on y a introduit
sont enjoüez.
Le Peintre a represents l'Ete par un sacrifice en l'hon-
neur de Ceres. A u milieu d'un champ fertile, des
moissonneurs dont on l i t la joye sur le visage, rendent ä
genoux, graces ä cette Deesse: tous ont des flambeaux ä
la main, ä la reserve d'un petit nombre de laboureurs
chargez des premices de leurs gerbes, qu'ils offrent ä la
Divinite qui preside ä l'Agriculture: son image est por-
tee par quatre de ses Pretresses d'une beaute & d'une
modestie admirable. U n Sacrificateur amene un agneau
orne de fleurs, pret ä etre immole. Dans l'enfoncement
Figure If. Detail o f the interior o f figure la. on appercpit le Temple de Ceres, l'architecture en est
simple, mais noble; i l en fort de jeunes Pretresses dan-
sant au son de leurs tambours. L'on a ressemble avec
soin tout ce qui peut servir ä caracteriser la saison; M i -
gnard a sou peindre, pour ainsi dire, la chaleur de l'Ete.
O n ne pouvoit rien choisir de plus convenable pour
faire de l'Automne le sujet d'un tableau, que le triomphe
de Bacchus & d'Ariane: ils descendent d'un char,
d'oü les Amours detellent les pantherres qui l'ont traine:
une troupe d'hommes couronnez de pampre, & qui
embouchent la trompettte [sic] les entourent; une
Bacchante les precede en dansant: pleins du Dieu
qui les possede, ils semblent tous crier euoe) euoe. Le pere
Silene porte par des Sylvains, & suivi de son cortege or­
dinaire, est vü dans l'eloignement un sep de vigne
charge de raisins ä la main. Le Amours qui se con-
fondent dans cette troupe bachique, montrent qu'ils ont
Figure lg. Detail o f the interior o f figure la.
part ä la fete. 14

I n the " C a t a l o g u e Des oeuvres graves d'apres les

Tableaux de Pierre Mignard premier Peintre du
Roy," w h i c h M o n v i l l e i n c l u d e d i n his b i o g r a p h y o f the
painter, t w o o f the engraved series are m e n t i o n e d :

Les quatre Saisons de l'annee, representees par des su-

jets de la Fable, en quatre tableaux, peints dans la gal-
lerie de S. Cloud, gravez par Jean-Baptiste de Poilly
[1669-1728].
D'autres estampes en petit des memes tableaux, gravees
d'apres les precendens, sous la conduite de Jean-Bap-
tiste de Poilly.
Le Printems: Thymen de Zephyre & de Flore. L'Este: un

Figure lh. Detail o f the interior o f figure 1;

13. Simon Philipe Maziere de Monville, La vie de Pierre Mignard . . .
(Amsterdam, 1731), p. 102. The first edition was published i n Paris
i n 1730.
 Two Pieces of Porcelain 41

Figure 2a. Jean B a p t i s t e de P o i l l y (French, 1669—1728), Figure 2b. Jean B a p t i s t e de P o i l l y (French, 1669-1728),
after Pierre I . M i g n a r d . he Printems, circa after Pierre I . M i g n a r d . L'Este, circa 1710.
1710. E n g r a v i n g . H : 51.7 c m ( 2 0 W ) ; W : 69.4 E n g r a v i n g . H : 51.8 c m ( 2 0 W ) ; W : 69.5 c m
cm (27 /i6").
5
London, British Museum (277s"). L o n d o n , B r i t i s h M u s e u m 1951-10-6-22.
195140-6-21.

Figure 2c. Jean B a p t i s t e de P o i l l y (French, 1669—1728), Figure 2d. Jean B a p t i s t e de P o i l l y (French, 1669—1728),
after Pierre I . Mignard. L'Automne, circa after Pierre I . Mignard. L'Hyver, circa
1710. E n g r a v i n g . H : 51.2 c m ( 2 0 / i " ) ; W :
3
6
1710. E n g r a v i n g . H : 51.5 c m ( 2 0 / i " ) ; W : 69.2
5
6

69.1 c m ( 2 7 / i 6 " ) . L o n d o n , B r i t i s h M u s e u m
3
cm (27 //).
1
London, British Museum
1951-10-6-23. 1951-10-6-24.

Sacrifice en l ' h o n n e u r de Ceres. L A u t o m n e : le T r i o m h e verse o f de Poilly's engravings for s p r i n g and summer,

[sic] de Bacchus & A r i a d n e . L ' H y v e r : C y b e l l e i m p l o r a n t and therefore, t h e y m u s t derive f r o m a reengraving o f
le r e t o u r d u S o l e i l . 15
de P o i l l y s series, perhaps the second series described b y
D e Poilly's e n g r a v i n g s (figs. 2a—d) are the reverse o f M o n v i l l e . T h e p r i n t s f r o m t h i s second series are smaller
M i g n a r d ' s studies for the p a i n t i n g s and therefore w e r e in scale. Since t h e y w e r e p r o d u c e d u n d e r de Poilly's
either engraved d i r e c t l y f r o m the p a i n t i n g s o r f r o m the d i r e c t i o n , t h e y are p r o b a b l y accurate copies b u t w o u l d
studies. 16
T h e scenes o n the G e t t y b o w l are i n the r e - read i n the reverse o f his o r i g i n a l series. P r i n t s f r o m the

14. Ibid., pp. 94-97. Louvre et du Musee de Versailles (Paris, 1928), vol. 10, nos. 9949-9952,
15. Ibid., pp. liv—lv. pp. 52-55.
16. Jean Guiffrey et al., Inventaire general des dessins du Musee du
42 Cassidy-Geiger

Figures 3a-b. Left, Ignaz Preissler ( B o h e m i a n , 1676—1741). T o p o f a d i s h decorated w i t h allegories o f fall ( t o p ) a n d w i n t e r

( b o t t o m ) , circa 1715—1720. C h i n e s e p o r c e l a i n w i t h underglaze-blue d e c o r a t i o n a n d overglaze d e c o r a t i o n i n Schwarz­
lot a n d g o l d . D i a m : 22 c m (S 7\6 ).
n f
Right, b o t t o m . Sevres, M u s e e N a t i o n a l de C e r a m i q u e M N C 9703. P h o t o s :
C o u r t e s y M u s e e N a t i o n a l de C e r a m i q u e , Sevres.

second series are n o t k n o w n . filled breath over the earth. V u l c a n tries t o w a r m the
The prints representing fall and w i n t e r are the r e c u m b e n t C y b e l e w i t h a p o t o f coals f r o m his forge.
sources for the scenes o n a dish i n the M u s e e N a t i o n a l T h e i n c l u s i o n o f a river g o d relates t o the story o f
de C e r a m i q u e at Sevres ( M N C 9703). T h e dish (figs. Claudia, the vestal v i r g i n w h o p u l l e d a ship loaded w i t h
3a—b) was illustrated by Müller-Hofstede who at­ a sacred i m a g e o f C y b e l e f r o m the m u d at the m o u t h o f
t r i b u t e d i t t o Preissler working i n Breslau "before the Tiber. Since the images o n the t w o pieces b e l o n g t o
1720." 17
I t is o f the same Chinese porcelain as the G e t t y the same series, there is n o question that the G e t t y b o w l
b o w l w i t h incised and underglaze-blue decoration and is and the dish at Sevres were c o m m i s s i o n e d together and
decorated o n b o t h sides i n Schwarzlot w i t h touches o f f o r m a set.
g o l d . T h e r i m is edged i n s i l v e r - g i l t . T h e t r i u m p h o f T h e dish was acquired b y the M u s e e N a t i o n a l de C e ­
Bacchus and A r i a d n e is painted o n the t o p (fig. 3a), a r a m i q u e f r o m the 1894 sale o f the c o l l e c t i o n o f Octave
c o n v e n t i o n a l allegory for fall. T h e scene o n the u n d e r ­ D u Sartel. 18
D u Sartel had assigned the o r i g i n s o f this
side (fig. 3b) was i n t e r p r e t e d by M ü l l e r - H o f s t e d e as the type o f decoration t o Venice i n his b o o k La porcelaine de
O v i d i a n flood w i t h the survivors, D e u c a l i o n and P y r -
Chine . . ., published i n 1881, and called i t " e x t r e m e l y
rha, i n the f o r e g r o u n d . I n the context o f the p r i n t series
rare." 19
T h e dish appeared i n l o t 150 i n the catalogue o f
and M i g n a r d s cycle, however, the scene is i n t e n d e d as
the sale as the pair t o another dish o f the same so-called
an allegory for w i n t e r and depicts M i g n a r d ' s unusual
Japanese porcelain, w h i c h was also p a i n t e d o n b o t h
and h i g h l y o r i g i n a l r e n d e r i n g o f the subject. Cybele, the
" e a r t h m o t h e r , " w e a r i n g her t u r r e t e d c r o w n and r e c l i n ­ sides i n Schwarzlot touched w i t h g o l d and edged i n s i l ­

i n g o n the l i o n s usually s h o w n p u l l i n g her chariot, i m ­ v e r - g i l t . T h e subject o f the scene o n the t o p o f the other
plores the sun t o r e t u r n w h i l e Boreas, the c o l d n o r t h dish i n the l o t (fig. 4a) was i d e n t i f i e d i n the catalogue as
w i n d and p e r s o n i f i c a t i o n o f w i n t e r , releases his s n o w - D i a n a and E n d y m i o n , b u t the dish is almost certainly
that f o r m e r l y i n the v o n D a l l w i t z c o l l e c t i o n , w h i c h de-
17. M ü l l e r - H o f s t e d e (supra, note 8), pp. 23-26, figs. 34-37. museum.
18. This information courtesy o f Elisabeth Fontan, formerly con- 19. Ofctave] D u Sartel, La porcelaine de Chine . . . (Paris, 1881),
servateur, Musee National de Ceramique, w h o w i t h M m e Antoinette p. 219.
Halle graciously permitted me access to this and other pieces i n the
 Two Pieces of Porcelain 43

Figures 4a-b. Left, Ignaz Preissler (Bohemian, 1676—1741). Top o f a dish decorated w i t h Venus and Adonis w i t h cupids (top) and
nymphs disarming sleeping cupids on the order o f Diana (bottom), circa 1715—1720. Chinese porcelain w i t h
underglaze-blue decoration and overglaze decoration i n Schwarzlot and gold. Formerly Berlin, von Dallwitz collec­
tion; present location unknown. Illustrated i n Kunst and Kunsthandwerk 8 (1905), p. 29. Right, bottom. Photo:
Courtesy Verlag Anton Hiersemann, Stuttgart.

Figure 5a. Benoit I . Audran (French, 1661—1721), after Figure 5b. Benoit I . Audran (French, 1661—1721), after
Francesco Albani. Venus and Adonis w i t h Francesco Albani. Nymphs disarming sleep­
cupids. Engraving. H : 29.4 cm ( l W ) ; W: 34 ing cupids on the order o f Diana. Engrav­
cm (13W). N e w York, The Metropolitan ing. H : 29.7 cm (ll /*"); W: 34 cm (13 /s").
11 3

Museum o f Art, Harris Brisbane Dick Fund, New York, The Metropolitan Museum
1953 (53.600.4138). Photo: Courtesy The o f A r t , Harris Brisbane Dick Fund, 1953
Metropolitan Museum o f A r t , N e w York. (53.600.4137). Photo: Courtesy The M e t r o ­
politan Museum o f Art, N e w York.
44 Cassidy-Geiger

picts Venus and A d o n i s w i t h cupids after the r e n d e r i n g Staffage e i n antikes Opferfest, a u f der Innenseite
o f the subject b y Francesco A l b a n i (1578—1660). 20
The Bacchanalien mit vielen Figuren. Das Porzellan
scene o n the underside (fig. 4b) shows n y m p h s d i s a r m ­ C h i n a X V I I . Jahrh. die M a l e r e i v o n e i n e m deutschen

i n g sleeping cupids o n the order o f D i a n a . E n g r a v i n g s Uberdekorateur. Meissen, Anfang XVIII. Jahrh.

O h n e M a r k e . H ö h e 7.5 c m . , D u r c h m . 15 c m . E r ­
after A l b a n i b y B e n o i t I . A u d r a n (1661—1721) were i d e n ­
w o r b e n a u f der A u k t i o n Parpart i n B e r l i n . 2 7

t i f i e d as the source for the scenes o n b o t h sides o f the

dish b y A . B r ü n i n g i n 1905 (figs. 5 a - b ) . 2 1
Albani's T h e b o w l i l l u s t r a t e d i n the v o n Parpart sale catalogue
paintings, l i k e M i g n a r d ' s cycle, were p o p u l a r i z e d i n sets appears t o be the one n o w o w n e d b y the J. Paul G e t t y
o f tapestries as w e l l . 2 2
M u s e u m and was u n d o u b t e d l y one o f the pair o f b o w l s
T h a t the m y t h o l o g i c a l scenes were n o t recognized as sold f r o m the D u Sartel c o l l e c t i o n . B y the t i m e o f the
allegorical subjects as w e l l is made clear b y the fact that von Parpart sale, i t had lost its w o o d e n stand and ex­
the b o w l s that s h o u l d have been paired w i t h the dishes h i b i t e d a crack. I t is possible, however, that a second
i n the D u Sartel sale were instead paired together i n l o t b o w l exists, for another example o f a dish l i k e that
151: "Paire de bols de m e m e porcelaine et de meme in the Sevres m u s e u m was i l l u s t r a t e d b y H o f m a n n
decor p r i m i t i f , bordures bleues et gravures dans la p ä t e inl932. 2 8

avant la mise en couverte; ils o n ete egalement sur- T h e decoration o f the G e t t y b o w l can be dated t o
decores de sujets m y t h o l o g i q u e s en n o i r rehausse d'or. circa 1715—1720. A s n o t e d above, the t y p e o f porcelain
Iis sonts garnis de m o n t u r e s ä p i e d en bois sculpte et used b y Preissler w o u l d n o t have been available i n
dore les t r a n s f o r m a n t en sortes de coupes." 23
E u r o p e u n t i l after circa 1710 w h e n i t was first p r o d u c e d
O n e o f the D u Sartel b o w l s is p r o b a b l y that w h i c h i n C h i n a . T h e i n i t i a l engraved series b y de P o i l l y has
was later i n the L i s t c o l l e c t i o n and was described b y been dated t o circa 1710, 29
and the second series, p r e ­
Pazaurek as m o u n t e d o n an o l d w o o d e n base and deco­ sumably the source for the G e t t y b o w l and the Sevres
rated o n b o t h sides w i t h m y t h o l o g i c a l scenes s h o w i n g dish, was already i n use i n A u g s b u r g circa 1710—1712
Jupiter, Juno, and A m o r e t t i . 2 4
I n the same paragraph w h e n Elias A d a m executed a beaker enameled w i t h the
Pazaurek also mentions the dish i n the m u s e u m at Sevres t r i u m p h o f Bacchus after M i g n a r d . 3 0
Müller-Hofstede
as w e l l as a b o w l f r o m the v o n Parpart c o l l e c t i o n , w h i c h has p o i n t e d o u t the s t r o n g stylistic and thematic ties
was acquired b y the N o r d b ö h m i s c h e Gewerbemuseum between the Sevres dish and a large covered goblet i n
i n Reichenberg (present-day Liberec) and was also deco­ the U m e l e c k o p r a u m y s l o v e M u z e u m i n Prague ( U P M
rated o n b o t h sides w i t h " d i c h t e n Landschaftsfriesen 10017/1906). 31
The goblet is completely painted in
von w e i t e r Perspektive nebst figurenreicher Staffage Schwarzlot and g o l d w i t h foliate s t r a p w o r k and t w o
(antikes Opferfest u n d Bacchanalien) i n g o l d g e h ö h t e r m y t h o l o g i c a l scenes f r o m the c e i l i n g o f the Palazzo Far-
Schwarzlotmalerei." 25
T h e b o w l is i l l u s t r a t e d and de­ nese, p a i n t e d b y A n n i b a l e Carracci (d. 1609). T h e t r i ­
scribed i n the 1912 v o n Parpart sale catalogue, 26
and the u m p h o f Bacchus and A r i a d n e , a version different f r o m
same d e s c r i p t i o n is repeated almost w o r d for w o r d i n that b y M i g n a r d , is depicted as a frieze r u n n i n g a r o u n d
the n e w acquisitions l i s t i n g p u b l i s h e d i n the Zeitschrift the cup, and the procession o f nereids, t r i t o n s , and
des Nordhöhmischen Gewerbemuseums for 1912: cupids accompanying Peleus and Thetis advances
a r o u n d the cover. T h e scenes were copied f r o m one o f
3. R u n d e K u m m e m i t u n t e r g l a s b l a u e n B o r d ü r e n , aufs
reichste überdekoriert in Schwarzlot, mit Gold
the sets o f engravings that illustrate the p a i n t e d ceiling,
gehöht. Landschaftsfries mit weiter Perspektive, probably that b y P i e t r o A q u i l a (1650—1692). T h i s seems
Ortschaften, z w i s c h e n B ä u m e n versteckt, Feldern, to be the o n l y set f r o m the p e r i o d i n w h i c h the scenes
Tempeln und Burgen. A u f der Aussenseite als o f Bacchus and A r i a d n e and Peleus and T h e t i s are n o t

20. The sale took place at the Hotel Drouot, Paris, June 4-9, 1894; be Venus.
see the catalogue: Catalogue des porcelaines et faiences europeennes et de 21. A . B r ü n i n g , "Kupferstiche als Vorbilder für Porzellan," Kunst
Vextreme-orient . . . formant la collection de feu M. O. Du Sartel . . . , und Kunsthandwerk 8 (1905), pp. 28-29.
p. 30, lot 150. The w i d t h o f the dishes is given as 21 cm. The only 22. See Maurice Fenaille, Etat general des tapisseries de la manufacture
illustration o f the top o f the other dish is i n an article published i n des Gobelins . . . (Paris, 1903), vol. 2, pp. 399-417, and H . C. Marillier,
1905, see infra, note 22. "The Venus and Adonis Tapestries after Albani," Burlington Magazine
In the story o f Diana and Endymion, E n d y m i o n endures eternal 54 (1929), pp. 314-320, pis. I—III.
sleep i n return for perpetual youth and so is generally depicted asleep 23. D u Sartel sale catalogue (supra, note 20), pp. 30—31. The
when visited by Diana, his lover. For this reason, it is likely that the heights o f the bowls are given as 13 cm, a measurement which ob­
subject o f the decoration was misinterpreted at the time o f the 1894 viously includes the wooden mounts; the diameter o f the bowls is
sale. The figure standing w i t h a spear and a dog does not represent given as 16 cm.
Diana, but rather Adonis, and the sleeping figure is intended to 24. Pazaurek (supra, note 3), p. 214.
 Two Pieces of Porcelain 45

Figure 6. Left, Ignaz Preissler ( B o h e m i a n , 1676—1741).

Vase decorated w i t h s t i l l lifes o f flowers i n
vases, first quarter o f the e i g h t e e n t h century.
C h i n e s e p o r c e l a i n (blanc-de-chine) with over-
glaze d e c o r a t i o n i n Schwarzlot and g o l d . H :
15.9 cm (6V4"). Nuremberg, Germanisches
N a t i o n a l m u s e u m K e 2261. P h o t o : Courtesy
Germanisches N a t i o n a l m u s e u m , Nuremberg.

Figure 7. Top, Ignaz Preissler ( B o h e m i a n , 1676—1741).

Saucer decorated w i t h figures r e p r e s e n t i n g the
months, circa 1715—1720. Chinese porcelain
w i t h underglaze-blue d e c o r a t i o n a n d overglaze
d e c o r a t i o n i n Schwarzlot a n d g o l d . D i a m : 13.3
c m (5V4"). L o n d o n , B r i t i s h M u s e u m Franks
C o l l . 124.

i n the reverse o f those o n the goblet or o n the ceiling those i n de Poilly's engravings illustrates w e l l Preissler s
itself. 32
The goblet was c e r t a i n l y i n t e n d e d t o be a c a b i ­ confidence and skill i n a d a p t i n g a p r i n t e d design of
net or display piece, as w e r e the Sevres d i s h and the rectangular f o r m a t to a surface o f an e n t i r e l y different
Getty bowl. I t has been p u b l i s h e d as d a t i n g to circa c o n f i g u r a t i o n . T h e engraved scenes have been stretched
1725—1730, b u t some believe i t c o u l d be dated earlier. and t h e i r c o m p o n e n t s w o v e n i n t o the landscape. Stands
A c o m p a r i s o n o f the scenes o n the G e t t y b o w l with o f trees, saplings, and stumps, as w e l l as v i e w s o f b u i l d -

25. Pazaurek (supra, note 3), p. 214. nos. 26—29, pp. 66—73.
26. Kunstsammlungen Fjamilie] von Parpart, sale catalogue: 30. H e l m u t Seling, Die Kunst der augsburger Goldschmiede 1529-1868
Berlin, Lepke, March 18-22, 1912, lot 488, p. 76, pi. 39 (view (Munich, 1980), vol. 2, fig. 1053.
o f inside). 31. Müller-Hofstede (supra, note 8), p. 24. The goblet is illustrated
27. Zeitschrift des Nordböhmischen Gewerbemuseums, neue Folge: V I I i n The Corning Museum o f Glass and U m e l e c k o p r ü m y s l o v e
Jahrgang, N r . 3 u. 4 (1912), no. 3, p. 95. Muzeum, Prague, Czechoslovakian Glass 1350-1980, ex. cat. (Corning,
28. Friedrich H . Hofmann, Das Porzellan: Der europäischen Man­ N.Y., 1981), no. 28, p. 149, i l l . p. 63 (color).
ufakturen im XVIII. Jahrhundert (Berlin, 1932), p. 229, fig. 220. Inqui­ 32. For the engravings o f the Palazzo Farnese ceiling by Pietro
ries have determined that the dish is no longer i n Berlin and may have Aquila, see Ecole Franchise de Rome, Annibale Carracci e i suoi incisori,
been lost during the war. Slight variations i n the decoration indicate ex. cat. (Rome, 1986), no. X L I I D , pp. 169—183. The scenes depicted on
this is not the dish now i n the museum at Sevres. the goblet are nos. 10 and 17.
29. Dagmar Srnenskä, Französische Rokokographik (Hanau, n.d.),
46 Gassidy-Geiger

Figure 8. Ignaz Preissler ( B o h e m i a n , 1676—1741). Saucer

decorated w i t h allegory o f November, circa
1720. Schwarzlot d e c o r a t i o n . Present l o c a t i o n
unknown. Photo: Courtesy Verlag Anton
Hiersemann, Stuttgart.

ings and distant villages, have been composed t o b r i d g e

the ends o f the p r i n t source, creating a c o n t i n u o u s i m ­
age. M ü l l e r - H o f s t e d e p a r t i c u l a r l y n o t e d Preissler's use
o f e n t w i n e d trees at the ends o f a scene taken f r o m an
engraving. T h e inserted landscapes recall the p r i n t s o f Figure 9. M a r t i n Engelbrecht (German, 1684—1756),
Paul B r i l (1554-1626), J o h a n n Teyler (1648-after 1697), after Paul Decker. November. E n g r a v i n g . H : 27
and G a b r i e l Perelle (circa 1603—1667), which were c m ( 1 0 W ) ; W : 18.9 c m ( 7 7 i " ) .
6 Nuremberg,
w i d e l y collected f r o m the late seventeenth c e n t u r y and Germanisches Nationalmuseum H B 23789 . b

Photo: Courtesy Germanisches National-

are recognized sources for some o f Preissler's c o m ­
museum, Nuremberg.
positions. Occasionally, the b u i l d i n g s i n these i m a g ­
i n e d landscapes, l i k e the t o w e r e d c o m p l e x o n the i n ­
side o f the Getty bowl, seem specific enough to i n his use o f gold, a p p l y i n g i t i n h a i r - t h i n lines t o h i g h ­
have been taken f r o m a real setting, perhaps the estate l i g h t edges and folds or i n patterns o f s m a l l dots s p r i n ­
o f the p a t r o n . k l e d across draperies.
T h e scenes o n the b o w l and o n the Sevres dish i n c o r ­ T h e b o u q u e t i n the center o f the G e t t y b o w l (fig. I f ) ,
porate m a n y elements and m o t i f s that are considered at once a reference and a t r i b u t e t o Flora, is a rare e x a m ­
signatures o f Preissler's w o r k , such as the billowing ple o f Preissler's flower p a i n t i n g . T h e o n l y comparable
clouds and cresting waves, the s a i l i n g ships at sea, and example b y Preissler is that o n a hlanc-de-chine l i o n - m a s k
the distant h i l l s , w h i c h seem at t i m e s t o lean t o the jar in the Germanisches Nationalmuseum in Nu­
r i g h t . Preissler's masterful use o f the Schwarzlot tech­ r e m b e r g (Ke 2261), w h i c h consists o f t w o s t i l l lifes
n i q u e is evident i n every aspect o f the decoration, w h e r e o f flowers i n globular glass vases (fig. 6 ) . 3 3
However,
i t was used t o give v o l u m e t o the p a i n t e d f o r m s and o n t w o saucers o f Chinese porcelain w i t h underglaze-
define edges and s m a l l details. Preissler was v e r y careful blue borders that Preissler p a i n t e d i n Schwarzlot and

33. I wish to particularly thank Dr. Klaus Pechstein for the oppor­
tunity to examine this piece and others i n the collection.
 Two Pieces of Porcelain 47

Figures Wa-c. Top, Ignaz Preissler ( B o h e m i a n , 1676—1741). Leaf-shaped d i s h decorated w i t h p u t t o a n d sea d r a g o n ( i n t e r i o r ) a n d

s t r a p w o r k a n d foliate scrolls w i t h a m o r e t t i , fountains, birds a n d baskets o f f r u i t ( e x t e r i o r ) , circa 1715—1725.
M e i s s e n p o r c e l a i n decorated w i t h i r o n - r e d a n d g o l d . H : 4 c m ( W ) ; W : 8.3 c m ß / / ) ; D : 11.1 c m ( 4 W ) . Left,
1

i n t e r i o r . Right, b o t t o m . M a l i b u , T h e J. Paul G e t t y M u s e u m 86.DE.541.

48 Cassidy-Geiger

Figures 10d-e. D e t a i l s o f e x t e r i o r o f f i g u r e 10a.

 Two Pieces of Porcelain 49

Figure 11. Ignaz Preissler (Bohemian, 1676—1741). B o w l decorated w i t h sea gods and dolphins, circa 1715—1725.
Japanese porcelain w i t h decoration i n polychrome enamels and i n Schwarzlot and gold. Diam: 17.3 cm
( 6 / i 6 " ) . Formerly Dr. Joseph Kler collection; present location unknown. Photo: Courtesy Christie's,
13

N e w York.

Figure 12a. Barthel Beham (German, 1502-1540). Bat­ Figure 12b. Barthel Beham (German, 1502-1540). Bat­
tling sea god, 1525. Engraving. H : 4.7 cm tling sea god, 1525. Engraving. H : 4.3 cm
( 1 7 0 ; W : 27 cm (V/m"). London, British (PViO; W : 2.7 cm (lVie"). London, British
Museum 1870-10-8-2394. Museum 1870-10-8-2395.
50 Cassidy-Geiger

Figure 13. Ignaz Preissler ( B o h e m i a n , 1676—1741). Plate Figure 14. M u n i c i p a l d i p l o m a issued t o M i c h a e l S t e i n ­

decorated w i t h a p u t t o i n the guise o f a r i v e r m e t z o n F e b r u a r y 26, 1678. A u g s b u r g , 1678.
g o d , circa 1725. Schwarzlot a n d g o l d decora­ Sepia i n k o n p a r c h m e n t , heightened with
t i o n . F o r m e r l y B e r l i n , v o n D a l l w i t z collection; gray w a s h a n d g o l d leaf. H ( f u l l y opened):
present location unknown. Photo: Cour­ 64.5 c m ( 2 5 / " ) ; W : 68 c m ( 2 6 / " ) . C o l o g n e ,
3
8
3
4

tesy V e r l a g A n t o n H i e r s e m a n n , S t u t t g a r t . Bundeszahnärztekammer. Photo: Courtesy

B u n d e s z a h n ä r z t e k a m m e r , Cologne.

g o l d w i t h figures representing the m o n t h s after H a n s - these allegorical w o r k s date f r o m the Breslau p e r i o d ,

Sebald B e h a m (1500—1550), the inner circular border en­ but the "difficult poetic subjects" described i n the
closes a w r e a t h o f f r u i t or flowers (fig. 7 ) . 3 4
These K r o n s t a d t invoices indicate that allegorical subjects were
saucers are presently in the Umeleckoprümyslove s t i l l requested by the artist's patrons later i n his life.
M u z e u m i n Prague (18.959) and i n the B r i t i s h M u s e u m T h e Getty's leaf-shaped dish o f Meissen porcelain
(Franks C o l l . 124). adapted f r o m a blanc-de-chine m o d e l and p a i n t e d i n i r o n -
Preissler's oeuvre includes other allegorical themes red w i t h g o l d h i g h l i g h t s represents another popular
and cycles as w e l l , such as the elements, the continents, theme f r o m Preissler's Breslau p e r i o d (figs. 10a—e). T h e
and the m o n t h s . A saucer o b v i o u s l y f r o m a service i l ­ dish is decorated o n the inside w i t h a w i n g e d p u t t o
l u s t r a t i n g the latter is decorated w i t h a h u n t i n g allegory h o l d i n g a m a r s h reed and seated backwards o n a d o l ­
representing N o v e m b e r (fig. 8 ) . 3 5
T h e i m a g e derives p h i n l i k e sea d r a g o n w i t h a s p i r a l i n g tail. T h e inside r i m
f r o m a Paul D e c k e r design engraved b y M a r t i n E n g e l ­ shows Preissler's characteristic f o r m o f Laub- und Band­
brecht and p u b l i s h e d i n A u g s b u r g b y Jeremias W o l f f werk. On the outside, s t r a p w o r k and foliate scrolls
(fig. 9). C o m p a r i s o n o f the scene o n the saucer t o the course a r o u n d the sides s p r o u t i n g leaves and tendrils.
i m a g e i n the e n g r a v i n g illustrates again h o w Preissler Amoretti, fountains, baskets o f fruit, and birds are
adds his o w n elements t o the scene t o make i t better perched a m o n g the s c r o l l w o r k . T h e l e a f w o r k i n r e l i e f
accommodate the circular surface. I n this case, a zodiac o n the underside is o u t l i n e d i n i r o n - r e d and g o l d .
sign has been e m p l o y e d t o i d e n t i f y the subject; a tree is Some o f the m a n y s i m i l a r l y decorated leaf-shaped
used t o anchor the figure i n the f o r e g r o u n d ; and back­
dishes i n various museums are p a i n t e d l i k e this one i n
g r o u n d details enhance the recession o f space. M a n y o f
i r o n - r e d w i t h g o l d , and others are painted i n a c o r n -

Prague. I wish also to thank Aileen Dawson o f the British Museum

34. Dr. Dagmar Hejdovä and Dr. Olga D r a h o t o v ä deserve special
mention here for their generous assistance, support, and hospitality for allowing me to see this piece and others i n storage.
during the many days that I was permitted to study the collection i n 35. Pazaurek (supra, note 3), p. 219, fig. 181.
 Two Pieces of Porcelain 51

Figure 15. Ignaz Preissler ( B o h e m i a n , 1676—1741). Plate Figure 16. J o h a n n F r i e d r i c h P r o b s t , after Hieronymus
decorated with Fortune riding a dolphin, Sperling (German, 1695—1771). Fortune
circa 1725. D e c o r a t e d i n Schwarzlot and gold. riding a dolphin from Trojano regio Principi
F o r m e r l y Wroclaw, M u z e u m N a r o d o w e we Paridi. . . . E n g r a v i n g . H : 34.3 c m (1372"); W :
Wroclawiu; present location unknown. 22.9 c m (9"). N e w Y o r k , T h e M e t r o p o l i t a n
P h o t o : C o u r t e s y Verlag A n t o n H i e r s e m a n n , M u s e u m o f A r t , Harris Brisbane D i c k Fund,
Stuttgart. 1951 (51.540.6). P h o t o : C o u r t e s y T h e M e t r o ­
politan M u s e u m o f A r t , N e w York.

b i n a t i o n o f Schwarzlot and i r o n - r e d w i t h g o l d . 3 6
I t is n o t makes t h e m appear s t i f f and a w k w a r d l y posed, while
clear i f the dishes were p r o d u c e d i n d i v i d u a l l y , as s m a l l the aggressive m o d e l i n g gives t h e m a sort o f impressive
decorative tokens o f friendship or esteem, or as sets, w e i g h t and substance. T h i s m a y p a r t l y result f r o m the
perhaps b e l o n g i n g t o a larger table service. A l l have a use o f p r i n t sources or other models that feature the
f o r m o f Preissler's Laub- und Bandwerk a r o u n d the inside b o l d chiaroscuro effects favored b y Baroque artists.
r i m and s c r o l l w o r k o n the outside, w h i c h contains a B y the eighteenth century, parades o f sea creatures
standard repertoire o f elements, i n c l u d i n g r u n n i n g stags and p u t t i o n d o l p h i n s had become a generic sort o f
and covered urns i n a d d i t i o n t o those listed above. T h i s "classical" decoration, comparable t o the Bacchanalian
seemingly incongruous auxiliary decoration derives t r i u m p h s and celebrations that were s i m i l a r l y portrayed
u l t i m a t e l y f r o m French and G e r m a n o r n a m e n t a l e n ­ by Renaissance and B a r o q u e artists, often w i t h o u t spe­
gravings and constitutes the p r i m a r y decoration o f cific connotations or deeper i n d i v i d u a l m e a n i n g for
other Preissler pieces. T h e w a y i t has been f i t t e d t o an either the artist or his p a t r o n . T h i s was certainly
object o f such i r r e g u l a r f o r m typifies Preissler's crea­ the case w i t h Preissler's frequent treatment o f these
t i v i t y and s k i l l as an ornamentalist, and i t . is this that themes. I n a d d i t i o n t o the leaf-shaped dishes, he deco­
makes such w o r k s so i n t e r e s t i n g and engaging. rated other dish types, b o w l s , plates, and glassware w i t h
T h e e x e c u t i o n o f the figure o n the inside o f the dish such figures.
(fig. 10b), however, lacks the same k i n d o f energy and T h e exact sources for some o f Preissler's sea gods and
assurance. Preissler p r o b a b l y received n o f o r m a l t r a i n ­ p u t t i suggest that those o n the leaf-shaped dishes p r o b a ­
i n g as an artist, and as a result, his r e n d e r i n g o f the b l y derive f r o m engraved and other models as w e l l . A
h u m a n figure and other t h r e e - d i m e n s i o n a l forms often b o w l o f Japanese porcelain sold at Christie's, N e w Y o r k ,

36. Other examples k n o w n to the author are i n the Germanisches seum o f American History, Smithsonian Institution, Washington,
Nationalmuseum, Nuremberg (inv. nr. Ke 765), the Umelecko- D.C. (SyzColl. 355).
prumyslove Muzeum, Prague (inv. nr. 5291), and the National M u -
52 Cas sidy-Geiger

i n 1985 (fig. 11) is painted o n the outside w i t h sea gods T h e entire scene was taken f r o m an e n g r a v i n g after
w i e l d i n g swords and seated astride sea creatures w i t h H i e r o n y m u s Sperling (1695—1771), w h i c h was p u b l i s h e d
h o r n y snouts and s p i r a l i n g t a i l s . 37
These figures were i n A u g s b u r g , circa 1724 (fig. 16). T h e v o n D a l l w i t z and
taken d i r e c t l y f r o m a pair o f engravings b y B a r t h e l W r o c l a w m u s e u m plates were p r o b a b l y painted circa
B e h a m (1502-1540) dated 1525 (figs. 1 2 a - b ) . Preissler 1725 or later, after Sperling's design was published.
inserted t h e m i n a seascape o f his o w n i n v e n t i o n i n f l u ­ Preissler's talents and his r e p u t a t i o n as a Schwarzlot
enced b y seventeenth-century engraved sources. The painter were w e l l established early i n the eighteenth
Christie's b o w l was p r o b a b l y p a i n t e d circa 1715—1725. c e n t u r y w h e n his w o r k s entered the collections o f m a n y
A s w i t h the B r i t i s h M u s e u m saucer (fig. 7), the i d e n t i ­ p r o m i n e n t citizens and members o f the n o b i l i t y i n east­
f i c a t i o n o f the p r i n t source demonstrates the persistence ern and central Europe. I n technique as m u c h as subject
o f certain engraved images and themes t h r o u g h t w o matter, they reflect the persistence o f seventeenth-
centuries o f B a r o q u e art. c e n t u r y tastes and traditions t h r o u g h the first quarter o f
A plate f o r m e r l y i n the v o n D a l l w i t z c o l l e c t i o n is the eighteenth century. I n 1731, at the age o f fifty-five,
painted i n the center w i t h a p u t t o i n the guise o f a river Preissler c o n t i n u e d t o defend the Schwarzlot tradition i n
g o d w i t h his t r i d e n t resting against an o v e r t u r n e d vase his reply to an apparent request f r o m his p a t r o n for
f r o m w h i c h water flows (fig. 13). A v i g n e t t e w i t h the decoration i n p o l y c h r o m e enamels. H e stated i n a letter
same f i g u r e o n the r i v e r b a n k and one o f the birds i n the that, l i k e his father, he considered Schwarzlot painting
b a c k g r o u n d occurs o n a d i p l o m a issued i n A u g s b u r g i n i n red and black to be the finest and m o s t subtle f o r m o f
1678 ( f i g 14). T h e d i p l o m a is bordered at the b o t t o m b y decoration ( " M e i n Vatter, auch i c h allzeit schwarz u n d
a series o f related images o f w i n g e d p u t t i o n sea a n i ­ r o h t b e m o h l e t , disses, u n d t e r aller Parcellan M a h l e r e y
mals. A n o t h e r plate f o r m e r l y i n the M u z e u m N a r o d o w e dass feinste u n d t Suptieleste i s t " ) . 3 8
Yet b y January o f
w e W r o c l a w i u (fig. 15) shows the female figure o f For­ 1732, Preissler had c o m p l e t e d an order that i n c l u d e d
t u n e w i t h a b i l l o w i n g sail seated o n a d o l p h i n i n a several pieces w i t h p o l y c h r o m e d e c o r a t i o n , 39
a sign that
storm-tossed sea; this i m a g e appears i n a frame b o r ­ the t r a d i t i o n established almost one h u n d r e d years ear­
dered b y figures representing the w i n d s and the seas. lier i n N u r e m b e r g was at its close.

The Metropolitan Museum o f A r t

N e w York

37. Important European Porcelain and Pottery, sale catalogue: Chris­ and published by J i n k i n 1923 (supra, note 8), p. 31.
tie's, N e w York, A p r i l 27, 1985, lot 96. This view is not shown i n the 39. Müller-Hofstede (supra, note 8), p. 49; originally transcribed
catalogue. and published by Jifik i n 1923 (supra, note 8), p. 34.
38. M ü l l e r - H o f s t e d e (supra, note 8), p. 47; originally transcribed
Theoktistos and Associates
in Twelfth-Century Constantinople:
An Illustrated New Testament of A . D . 1133
Robert S. Nelson

T h i s b o o k was f i n i s h e d b y t h e grace o f C h r i s t i n t h e t w e l v e pages o f c a n o n tables (figs. 6—12), six o r n a m e n ­

year 6641 [ A . D . 1133], t h e e l e v e n t h i n d i c t i o n , the t h i r ­ tal headpieces (figs. 2—5), a n d f o u r evangelist p o r t r a i t s
t i e t h o f A p r i l , t h e t h i r d h o u r o f t h e day, t h e f i f t e e n t h (figs. 22—25), the m a n u s c r i p t once c o n t a i n e d o t h e r i l ­
year o f t h e e m p e r o r J o h n C o m n e n u s , t h e P o r p h y r o g e n -
l u m i n a t i o n s as w e l l . A f u l l - p a g e m i n i a t u r e o f the t w e l v e
netos, a n d t h e m o s t p i o u s augusta Irene, b y t h e h a n d o f
apostles ( f i g . 21), f o r m e r l y f o l i o 134v, served as a f r o n ­
the sinner T h e o k t i s t o s . 1

tispiece t o the A c t s o f the A p o s t l e s a n d is n o w i n the

With these words the humble scribe Theoktistos Paul C a n e l l o p o u l o s collection i n Athens. 3
Two more

ended the N e w Testament section o f a h a n d s o m e G r e e k pages o f c a n o n tables w e r e r e m o v e d b e t w e e n folios 1

manuscript, f o r m e r l y i n the D i o n y s i o u m o n a s t e r y on a n d 2 and w e r e r e c e n t l y discovered b y H u g o B u c h t h a l

M o u n t A t h o s (cod. 8) and p r e s e n t l y at the J. Paul G e t t y in the l i b r a r y o f the Z o g r a p h o u m o n a s t e r y o n M o u n t

Museum (Ms. Ludwig I I 4). 2

Now decorated with Athos. 4
Finally, as discussed b e l o w , an offset o f c o l o r

I began this paper as a Guest Scholar o f the J. Paul Getty Museum Miniaturenhandschriften (Stuttgart,
and completed i t while I was a Fellow at the National Humanities 1977-1982), 3 vols.
Center. For making m y stay at the Museum so enjoyable and produc­ JOB: Jahrbuch der österreichischen
tive, I wish to thank Thomas Kren and Ranee Katzenstein o f the Byzantinistik
Department o f Manuscripts. Others w h o facilitated m y research were I . Spatharakis, Corpus of Dated Il­
Spatharakis, Corpus:
Fran Terpak, who secured important photographs quickly, Frank Preus- luminated Greek Manuscripts (Leiden,
ser and Michael Schilling, w h o provided technical advice concerning 1981).
the L u d w i g manuscript, and Andrew D y c k o f U C L A , w h o discussed I . Spatharakis, " A n Illuminated
Spatharakis, "Grammar"
texts w i t h me. Greek Grammar Manuscript i n
Abbreviations Jerusalem: A Contribution to the
Anderson, "Examination": J. C. Anderson, " A n Examination Study o f Comnenian Illuminated
o f Two Twelfth-Century Centers o f Ornament" JOB 35 (1985),
Byzantine Manuscript Production" pp. 231-244.
(Ph.D. diss., Princeton University, Von E u w and Plotzek: A. v o n Euw and J. M . Plotzek, Die
1975). Handschriften der Sammlung Ludwig
Buchthal, "Disiecta Membra" H . Buchthal, "Disiecta Membra," (Cologne, 1979), vol. 1.
The Burlington Magazine 124 (1982),
p. 214, figs. 15-17. 1. Fol.268v: ETeAeico9(T|) r\ Trapoö(aa) ßißXo(s) x<*piTi x ( P
5 L ( J T 0
)^
Buchthal, "Escorial" H . Buchthal, " A Greek N e w Testa­ kv er(ei) TW ax|xa (LVÖLKTLWVOS) ia p/n(vl) carpiÄ.A.iü) X wpa 7' T(-qs)
5

ment Manuscript i n the Escorial L i ­ T)|jLepas TW TrevTeKaiöeKaTO) €T(ei) TTJS ßaaiAeia«; K(vpo)\) uo(avvou)
brary: Its Miniatures and Its B i n d ­ Kai TTOp(|)\)po7evvf|T(ov) TOV KO(xvr|Voi3 Kai eipT)vins TT|<; eixreßeaTcmis
ing," Byzanz und der Westen: Studien mryoixrrfiqs) 01a x^ipös ° v aixapTwAoO öeoKTioTOU
T

zur Kunst des europäischen Mittelal­ 2. Description and bibliography follow i n the appendix.
ters, ed. I . Hutter (Vienna, 1984), 3. Council o f Europe, Byzantine Art: An European Art, 2nd ed.
pp. 85-98. (Athens, 1964), pp. 317—318. The leaf is n o w mounted on wood. The
Buchthal, "Melbourne" H . Buchthal, " A n Illuminated Byz­ manuscript's opening, folios 134v—135r, showing the miniature before
antine Gospel B o o k o f about 1100 the beginning o f Acts, is illustrated i n F. Dölger, E. Weigand, and A .
A . D . , " i n Art of the Mediterranean Deindl, Mönchsland Athos (Munich, 1942), fig. 116. The folio is also
World A.D. WO to 1400 (Washington, visible i n the Library o f Congress' m i c r o f i l m o f the manuscript made
D C , 1983), pp. 140-149, reprinted in 1953. See E. W. Saunders, A Descriptive Checklist of Selected Manu­
from the Special Bulletin of the scripts in the Monasteries of Mount Athos (Washington, D C , 1957),
National Gallery of Victoria ( M e l ­ pp. x i , 3. Thus the leaf was removed sometime after 1953.
bourne, 1961). 4. Buchthal, "Disiecta Membra," p. 214, figs. 15—16.
I . Hutter, Corpus der byzantinischen
54 Nelson

p r o d u c e d a l l four o f the m a n u s c r i p t s evangelist p o r ­

traits. I t figured i n various paleographical studies and
catalogues and was presented i n another general w o r k
o n M o u n t A t h o s , p u b l i s h e d i n 1942 b y F. D ö l g e r et a l . 8

N o n e o f these authors, however, studied the m a n u s c r i p t

i n detail, and i n m o r e recent years few have had the
o p p o r t u n i t y t o examine the b o o k personally.
Since I 9 6 0 , the m a n u s c r i p t has passed t h r o u g h t w o
9

relatively inaccessible private collections before the M u ­

seum acquired i t i n 1983 as part o f the L u d w i g collec­
t i o n and thereby made i t available t o a w i d e r audience.
Sequestered for over t w o decades, the G e t t y N e w Testa­
m e n t has n o t been f u l l y i n c o r p o r a t e d i n t o recent schol­
arship on twelfth-century Byzantine illumination.
T h u s , w h i l e its p u b l i s h e d m i n i a t u r e s have l o n g been
used as c h r o n o l o g i c a l guides t o the d a t i n g o f other
manuscripts, the m a n u s c r i p t i t s e l f has n o t received the
close s c r u t i n y that its h i g h q u a l i t y i l l u m i n a t i o n and its
w e l l - d e f i n e d provenance warrant. T h e present a t t e m p t
at such an i n q u i r y w i l l first explore the circumstances o f
the m a n u s c r i p t s creation and t h e n consider its decora­
t i o n i n the larger context o f t w e l f t h - c e n t u r y B y z a n t i n e
book illumination.
T h e colophon, w r i t t e n i n the customary passive voice,
Figure 1. C o l o p h o n a n d later ex l i b r i s o f the D i o n y s i o u documents the m o m e n t o f the manuscript's c o m p l e t i o n i n
m o n a s t e r y . N e w Testament, f o l . 2 6 8 v . C o n ­
exhaustive fashion: the years elapsed since the creation o f
s t a n t i n o p l e , 1133. Pen a n d i n k o n v e l l u m . H :
the w o r l d (i.e., 5,508 years before the b i r t h o f Christ); the
220 m m (8 /s"); W : 180 m m (7"). M a l i b u , T h e
5

J. Paul Getty Museum Ms. Ludwig I I 4; indiction number, or year d u r i n g a repeating fifteen-year
83.MB.68. cycle; the day o f the m o n t h , b u t n o t i n this case the day o f
the week; the h o u r o f the day—the t h i r d , corresponding
o n f o l i o l r is the o n l y trace o f yet another decorated to m i d m o r n i n g ; and the regnal year o f the Byzantine e m ­
page, w h i c h m u s t have served as the frontispiece t o peror John I I Comnenus (r. A . D . 1118—1143), Porphyrogen-
the v o l u m e . netos, or " b o r n to the purple," and his consort, Irene. A t 10

D e l u x e i l l u m i n a t e d B y z a n t i n e manuscripts w i t h such the end comes the name o f the scribe, w h o as usual p r o ­
precise i n d i c a t i o n s o f date and, as w e shall see, p r o v e ­ fesses his h u m i l i t y , fortunately n o t to the extent o f o m i t ­
nance are n o t c o m m o n , and doubtlessly for this reason t i n g his name. Theoktistos tells us n o t h i n g else about
the earliest students o f the subject were attracted t o the himself, b u t his name, n o t a c o m m o n one for scribes,
manuscript. I n 1891 H e i n r i c h B r o c k h a u s first men­ appears i n several other manuscripts, w h i c h C. R. M o r e y
t i o n e d and i l l u s t r a t e d the p o r t r a i t o f M a t t h e w i n a g e n ­ i n 1914 and J. B i c k i n 1920 attributed to the same hand.
11 12

eral b o o k o n art at M o u n t A t h o s . Thereafter, the b o o k

5
Recently, however, H . H u n g e r and O. Kresten have split
was briefly noted i n art historical studies by C. R. M o r e y apart this group, assigning three manuscripts i n Vienna to
(1914) 6
and b y A . M . F r i e n d , Jr. (1927), 7
who re­ a second Theoktistos, w h o w o r k e d i n the fourteenth cen-

5. H . Brockhaus, Die Kunst in den Athos-Klöstern (Leipzig, 1891), 12. J. Bick, Die Schreiber der wiener griechischen Handschriften
pp. 183, 211, 231-233, pi. 21. (Vienna, 1920), pp. 65-66.
6. C. R. Morey, East Christian Paintings in the Freer Collection 13. H . Hunger and O. Kresten, "Archaisierende Minuskel und
(Washington, D.C., 1914), pp. 28, 30. Hodegonstil i m 14. Jahrhundert: Der Schreiber Theoktistos und die
7. A . M . Friend, Jr., "The Portraits o f the Evangelists i n Greek KpdXatva TWV TpißaXwv," JOB 29 (1980), pp. 187-236.
and Latin Manuscripts," Art Studies 5 (1927), pp. 125, 133, figs. 9-12. 14. Illustrated i n Morey (supra, note 6), pl. I I . This scribe uses an
8. D ö l g e r et al. (supra, note 3), pp. 194—197. entirely different zeta from the characteristic type o f the copyist o f
9. Date noted by Buchthal, "Disiecta Membra," p. 214. Ms. L u d w i g I I 4.
10. The basic source for these chronological details is V. Grumel, 15. O n the manuscript see Hunger and Kresten (supra, note 13),
Traite d etudes byzantines: I . La Chronologie (Paris, 1958).
f
pp. 210-212 w i t h further bibliography.
11. Morey (supra, note 6), pp. 27—29. 16. Texts i n ibid., p. 211.
 Theoktistos and Associates 55

tury. 13
T h e script o f a fourth manuscript, represented o n l y p o r t e d that the monastery had t w o h u n d r e d m o n k s . 2 0

by t w o folios i n the Freer Gallery o f A r t i n Washington, Its p r o s p e r i t y is attested b y an event that t o o k place
D.C., should also be divorced f r o m the group, for i t is by during the r e i g n o f J o h n Comnenus' son M a n u e l .
neither Theoktistos I nor I I . 1 4
T h u s at present the o n l y W i s h i n g t o have an i m p e r i a l banquet o n v e r y short
other manuscript by the scribe o f the Getty N e w Testa­ notice, the e m p e r o r succeeded i n o b t a i n i n g the neces­
ment is a copy o f saints' lives for the m o n t h o f N o v e m b e r sary provisions f r o m the monastery, i n c l u d i n g w h i t e
i n Paris (Bibliotheque Nationale gr. 1570). 15
bread, vegetables, olives, cheese, several k i n d s o f fish,
A c c o r d i n g t o notes o n folio 213r, Paris gr. 1570 was and black and red caviar. 21
F o l l o w i n g the L a t i n occupa­
c o m p l e t e d o n June 9, 1127, and was w r i t t e n b y T h e o k ­ t i o n o f C o n s t a n t i n o p l e d u r i n g the t h i r t e e n t h century,
tistos for the A b b o t M a x i m o s . A further e n t r y o n f o l i o the monastery was again p r o m i n e n t , and i n the early
214v records the book's o w n e r s h i p b y the monastery o f fifteenth c e n t u r y a Spanish v i s i t o r to the c i t y e x t o l l e d
Saint J o h n the B a p t i s t i n Petra, located i n the n o r t h ­ the monastery's rich mosaics, marbles, pavements, metal
western corner o f the c i t y o f C o n s t a n t i n o p l e , n o t far and glass lamps, and g i l d e d d o o r s . 22
I t also possessed
f r o m the i m p e r i a l Blachernae palace. 16
T h e scripts o f all a considerable library, which can be reconstructed
three notices i n the Paris v o l u m e agree w i t h each other t h r o u g h a characteristic ex libris, the same one that T h e ­
and w i t h the m a i n text o f the m a n u s c r i p t and closely oktistos and A r s e n i o s copied i n t h e i r manuscripts.
resemble the G e t t y N e w Testament. 17
Because the t w o A m o n g its h o l d i n g s were t w o art historically i m p o r t a n t
books, w r i t t e n i n 1127 and 1133, are near c o n t e m p o ­ volumes, the famous s i x t h - c e n t u r y Dioscurides m a n u ­
raries, there can be n o d o u b t that the same T h e o k t i s t o s script i n V i e n n a and a fine eleventh-century Gospel
w r o t e b o t h . W h e t h e r the scribe was actually a m o n k at b o o k i n A t h e n s ( N a t i o n a l L i b r a r y cod. 5 7 ) . 23

this establishment, also k n o w n as the Prodromos-Petra D i d T h e o k t i s t o s w r i t e the G e t t y N e w Testament for

monastery, is unclear; i n neither the Paris n o r the G e t t y the Prodromos-Petra monastery, as von Euw and
m a n u s c r i p t does he call h i m s e l f a m o n k . I n this respect P l o t z e k have assumed? 24
T h e book's relatively large size
T h e o k t i s t o s ' m a n u s c r i p t for the Prodromos-Petra m o n ­ (220 X 180 m m ) , its l i t u r g i c a l rubrics, and the presence
astery contrasts w i t h one copied b y his c o n t e m p o r a r y o f the N e w Testament, n o t j u s t the four Gospels, m i g h t
Arsenios. T h e latter inscribed the monastery's ex libris suggest an i n s t i t u t i o n a l p a t r o n . C e r t a i n l y i t is larger
i n Paris, B i b l i o t h e q u e N a t i o n a l e gr. 891, stating i n the than a class o f d i m i n u t i v e Gospel books, measuring 120
c o l o p h o n that the b o o k was c o m p l e t e d i n 1136 b y " t h e X 90 m m or less, that were made i n the later eleventh
m o n k A r s e n i o s " for " t h e abbot o f the same monastery, and t w e l f t h centuries for the personal use o f priests and
the m o n k M a x i m o s . " 1 8
T h i s A r s e n i o s t h e n was defi­ monks. 25
Yet i n B y z a n t i u m , u n l i k e the L a t i n West,
n i t e l y a m e m b e r o f the Prodromos-Petra c o m m u n i t y , sharp distinctions cannot be made b e t w e e n private and
whose abbot, Maximos, commissioned manuscripts public religious texts, and n o t h i n g prevents the G e t t y
f r o m the t w o scribes. E v e n i f T h e o k t i s t o s d i d n o t be­ New Testament f r o m b e i n g the c o m m i s s i o n o f an i n d i ­
l o n g to the monastery, the Paris m a n u s c r i p t o f 1127 at v i d u a l , either lay or religious. T h e o n l y evidence i n this
the v e r y least locates h i m i n C o n s t a n t i n o p l e six years regard is o f a negative nature. U n l i k e Paris gr. 1570,
before he w r o t e the G e t t y N e w Testament and associ­ T h e o k t i s t o s d i d n o t add t o the G e t t y N e w Testament
ates h i m w i t h a major monastery i n the capital. the t r a d i t i o n a l ex libris o f the Prodromos-Petra monas­
L i t t l e k n o w n before the t w e l f t h century, the m o n a s ­ tery, verses that were considered i m p o r t a n t e n o u g h t o
tery o f Saint J o h n the B a p t i s t i n Petra became p r o m i ­ be inscribed i n over t w e n t y s u r v i v i n g manuscripts.
nent at the end o f the eleventh and the b e g i n n i n g o f the Such an o m i s s i o n might indicate a p a t r o n other t h a n the
t w e l f t h centuries, i n part as a result o f i m p e r i a l sup­ monastery. T h u s , w h i l e the G e t t y N e w Testament re­
port. 19
I n 1200 a Russian v i s i t o r t o C o n s t a n t i n o p l e re- veals m u c h m o r e about the circumstances o f its creation

17. Cf., ibid., figs. 3-6, 8. 20. Majeska (supra, note 19), p. 341.
18. The manuscripts o f Arsenios are surveyed i n E. D. Kakoulidi, 21. Janin (supra, note 19), p. 422.
" H ßißXioÖTJKTi TTJS ixovrjs IIpo8pö|Xov—üerpas OTTJV KoovoTav-
C
22. Ibid., pp. 425—426; S. Cirac, "Tres monasterios de C o n -
TLVOUTTOXT]," Hellenika 21 (1968), pp. 21—24. The Paris manuscript stantinopla visitados por espanoles en el afio 1403," Revue des etudes
(Bibliotheque Nationale gr. 891) has a decorated headpiece. See byzantines 19 (1961), pp. 366—373; G. Le Strange, Clavijo Embassy to
Spatharakis, Corpus, p. 42, fig. 262. Tamerlane (New York, 1928), pp. 62-63.
19. The basic sources on the monastery are collected i n R. Janin, 23. Manuscripts associated w i t h the monastery are surveyed i n
La geographie ecclesiastique de Vempire byzantin, 2nd ed. (Paris, 1969), Kakoulidi (supra, note 18), pp. 3—39.
part 1, vol. 3, pp. 421—429; and G. P. Majeska, Russian Travelers to 24. Von E u w and Plotzek, p. 162.
Constantinople in the Fourteenth and Fifteenth Centuries (Washington, 25. A . Weyl Carr, " D i m i n u t i v e Byzantine Manuscripts," Codices
D.C., 1984), pp. 339-345. Manuscripti 6 (1980), pp. 133-136.
56 Nelson

Figure 2. F i r s t page o f the G o s p e l o f M a t t h e w . N e w Figure 3. F i r s t page o f the G o s p e l o f M a r k . N e w Testa­

Testament, fol. Ur. Constantinople, 1133. m e n t , f o l . 4 6 v . C o n s t a n t i n o p l e , 1133. T e m p e r a
T e m p e r a a n d g o l d o n v e l l u m . H : 220 mm a n d g o l d o n v e l l u m . H : 220 m m (87s"); W :
( 8 W ) ; W : 180 m m (7"). M a l i b u , T h e J. Paul 180 m m (7"). M a l i b u , T h e J. Paul G e t t y M u ­
G e t t y M u s e u m M s . L u d w i g I I 4; 8 3 . M B . 6 8 . s e u m M s . L u d w i g I I 4; 8 3 . M B . 6 8 .

t h a n the great m a j o r i t y o f i l l u m i n a t e d B y z a n t i n e m a n u ­ pleted his w o r k at that p o i n t . 2 6

T h e t w o w r i t i n g styles,
scripts w i t h o u t colophons, the t r a i l o f easily available w h i l e related, are nonetheless rather different i n overall
evidence ends all t o o soon. A t that p o i n t one m u s t re­ effect and specific letters. T h e o k t i s t o s achieves a r a p i d
sort t o codicological, paleographical, and art historical r h y t h m f r o m narrow, t h i n letters, especially the n u , and
analysis o f the m a n u s c r i p t i n the context o f C o n - frequent slashing abbreviation m a r k s (figs. 1—5). H i s
s t a n t i n o p o l i t a n b o o k p r o d u c t i o n o f the second quarter collaborator (fig. 13) w r i t e s a m o r e c o n v e n t i o n a l h a n d
o f the t w e l f t h century, a fertile p e r i o d i n the h i s t o r y o f w i t h fluid transitions and c u r v i l i n e a r letters, for e x a m ­
Byzantine illumination. ple, the lambda, w h i c h contrasts w i t h the m o r e angular
T h e c o d i c o l o g y and paleography o f the G e t t y N e w ductus o f T h e o k t i s t o s . To the latter's text, the second
Testament p r o v i d e the first set o f clues t o its process o f scribe added m a r g i n a l l i t u r g i c a l rubrics. T h e m a n u s c r i p t
creation. T w o scribes w o r k e d o n the manuscript. T h e - is thus a j o i n t effort o f t w o c o n t e m p o r a r y scribes.
oktistos, the p r i n c i p a l scribe, w r o t e the entire N e w Tes­ T h e decoration is consistent t h r o u g h o u t the m a n u ­
t a m e n t (fols. Ur—268v; figs. 1—5). A second scribe d i d script, the same colors and designs b e i n g used i n the
the p r e l i m i n a r y letter o f Eusebius (fol. l r — v ; fig. 13) and full-page evangelist portraits (figs. 22—25), the o r n a ­
the c o n c l u d i n g l i t u r g i c a l tables (fols. 269r—280r) and m e n t a l headpieces at the b e g i n n i n g o f each Gospel (figs.
added the n u m b e r s t o the canon tables (fols. 2r—7v; figs. 2—5), and the canon tables (figs. 6—12), as n o t e d below.
6—12). T h e c o l o p h o n appears n o t i n the usual p o s i t i o n at However, this does n o t suggest that one or b o t h scribes
the e n d o f the m a n u s c r i p t o n f o l i o 280r, b u t m a n y pages were responsible for the i l l u m i n a t i n g o f the m a n u s c r i p t .
earlier o n f o l i o 268v (fig. 1), because T h e o k t i s t o s c o m ­ Rather the t w o operations were separate and n o t es-

26. The contrasting scripts o f folios 268v and 269r are well illus­ (Boston, 1935), fasc. 3, no. 116, pi. 198.
trated i n K . Lake and S. Lake, Dated Greek Manuscripts to the Year 1200
 Theoktistos and Associates 57

Figure 4. F i r s t page o f the G o s p e l o f L u k e . N e w Testa­ Figure 5. F i r s t page o f the G o s p e l o f J o h n . N e w Testa­

m e n t , f o l . 70r. C o n s t a n t i n o p l e , 1133. T e m p e r a m e n t , f o l . 107v. C o n s t a n t i n o p l e , 1133. T e m ­
a n d g o l d o n v e l l u m . H : 220 m m (87s"); W : pera a n d g o l d o n v e l l u m . H : 220 m m (8 /s"); 5

180 m m (7"). M a l i b u , T h e J. Paul G e t t y M u ­ W : 180 m m (7"). M a l i b u , T h e J. Paul G e t t y

s e u m M s . L u d w i g I I 4; 8 3 . M B . 6 8 . M u s e u m M s . L u d w i g I I 4; 8 3 . M B . 6 8 .

pecially w e l l coordinated, and the five f i g u r a l m i n i a ­ e n d o f the Gospel o f Luke, the chapters i n J o h n , and the
tures are p a i n t e d o n single folios t i p p e d i n t o regular text b e g i n n i n g o f the Gospel o f J o h n .
quires (see appendix). I n t w o cases the inserted m i n i a t u r e s actually i n t e r r u p t
T h u s M a t t h e w (fol. lOv; f i g . 22) is attached t o the texts. M a r k (fol. 45v) comes i n the m i d d l e o f the list o f
preceding t w o folios (fols. 8—9), c o n t a i n i n g the list o f chapters, w h i c h begins o n folio 4 4 v and continues o n
chapters i n M a t t h e w . Before i t was r e m o v e d f r o m the folio 46r. Worse s t i l l , J o h n (fol. 106v), designed t o be a
manuscript, the page w i t h the t w e l v e apostles c o n ­ frontispiece to his Gospel, appears before the e n d o f
stituted f o l i o 134v (fig. 21) and m u s t have been j o i n e d Luke, so that T h e o k t i s t o s ' conclusion t o L u k e and his
either t o the preceding or the f o l l o w i n g quaternion. list o f chapters i n J o h n f o l l o w o n f o l i o 107r. 27
The orig­
M a r k (fol. 45v; f i g . 23) is p u t b e t w e e n bifolios 3 and 4 i n a l l y b l a n k rectos o f all five m i n i a t u r e s (fols. lOr, 45r,
i n an o t h e r w i s e regular q u a t e r n i o n (fols. 43—51), c o n ­ 69r, 106r, 134r) make these i n t e r r u p t i o n s even m o r e dis­
t a i n i n g the end o f the Gospel o f M a t t h e w , the list o f concerting. A later o w n e r was sufficiently bothered b y
chapters i n M a r k , and the b e g i n n i n g o f the Gospel o f the p o r t r a i t o f J o h n t o w r i t e the conclusion o f Luke's
M a r k . S i m i l a r l y L u k e (fol. 69v; f i g . 24) falls b e t w e e n Gospel o n the back (fol. 106r) o f the m i n i a t u r e , thereby
bifolios 1 and 2 o f a f o r m a l l y regular q u a t e r n i o n (fols. m a k i n g redundant T h e o k t i s t o s ' o r i g i n a l text o n the f o l ­
68—76), c o m p r i s i n g the list o f chapters i n L u k e and the l o w i n g folio.
b e g i n n i n g o f the Gospel o f L u k e . F i n a l l y J o h n (fol. T h e manner i n w h i c h the parchment o f the full-page
106v; f i g . 25) is f o u n d b e t w e e n bifolios 3 and 4 o f an m i n i a t u r e s is r u l e d further distinguishes t h e m f r o m the
o t h e r w i s e regular q u a t e r n i o n (fols. 101—109) w i t h the basic text o f the m a n u s c r i p t (see the appendix). D o u b l e
vertical lines define the lateral borders o f the frame, and
single h o r i z o n t a l lines m a r k the upper and l o w e r l i m i t s
27. This opening i n the manuscript, folios 106v—107r, is illus­
trated by Dölger et al. (supra, note 3), fig. 115. o f the m i n i a t u r e . T h e pattern thus aids the i l l u m i n a t o r .
58 Nelson

O t h e r special r u l i n g s are f o u n d elsewhere i n the m a n u ­ the evangelists (figs. 22—25) and the apostles (fig. 21)
script. A d i s t i n c t i v e pattern sets u p some o f the l i t u r g i ­ appears i n the headpiece for M a r k (fig. 3) and i n certain
cal tables at the end o f the b o o k (fols. 275r—280r). I n the canon tables (figs. 7, 9, 11, 12). For the full-page m i n i a ­
i n i t i a l quire w i t h the canon tables (fols. 1—7), three sets tures, the painter w o r k e d w i t h separate pages o f parch­
o f double vertical lines define the w i d t h s o f the three ment, g u i d e d b y the r u l i n g lines that he incised t o
painted c o l u m n s o f the tables (figs. 6—12). O n l y f o l i o 1 insure u n i f o r m p r o p o r t i o n s for the frames. He did
w i t h Eusebius' letter about the canon tables has h o r i ­ not, however, rule all four evangelist portraits
zontal lines for the text (fig. 13). simultaneously, because the m i n i a t u r e s ' measurements
Taken together, these and other details p e r m i t a par­ vary slightly. 28

t i a l r e c o n s t r u c t i o n o f h o w the G e t t y N e w Testament T h e p r o d u c t i o n stages o f the canon tables are m o r e

was made. T h e o k t i s t o s w r o t e the m a i n text, sometimes d i f f i c u l t t o reconstruct, b u t the i l l u m i n a t o r p r o b a b l y
i n d e n t i n g one or m o r e lines at the b e g i n n i n g o f major t o o k the lead here. T h r e e sets o f double vertical lines
textual divisions for g i l d e d initials (see figs. 2—5). These define the w i d t h s o f the three p a i n t e d c o l u m n s o n each
i n i t i a l s are a l l b y the same h a n d and resemble the m i n o r page, so that i t m u s t have been the i l l u m i n a t o r w h o
decoration and the g o l d titles, b o t h surely b y the scribe. started w i t h the b l a n k parchment. A g a i n his apparent
Theoktistos must have added the initials after he objective was u n i f o r m i t y i n the manuscript, because the
finished w r i t i n g his text; w h e n a scribe makes the i n i ­ h e i g h t o f the canon tables a p p r o x i m a t e l y equals that o f
tials before he w r i t e s the text, the i n d e n t e d lines o f text the evangelist portraits. 29
H e ruled four bifolios o f parch­
often f o l l o w the particular p r o f i l e o f the i n d i v i d u a l l e t ­ ment, or sixteen pages, and p a i n t e d tables o n fourteen
ter, an effect that can be especially noticeable w i t h the o f these pages. T h e same r u l i n g p a t t e r n appears o n the
beta for M a t t h e w ' s Gospel. T h e second scribe m a y have first folio w i t h the letter o f Eusebius, except that h o r i ­
w r i t t e n his sections o f the m a n u s c r i p t after T h e o k t i s t o s ; zontal lines were added for the text (fig. 13). T h e second
certainly he added the l i t u r g i c a l m a r g i n a l i a after the l a t ­ scribe used g o l d i n k for the letter o n folios l r — v and the
ter had finished. numbers o f the canon tables.
N e x t , the scribes t u r n e d t h e i r text over to an i l ­ It appears therefore that w h i l e there was some i n t e r ­
l u m i n a t o r , w h o p a i n t e d the headpieces at the start o f change b e t w e e n scribes and i l l u m i n a t o r , they preferred
the f o u r Gospels (figs. 2—5), the Acts o f the Apostles, t o w o r k separately. T h u s , even t h o u g h there was r o o m
and Paul's Epistle t o the Romans. T h a t the o r n a m e n t for the p o r t r a i t o f M a t t h e w o n the o r i g i n a l l y b l a n k f o l i o
came after the i n i t i a l s is s h o w n b y the first pages o f 9v, f o l l o w i n g the conclusion o f the chapter lists for
M a r k , L u k e , and J o h n . For M a r k (fig. 3), the l o w e r left M a t t h e w o n f o l i o 9r, the i l l u m i n a t o r painted his m i n i a ­
finial t o the o r n a m e n t e d rectangle is abbreviated so as ture o n a separate leaf o f parchment t o be attached t o
t o avoid the t a l l g o l d i n i t i a l alpha. For the same reason the s m a l l quire w i t h the chapter lists. T h e m a n u s c r i p t
the c o r r e s p o n d i n g finial o f John's headpiece (fig. 5) is that resulted does n o t c o n f o r m to the usual layout o f
pushed t o the side o f the large i n i t i a l epsilon, w h i l e the deluxe books. N e i t h e r the evangelist portraits n o r the
one i n Luke's headpiece (fig. 4) is s h r u n k e n t o a s m a l l first pages o f each Gospel f o l l o w the predictable n o r m .
g o l d e n teardrop, better t o b l e n d w i t h the color o f the A s a rule, the evangelist p o r t r a i t occupies a verso, so as
i n i t i a l below. t o face the b e g i n n i n g o f a Gospel o n a recto. For this
T h e i l l u m i n a t o r o f the headpieces also p a i n t e d the reason the evangelist n o r m a l l y is s h o w n t u r n i n g i n w a r d
figural m i n i a t u r e s and the canon tables. T h e same array t o w a r d the b i n d i n g . Moreover, each Gospel t r a d i t i o n a l l y
o f colors is used t h r o u g h o u t the manuscript, and the began a n e w quire, a centuries-old c o n v e n t i o n that w e n t
same scalloped design i n the borders o f the frames o f back t o the earliest C h r i s t i a n m a n u s c r i p t s . 30

28. Matthew (fig. 22) 160 X 108 m m ; M a r k (fig. 23) 165 X 105 elusions for later manuscripts. For the period o f the present essay, see
m m ; Luke (fig. 24) 163 X 108 m m ; John (fig. 25) 163 x 108 m m . Buchthal, "Escorial," p. 93, and J. C. Anderson, "The Seraglio Oc-
Because the last t w o have the same measurements and all but M a r k tateuch and the Kokkinobaphos Master," Dumbarton Oaks Papers 36
share the same w i d t h , the evangelists were clearly made i n the same (1982), pp. 103-104. For the Palaeologan period, see H . Buchthal,
campaign. "Toward a History o f Palaeologan Illuminations," Art of the Mediterra­
29. For example, the canon table on folio 5v (fig. 10) measures nean World A.D. W0 to 1400 (Washington, D . C , 1983), pp. 162-163; A .
160 X 140 m m . Weyl Carr, " T w o Manuscripts by Joasaph i n the United States," The
30. P. M c G u r k , Latin Gospel Books from A.D. 400 to A.D. 800 Art Bulletin 63 (1981), pp. 188-190; and H . Belting, Das illuminierte
(Paris, 1961), pp. 8-9. Buch in der spätbyzantinischen Gesellschaft (Heidelberg, 1970), pp. 3—17.
31. I made some comments on the relative independence o f 32. Buchthal, "Disiecta Membra"; von Euw and Plotzek, p. 159.
scribes and illuminators i n regard to tenth-century illumination i n 33. The contents o f these pages are as follows (Zog refers to the
"Byzantine Miniatures at Oxford: C B M 1 and 2," forthcoming i n Zographou leaf):
Byzantine Studies/Etudes byzantines. Others have reached similar con- Page 1 (Zog) I , I 8 (4v) V , V
 Theoktistos and Associates 59

T h e observed lack o f c o o r d i n a t i o n b e t w e e n scribes columns, painted either blue or green, rest o n r o u n d

and painter does n o t mean that they were n o t c o n t e m ­ or t r i p a r t i t e bases. T h e rectangular sections above are
poraries or that the m i n i a t u r e s were inserted i n t o the variously f i l l e d w i t h gables, arches, or o r n a m e n t a l pat­
m a n u s c r i p t at a later date. A s discussed below, the deco­ terns, so that each o p e n i n g o f the m a n u s c r i p t has the
r a t i o n is t o o f i r m l y embedded i n the context o f C o n - same design. T h u s the fact that folio 2r matches exactly
s t a n t i n o p o l i t a n i l l u m i n a t i o n o f the second quarter o f the design o f the verso o f the Z o g r a p h o u leaf is c o n c l u ­
the t w e l f t h c e n t u r y t o be a t t r i b u t e d t o a later p e r i o d . sive p r o o f that the latter belonged t o the m a n u s c r i p t . 34

W h a t the codicological analysis o f the m a n u s c r i p t sug­ These canon tables w o u l d seem t o appeal less to m o d ­
gests instead is a physical, n o t a t e m p o r a l , distance be­ ern sensibilities than the manuscript's figural m i n i a t u r e s
t w e e n the w r i t i n g and the decorating o f the manuscript. t o j u d g e f r o m the fact that the latter have been re­
T h e i l l u m i n a t o r p r o b a b l y d i d n o t share the same w o r k - p r o d u c e d several times since 1891, whereas the canon
table or s c r i p t o r i u m w i t h the scribes and m a y even have tables were first i l l u s t r a t e d o n l y i n the L u d w i g cata­
had a separate shop to w h i c h the master T h e o k t i s t o s l o g u e o f 1979. 35
Yet these ornate arches m u s t have been
b r o u g h t his b o o k for decoration. A s i m i l a r m o d u s ope­ i m p o r t a n t t o the manuscript's medieval p a t r o n . T h e y
randi best describes the p r o d u c t i o n o f certain t w e l f t h - are carefully executed i n the same array o f colors as the
c e n t u r y manuscripts, t o be discussed shortly, and m a y evangelists and apostles, and i t may w e l l have required
be deduced, as w e l l , for other periods o f B y z a n t i n e m o r e o f the artist's t i m e t o p a i n t fourteen canon tables
illumination. 3 1
t h a n five f i g u r a l m i n i a t u r e s . 36

C a n o n tables play a major role i n the decorative p r o ­

grams o f other M i d d l e B y z a n t i n e Gospel books. Some
H a v i n g thus e x a m i n e d h o w the G e t t y N e w Testa­ consist o f large i l l u s i o n i s t i c architectural designs derived
m e n t was made, i t is appropriate t o evaluate the i l ­ f r o m early prototypes, w h i l e others set intricate genre
l u m i n a t i o n that resulted b y l o o k i n g first at the b e g i n ­ scenes atop the structures or i n t r o d u c e personifications
n i n g o f the manuscript. B e g i n n i n g s o f b o o k s are always as caryatids. To understand better the context o f the
i m p o r t a n t , b u t perhaps m o r e so than usual i n the case o f G e t t y canon tables, i t is necessary t o locate t h e m i n
M s . L u d w i g I I 4. O n e o f its m o r e d i s t i n c t i v e aspects is the h i s t o r y o f this aspect o f the post-Iconoclastic G o s ­
its p r e l i m i n a r y canon tables (figs. 6—12), w h i c h have pel b o o k / N e w Testament, a f o r m i d a b l e task since that
heretofore been i g n o r e d . T h a n k s t o H u g o Buchthal's h i s t o r y has yet t o be w r i t t e n . T h e p r e m i e r a u t h o r i t y o n
discovery, t h e i r f u l l extent can n o w be studied. T h e the subject, C a r l N o r d e n f a l k , d i d consider the Greek
single leaf that he i d e n t i f i e d m u s t be the f o l i o that the versions b u t p r i n c i p a l l y i n regard t o t h e i r p o t e n t i a l for
authors o f the L u d w i g catalogue recorded as m i s s i n g r e c o n s t r u c t i n g Eusebius' o r i g i n a l design. T h e latter,
b e t w e e n folios 1 and 2 o f the m a n u s c r i p t . 32
T h e leaf's he showed, was reflected i n the seven-page series o f
measurements agree w i t h those o f the G e t t y v o l u m e , some t e n t h - c e n t u r y Greek manuscripts, his " k l e i n e r e
and its contents complete the m i s s i n g section at the griechische K a n o n f o l g e . " H e also isolated the " g r ö s s e r e
b e g i n n i n g o f the tables. T h e series o f decorated pages griechische K a n o n f o l g e , " consisting o f ten pages and
may therefore be reconstructed as b e g i n n i n g o n the represented by the masterpiece i n the Stavronikita monas­
recto o f the Z o g r a p h o u leaf and e x t e n d i n g t h r o u g h tery o n M o u n t Athos (cod. 43). According to N o r d e n ­
the verso o f f o l i o 7, m a k i n g fourteen pages i n a l l . 3 3
falk, this series was a n e w redaction by C o n s t a n t i n o p o l i -
T h e canon tables consist o f three handsome mar- tan i l l u m i n a t o r s o f the t e n t h c e n t u r y and consequently
bleized c o l u m n s that frame t w o sections for the lists o f o f lesser interest for his purposes. 37
N e i t h e r he n o r
numbers and support an ornamental superstructure. T h e anyone else has taken u p the subsequent h i s t o r y o f

2 (Zog) I , I I 9 (5r) V , V I canon tables. He is able to interpret their significance for Armenian
3 (2r) I I , I I 10 (5v) V I , V I I manuscripts by reference to medieval Armenian commentaries on the
4 (2v) I I , I I 11 (6r) V I I I , I X Eusebian canons. I know o f no similar texts for Greek manuscripts.
5 (3r) I I , I I I 12 (6v) X ( M t ) , X ( M k ) I thank h i m for letting me read a portion o f his study coauthored
6 (3v) I I I , I V 13 (7r) X (Lk), X (Lk) w i t h Avedis K . Sanjian, Armenian Gospel Iconography; The Tradition of
7 (4r) I V , V 14 (7v) X (Jn), X (Jn) the U.C.L.A. Gospel.
34. Because o f the vagueness o f earlier accounts, i t is unclear 37. C. Nordenfalk, Die spätantiken Kanontafeln (Göteborg, 1938),
when the Zographou leaf was removed from the manuscript. Unlike pp. 57—64. He also identifies an early eight-page series, as a variant on
the missing apostles page, the leaf does not appear i n the Library o f the smaller seven-page format: ibid, pp. 149—152, and idem, "The
Congress microfilm made i n 1953 (see supra, note 3). Apostolic Canon Tables," Gazette des beaux-arts ser. 6, 62 (1963),
35. Von E u w and Plotzek, figs. 56-59. pp. 24-26.
36. I n a forthcoming study on Armenian illumination, Thomas
Mathews also underscores the importance and the seriousness o f
60 Nelson

Figure 6. C a n o n table. N e w Testament, f o l . 2r. C o n ­ Figure 7. C a n o n table. N e w Testament, f o l . 2 v . C o n ­

stantinople, 1133. T e m p e r a and gold on stantinople, 1133. T e m p e r a and gold on
v e l l u m . H : 220 m m ( 8 W ) ; W : 180 m m (7"). v e l l u m . H : 220 m m (8 /s"); W : 180 m m (7").
5

M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­ M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­
w i g I I 4; 8 3 . M B . 6 8 . w i g I I 4;83.MB.68.

B y z a n t i n e canon tables, i n spite o f the fact that they v e r y f e w series are as e x t e n d e d as that o f M s . L u d w i g I I
constitute major components o f deluxe manuscripts 4. T h e c o n t e m p o r a r y G o s p e l b o o k i n the Vatican L i ­
and m a y w e l l offer clues t o the o r i g i n and affiliation b r a r y ( U r b . gr. 2), w i t h its p o r t r a i t s o f J o h n I I C o m -
o f such b o o k s . nenus and his son A l e x i u s , spreads the letter o f E u ­
T h e present s t u d y is n o t the place for such an i n v e s ­ sebius and the canon tables over sixteen pages (fols.
t i g a t i o n , b u t a f e w p r e l i m i n a r y observations m a y a i d i n 4r—11 v ) , b u t the tables p r o p e r o c c u p y o n l y the tradi­
a p p r e c i a t i n g the series i n the G e t t y m a n u s c r i p t . First, t i o n a l t e n pages. 38
L i k e the earlier series s t u d i e d b y N o r ­
the latter's f o u r t e e n pages are exceptional. W h i l e Nor- denfalk, later canon tables m a y also be p r o d u c t i v e l y
denfalk's seven-page series appears less f r e q u e n t l y after classified b y n u m b e r o f pages.

the t e n t h c e n t u r y t h a n e i g h t - o r ten-page sequences, Second, c a n o n tables are m o r e p o p u l a r i n some p e r i -

dated 1124; Rome, Vatican U r b . gr. 2 o f circa 1125; M o u n t Athos,
Esphigmenou cod. 25 dated 1129; Malibu, The J. Paul Getty Museum
38. C. Stornajolo, Codices Urbinates Graeci Bibliothecae Vaticanae
(Rome, 1895), p. 4; Spatharakis, Corpus, p. 41, fig. 251. Ms. L u d w i g I I 4 dated 1133; Princeton, University Library Garrett
39. Spatharakis, Corpus, pp. 11—15: Rome, Vatican gr. 354; Paris, 3 dated 1136; Rome, Vatican Barb. gr. 449 dated 1153; Athens, Byzan­
Bibliotheque Nationale gr. 70; M o u n t Athos, Lavra cod. A 19. I ex­ tine Museum ms. 205 dated 1154; London, British Library A d d . 5107
clude Oxford, Bodleian Library Auct. D. 4. 1, said to have t w o canon
dated 1159; Paris, Bibliotheque Nationale suppl. gr. 612 dated 1164;
tables (ibid., p. 12). These are canons for the Psalms: Hutter, Corpus,
Paris, Bibliotheque Nationale gr. 83 dated 1167; London, British L i ­
vol. 1, p. 27.
40. Nordenfalk (supra, note 37), p. 60. brary A d d . 5111-5112, "shortly before 1189"; Rome, Vatican gr. 2290
41. Spatharakis, Corpus, pp. 19, 28, 33, 36. The other manuscripts dated 1197.
are a Trebizond manuscript divided between M o u n t Sinai gr. 172 and 43. Spatharakis, Corpus, pp. 49, 54: Athens, Gennadeios Library
Leningrad, Public Library gr. 291 dated 1067, and Paris, Bibliotheque ms. 1. 5 dated 1226; Athens, Byzantine Museum ms. 155 dated 1292.
Nationale gr. 81 dated 1092. The tables i n the D u m b a r t o n Oaks Spatharakis included M o u n t Sinai gr. 2123 as dated 1242, but its date
manuscript are comparatively simple, being rendered only i n red i n k . has now been justly challenged by G. Prato andj. A . M . Sonderkamp,
42. Spatharakis, Corpus, pp. 41-42, 44-48: M o u n t Sinai gr. 193 "Libro, testo, miniature: I I caso del Cod. Sinait. Gr. 2123," Scrittura e
 Theoktistos and Associates 61

Figure 8. C a n o n table. N e w Testament, f o l . 3 v . C o n ­ Figure 9. C a n o n table. N e w Testament, f o l . 4 v . C o n ­

stantinople, 1133. Tempera and gold on stantinople, 1133. Tempera and gold on
v e l l u m . H : 220 m m (8 /s"); W : 180 m m (7").
5
v e l l u m . H : 220 m m (8 /s"); W : 180 m m (7").
5

M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­ M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­
w i g I I 4;83.MB.68. w i g I I 4; 8 3 . M B . 6 8 .

ods t h a n others, as s h o w n b y a perusal o f the dated M o u n t A t h o s , Lavra A 61) are o f h i g h or m o d e r a t e l y

i l l u m i n a t e d G r e e k m a n u s c r i p t s i n the recent v o l u m e o f h i g h quality, and each has t e n pages o f canon tables. 41

I . Spatharakis. T h e r e the t e n t h c e n t u r y is represented b y T h e s i t u a t i o n a b r u p t l y changes, however, i n the t w e l f t h

three m a n u s c r i p t s , 39
one o f w h i c h (Paris, B i b l i o t h e q u e century. N o w t w e l v e dated m a n u s c r i p t s have canon t a ­
N a t i o n a l e gr. 70) is a p r i m e e x a m p l e o f N o r d e n f a l k ' s bles, i n c l u d i n g , o f course, M s . L u d w i g I I 4. 4 2
In con­
seven-page sequence. 40
O f the five eleventh-century trast, tables are f o u n d i n o n l y three m a n u s c r i p t s from
manuscripts that Spatharakis catalogues, all but one the t h i r t e e n t h c e n t u r y , 43
t w o f r o m the f o u r t e e n t h cen­
(Milan, B i b l i o t e c a A m b r o s i a n a M s . B 56 sup., dated tury, 4 4
and n o n e f r o m the fifteenth century. I n the Late
1022) are f r o m the second h a l f o f the century. T w o B y z a n t i n e p e r i o d canon tables decline i n i m p o r t a n c e
(Washington, D.C., Dumbarton Oaks cod. 3 and and are n o t i n c l u d e d i n m a n y deluxe m a n u s c r i p t s . 45

civiltä 9 (1985), pp. 309—323. Other dated manuscripts have canon 44. Spatharakis, Corpus, pp. 56—57: M o u n t Athos, Pantocrator
tables but perhaps were not mentioned by Spatharakis because they cod. 47 dated 1301; Venice, Biblioteca Nationale gr. I . 20 dated 1302.
are not o f sufficient art historical interest, e.g., Rome, Vatican Ottob. Again, at least one other manuscript, Venice, Biblioteca Marciana gr.
gr. 381 dated 1281/82 and Williamstown, Williams College cod. De I . 19, has canon tables. The latter, however, are not richly decorated.
Ricci 1 dated 1294/95. Perhaps for the same reason Oxford, Christ 45. For example, Pistoia, Biblioteca Fabroniana ms. 307 dated
Church gr. 20 dated 1291/92 is omitted entirely from the Corpus. 1330; Rome, Biblioteca Vallicelliana ms. F 17 (83) dated 1330; M o u n t
Göttingen, Universitätsbibliothek cod. Theol. 28, an illuminated Athos, Lavra cod. A 46 dated 1333; Patmos, Monastery o f Saint John
manuscript dated 1289/90 w i t h canon tables, should be added to the ms. 81 dated 1335; M o u n t Sinai gr. 152 dated 1346; London, British
Corpus. The Oxford and G ö t t i n g e n manuscripts are discussed i n m y Library Burney 18 dated 1366; Athens, National Library ms. 2603
paper, "Theodore Hagiopetrites and Thessaloniki," J O B 32/4 (1982), dated 1418; and M o u n t Athos, Iviron cod. 548 dated 1433. See
pp. 79—85, and the G ö t t i n g e n manuscript alone i n "The Manuscripts Spatharakis, Corpus, pp. 60—70.
o f Antonios Malakes and the Collecting and Appreciation o f I l l u ­
minated Books i n the Early Palaeologan Period," JOB 36 (1986),
pp. 235-238.
62 Nelson

Iflflll^^

Figure 10. C a n o n table. N e w Testament, f o l . 5 v . C o n ­ Figure 11. C a n o n table. N e w Testament, f o l . 6 v . C o n ­

stantinople, 1133. Tempera and gold on stantinople, 1133. Tempera and gold on
v e l l u m . H : 220 m m ( 8 W ) ; W : 180 m m (7"). v e l l u m . H : 220 m m ( 8 / " ) ; W : 180 m m (7").
5
8

M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­ M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­
w i g I I 4; 8 3 . M B . 6 8 . w i g I I 4; 8 3 . M B . 6 8 .

F u r t h e r research w o u l d be required t o ascertain the decorative (Athens, N a t i o n a l L i b r a r y cod. 56) and c o u l d

degree t o w h i c h the n u m b e r o f canon tables is depen­ include a v a r i e t y o f small birds at the t o p (Rome, V a t i ­
dent u p o n the n u m b e r o f i l l u s t r a t e d Gospel b o o k s and can gr. 3 6 4 ) , 47
b u t i n the eleventh century, especially the
New Testaments b e i n g produced at various times. latter half, canon tables reached n e w levels o f e m b e l l i s h ­
H o w e v e r , i n the absence o f such a d i f f i c u l t i n q u i r y , the ment. A t o p the intricate arcades o f one masterpiece o f
evidence o f s u r v i v i n g dated examples s t i l l reveals that at the p e r i o d (Paris, B i b l i o t h e q u e N a t i o n a l e gr. 64) cavort
least the tables, i f n o t the manuscripts i n w h i c h they are menageries o f exotic animals. A cheetah and a h u n t e r
found, enjoyed t h e i r greatest p o p u l a r i t y i n the later race after stags; one g r i f f o n stands p r o u d l y by w h i l e
eleventh and t w e l f t h centuries. N o t coincidentally, this another licks its paws; pairs o f l o n g - n e c k e d w a t e r f o w l
was also the t i m e o f t h e i r p r i n c i p a l artistic success, a and peacocks d r i n k f r o m a f o u n t a i n ; or a y o u t h goads a
d e v e l o p m e n t that parallels the increased p r o m i n e n c e o f camel, as an elephant d r i n k s w i t h his t r u n k f r o m a
the decorated headpiece d u r i n g the same p e r i o d . 46
fountain. 48
M o r e fanciful s t i l l are the m y t h o l o g i c a l crea­
T e n t h - c e n t u r y tables m i g h t be m o n u m e n t a l and i l l u - tures p l a y i n g cymbals and harp above a majestic table i n
sionistic ( M o u n t A t h o s , S t a v r o n i k i t a cod. 43) or flat and the later eleventh-century Gospels i n Parma (Biblioteca

46. O n the headpiece see m y forthcoming study, "Palaeologan 50. Hutter, Corpus, vol. 1, figs. 209-213; vol. 3.1, p. 333; Nelson,
Illuminated Ornament and the Arabesque," which w i l l appear i n the "Byzantine Miniatures at O x f o r d " (supra, note 31).
Wiener Jahrbuch für Kunstgeschichte. 51. Buchthal, "Melbourne," pp. 141-143, figs. 295-300. The Ven­
47. K . Weitzmann, Die byzantinische Buchmalerei des 9 und 10. Jahr­ ice manuscript is discussed i n I . Furlan, Codici greci illustrati della Bibli­
hunderts (Berlin, 1935), figs. 177-178, 148, 194-195. oteca Marciana (Milan, 1979), vol. 2, pp. 13—18, without knowledge o f
48. J. Ebersolt, La miniature byzantine (Paris, 1926), pis. XLII—XLIII. the preceding, and most recently by Spatharakis, "Grammar," pp.
A color reproduction o f the page w i t h the boy and camel is found i n A. 235—237. O n the Melbourne manuscript there is n o w M . M . M a n i o n
Grabar, The Art of the Byzantine Empire (New York, 1963), p. 39. and V. R. Vines, Medieval and Renaissance Illuminated Manuscripts in
49. V. Lazarev, Storia della pittura bizantina (Turin, 1967), fig. 240. Australian Collections (Melbourne, 1984), pp. 23—26.
 Theoktistos and Associates 63

ifications are reproduced so f a i t h f u l l y that the i l l u m i n a ­

t o r m u s t have consulted one or m o r e earlier manu­
scripts. 52
Finally, at the end o f the t w e l f t h century, spec­
tacular profusions o f o r n a m e n t a l patterns envelop the
canon tables o f the appropriately n a m e d Decorative
style, perhaps best e x e m p l i f i e d by a m a n u s c r i p t i n the
D i o n y s i o u monastery o n M o u n t A t h o s (cod. 4 ) . 5 3

C o m p a r e d t o such elaborate creations, the tables i n

the G e t t y N e w Testament appear rather simple, l a c k i n g ,
as they do, the f r o l i c k i n g animals or the genre scenes o f
other C o m n e n i a n manuscripts. Yet t h e i r o r n a m e n t is
varied and w e l l painted, and the series is significantly
longer t h a n the t r a d i t i o n a l formats t o w h i c h all b u t a
v e r y few deluxe manuscripts c o n f o r m . T h e ten-page
sequence is favored b y m a n y o f the f o r e g o i n g : Athens,
National Library cod. 56; Rome, Vatican gr. 364;
M o u n t A t h o s , S t a v r o n i k i t a cod. 43; Paris, B i b l i o t h e q u e
Nationale gr. 64; O x f o r d , Bodleian Library E. D . Clarke
10; Rome, Vatican U r b . gr. 2. T h e Parma Gospels has
o n l y n i n e pages o f tables, perhaps because i t is larger
t h a n m o s t Gospel books. A n o t h e r p r o m i n e n t manu­
script w i t h a nine-page series is the C o d e x Ebnerianus
at O x f o r d , a c o n t e m p o r a r y o f the G e t t y N e w Testament
and a m e m b e r o f a large school o f C o n s t a n t i n o p o l i t a n
Figure 12. C a n o n table. N e w Testament, f o l . 7 v . C o n ­ i l l u m i n a t i o n o f the p e r i o d , usually t e r m e d the Kok­
stantinople, 1133. Tempera and gold on kinobaphos g r o u p after p r o m i n e n t manuscripts i n Paris
v e l l u m . H : 220 m m (8 /s"); W: 180 m m (7").
5

and R o m e . 54
T h e scribe o f the C o d e x Ebnerianus also
M a l i b u , T h e J. Paul G e t t y M u s e u m M s . L u d ­
w r o t e a N e w Testament i n the Escorial w i t h eight pages
w i g II4;83.MB.68.
o f tables. 55
A Paris Gospel b o o k (Bibliotheque N a ­
tionale gr. 71), i l l u m i n a t e d i n the K o k k i n o b a p h o s style,

Palatina ms. palat. 5 ) , 4 9

a manuscript that is closely contains handsome tables, w h i c h , however, are o n l y

related to a smaller and s i m p l e r Gospels at Oxford seven i n n u m b e r . 56

M a n u s c r i p t s o f the later Decorative

( B o d l e i a n L i b r a r y E. D . C l a r k e 1 0 ) . 50 style, recently studied b y A . W e y l Carr, have either

I n the second quarter o f the t w e l f t h century, Gospel seven or eight pages o f tables. 57
A m o n g the manuscripts

b o o k s b e l o n g i n g t o the N a t i o n a l G a l l e r y o f V i c t o r i a i n surveyed, the M e l b o u r n e and Venice manuscripts with

M e l b o u r n e and the B i b l i o t e c a Nazionale M a r c i a n a i n fourteen and fifteen pages, respectively, offer the closest

Venice (cod. gr. Z 540) insert personifications o f the parallels t o the G e t t y N e w Testament.

labors o f the m o n t h s and the v i r t u e s b e t w e e n the capi­ H u g o B u c h t h a l , w h o first n o t e d the r e l a t i o n s h i p be­

tals and spandrels. 51
B o t h the caryatids and the genre t w e e n the M e l b o u r n e and Venice Gospels, concluded
scenes are c o m b i n e d at the end o f the t w e l f t h c e n t u r y o r that they were p r o d u c e d i n the same monastic s c r i p ­
the b e g i n n i n g o f the t h i r t e e n t h c e n t u r y i n the V a n i G o s ­ t o r i u m , because o f the probable monastic o r i g i n o f the
pels, a m a n u s c r i p t w r i t t e n i n G e o r g i a n b u t decorated by v i r t u e s i c o n o g r a p h y and the presence o f the p o r t r a i t o f
a Byzantine i l l u m i n a t o r i n Constantinople. Here motifs the monk Theophanes at the beginning of the
l i k e the b o y and the camel, the elephant, or the p e r s o n - M e l b o u r n e m a n u s c r i p t (fig. 2 0 ) . 5 8
T h e i n s c r i p t i o n ac-

52. O n the manuscript see E. Takaichvili, "Antiquites georgiennes: uscript possibly relevant to the group is the Lafskali Gospels, men­
I . L'evangile de Vani," Byzantion 10 (1935), pp. 655—663; Sh. tioned i n Spatharakis, "Grammar," p. 241, and illustrated i n J.
Amiranashvili, Gruzinskaja Miniatjura (Moscow, 1966), pis. 30—33; H . Mourier, L'art en Caucase, 3rd ed. (Brussels, 1912), p. 239.
Buchthal, "Studies i n Byzantine Illumination o f the Thirteenth Cen­ 55. Buchthal, "Escorial," pp. 85-87.
tury," Jahrbuch der berliner Museen 25 (1983), pp. 36, 40, figs. 14—16. 56. Spatharakis, "Grammar," p. 235.
53. Buchthal (supra, note 52), pp. 37-44. 57. A . Weyl Carr, " A Group o f Provincial Manuscripts from the
54. Hutter, Corpus, vol. 1, pp. 59-62, figs. 227-235. J. C. Ander­ Twelfth Century," Dumbarton Oaks Papers 36 (1982), pp. 67-81.
son is preparing a monograph on the Kokkinobaphos group. For his 58. Buchthal, "Melbourne," pp. 145-146.
most recent paper on the subject see supra, note 31. Another man-
64 Nelson

Figure 13. E u s e b i a n letter. New Testament, fol. lr. Figure 14. Eusebian letter. G o s p e l b o o k , f o l . 2r. C o n ­
C o n s t a n t i n o p l e , 1133. Pen a n d i n k o n v e l l u m . stantinople, second quarter o f the twelfth
H : 220 m m ( 8 / " ) ; W : 180 m m (7"). M a l i b u ,
5
8
century. T e m p e r a a n d g o l d o n v e l l u m . H : 242
T h e J. Paul G e t t y M u s e u m M s . L u d w i g I I 4; mm (9V "); W : 174 m m (67s"). M e l b o u r n e ,
2

83.MB.68. National Gallery o f Victoria MS. Felton

710/5 ( F e l t o n Bequest 1959). P h o t o : C o u r t e s y
National Gallery o f Victoria, Melbourne.

c o m p a n y i n g the m i n i a t u r e identifies h i m as the donor, and l i g a t u r e s . 60

To j u d g e f r o m the b e g i n n i n g s o f the
scribe, and i l l u m i n a t o r o f the manuscript. C e r t a i n l y Gospels, this scribe also w r o t e the main texts of
Theophanes m u s t have been responsible for the book's b o t h volumes.
creation, b u t w h e t h e r he was the actual scribe and F u r t h e r m o r e , the measurements o f the t w o Gospel
painter is n o t e n t i r e l y clear. 59
T h u s the m i n i a t u r e may b o o k s are related. T h e M e l b o u r n e m a n u s c r i p t (242 x
either be a rare self-portrait o f a scribe and i l l u m i n a t o r 174 m m ) is t w i c e the size o f the Venice v o l u m e (175 x
or yet another representation o f a p a t r o n p r e s e n t i n g his 123 m m ) ; the w i d t h o f the f o r m e r equals the l e n g t h o f
b o o k t o the V i r g i n . I n any event, the c o n n e c t i o n be­ the latter, and t w i c e the w i d t h o f the latter a p p r o x i ­
t w e e n the M e l b o u r n e and Venice Gospels m a y be d r a w n mates the l e n g t h o f the former. T h e b o o k s ' scribe m u s t
tighter, for they are n o t m e r e l y products o f the same have folded the u n i t o f parchment used for the larger
s c r i p t o r i u m . T h e y are w r i t t e n b y the same scribe, as the v o l u m e once m o r e for the smaller v o l u m e . O t h e r s i m i ­
c o m p a r i s o n o f the same texts i n the t w o w i l l indicate. lar pairs o f manuscripts are k n o w n , and one set is d o c u ­
For example, the letters o f Eusebius at the b e g i n n i n g m e n t e d as h a v i n g been p r o d u c e d at the same t i m e . 6 1
Of
o f each v o l u m e (figs. 14, 15) n o t o n l y have s i m i l a r o r ­ the t w o manuscripts, the M e l b o u r n e Gospels would
n a m e n t a l frames b u t also share the same letter forms have been the m o r e expensive, because even t h o u g h i t is

59. It was common for patrons o f all sorts to claim i n an inscrip­ to the monastery o f the Theotokos Pantanassa. Joseph is neither the
tion that they had made, built, etc., the object. To take one example scribe nor the illuminator o f the manuscript, but its patron. See J. C.
close i n date, M o u n t Sinai gr. 339 o f the mid-twelfth century contains Anderson, "The Illustration o f Cod. Sinai. Gr. 339," The Art Bulletin
a note stating that the Abbot Joseph o f the Pantocrator monastery 61 (1979), pp. 167-168.
"made the silver-white book dappled w i t h wrought g o l d " and gave it 60. Compare the w o r d btXegavopeus i n line 3 o f Melbourne (fig.
 Theoktistos and Associates 65

Figure 15. Eusebian letter. G o s p e l b o o k , f o l . I r . C o n ­ Figure 16. Eusebian letter. G o s p e l b o o k , f o l . l r . C o n ­

stantinople, second quarter o f the twelfth stantinople, second quarter o f the twelfth
century. Tempera a n d g o l d o n v e l l u m . H : 175 century. Pen a n d i n k o n v e l l u m . H : 117 m m
m m (67s"); W : 123 m m (47s"). Venice, B i b l i o ­ ( 4 / " ) W : 84 m m ( 3 / i " ) . N e w Y o r k , H . P.
5
8 ;
5
6

teca N a z i o n a l e M a r c i a n a c o d . gr. Z 540. P h o ­ Kraus collection. Photo: Courtesy H. P.

to: Courtesy Biblioteca Nazionale Marciana, Kraus, N e w York.
Venice.

t w i c e as large, i t has nearly the same n u m b e r o f folios m e n t a l repertory. For example, the marbleized columns,
(254) as the Venice m a n u s c r i p t (275). G i v e n that b o t h painted alternately blue or green, and the m a n y red
c o n t a i n the same text, one w o u l d expect the M e l b o u r n e bases and capitals are practically identical t o those i n the
m a n u s c r i p t t o have h a l f the n u m b e r o f folios o f its t w i n , o n l y color r e p r o d u c t i o n published f r o m the M e l b o u r n e
i f t h e i r cost o f materials had been the same. Gospels. Moreover, a peculiar flower-leaf w i t h a hole at
T h e o k t i s t o s , w i t h his squarish letters and diagonal the side is the p r i n c i p a l decorative m o t i f o f a canon table
abbreviation signs, w r o t e rather differently than the i n the G e t t y v o l u m e (fig. 10) and a headpiece i n the
scribe o f the Venice and M e l b o u r n e Gospel books, b u t Melbourne manuscript. 63
T h e precise relationship be­
i n the latter context, the anomalous style o f Eusebius' t w e e n the i l l u m i n a t o r s o f the three b o o k s is n o t clear,
letter i n the G e t t y N e w Testament (fig. 13) suddenly because, t o take one example, the designs o f the canon
becomes significant. A n u m b e r o f letters and ligatures table spandrels and the headpieces are unrelated. A t the
here are so s i m i l a r t o the Gospel b o o k s (figs. 14, 15) that v e r y least, however, i t m a y be concluded that a l l three
the same person p r o b a b l y penned the Eusebian letters books are the products o f contemporary Constan-
o f all three b o o k s . 62
I t thus s h o u l d n o t be s u r p r i s i n g that t i n o p o l i t a n painters.
the three sets o f canon tables e m p l o y the same o r n a ­ These artisans m a y be traced i n yet one m o r e m a n u -

14) and line 4 o f Venice (fig. 15); the w o r d 8iacJ)0apf|vai i n line 8 o f Perspectives," forthcoming i n Biblioteca di scrittura e civiltd.
Melbourne and line 10 o f Venice; or the words el\Ti(|)a)sa(|)op|x&s i n 62. Compare the same words cited i n note 60 and found i n Getty
line 14 o f Melbourne and line 16 o f Venice. on lines 2, 7, 13. O r compare the form o f the word d8eX(()win line 1 o f
61. See R. S. Nelson and J. L. Bona, "Relative Size and Compara­ Getty w i t h that i n line 3 o f Venice.
tive Value i n Byzantine Illuminated Manuscripts: Some Quantitative 63. Buchthal, "Melbourne," fig. 303.
66 Nelson

date the lists o f numbers o n a m u c h smaller page neces­

sitated the a b r i d g m e n t o f the decorated spandrels. N e v ­
ertheless, l i k e the M e l b o u r n e and G e t t y manuscripts,
the Kraus Gospels has fourteen pages o f canon tables.
Its Eusebian letter (fig. 16) is w r i t t e n b y the person w h o
w r o t e the other three letters (figs. 13—15) and is i n t r o ­
duced b y a s i m p l e w a v y b a n d i d e n t i c a l t o that o f the
G e t t y m a n u s c r i p t (fig. 1 3 ) . 66

T h e general o r n a m e n t a l vocabulary o f the tables i n

these manuscripts belongs t o the larger context o f
twelfth-century Constantinopolitan illumination and
leads q u i c k l y t o the g r o u p o f the aforementioned K o k -
kinobaphos manuscripts. T h e C o d e x Ebnerianus at O x ­
ford also uses the green and blue c o l u m n s and the red
capitals i n its canon tables. 67
M o r e o v e r the scalloped de­
sign used for some arches (figs. 7, 9) and borders (figs.
22—25) i n the G e t t y m a n u s c r i p t frames the evangelists
i n another m a n u s c r i p t o f the g r o u p (Patmos, M o n a s t e r y
o f Saint J o h n cod. 2 7 4 ) . 68
Yet w h i l e certain o r n a m e n t a l
m o t i f s are generally characteristic o f h i g h q u a l i t y i l ­
l u m i n a t i o n f r o m the capital, the c o m m o n f o r m a t o f the
Getty, Kraus, and M e l b o u r n e manuscripts distinguishes
them from those K o k k i n o b a p h o s - s c h o o l manuscripts
that s t i l l preserve t h e i r canon tables 69
and suggests a
Figure 17. C a n o n table. Gospel book, f o l . 5r. Con­ closer kinship for these portions of the three
stantinople, second quarter o f the twelfth manuscripts.
century. T e m p e r a a n d g o l d o n v e l l u m . H : 117
Paleography, however, leads i n different directions.
m m (4 /s"); W : 84 m m ( 3 / i " ) . N e w Y o r k , H .
5 5
6

P. K r a u s c o l l e c t i o n . P h o t o : C o u r t e s y H . P.
To recapitulate, T h e o k t i s t o s , the copyist o f the m a i n
Kraus, N e w York. part o f the G e t t y N e w Testament, collaborated w i t h a
second scribe, w h o d i d the Eusebian letter and the l i t u r ­
script, a d i m i n u t i v e Gospel b o o k that has received l i t t l e gical tables. T h e latter also w r o t e the M e l b o u r n e and
a t t e n t i o n t o date. Its canon tables (fig. 17) display the Venice Gospels, as w e l l as the Eusebian letter i n the
same c o m b i n a t i o n s o f c o l u m n s and capitals i n the i d e n ­ l i t t l e b o o k o f H . P. Kraus (fig. 16). T h e m a i n text o f this
tical shades o f red, green, and blue as the preceding last m a n u s c r i p t (fig. 18), however, is w r i t t e n i n an e n ­
books. F o r m e r l y o w n e d b y the Marquess o f B u t e , the t i r e l y different style and s h o u l d be assigned t o another
m a n u s c r i p t has been i n the c o l l e c t i o n o f M r . H . P. scribe, w h o s e h a n d can be detected i n yet another m e m ­
Kraus since 1983. 64
Its s m a l l size (117 X 84 m m ) d i s ­ ber o f the K o k k i n o b a p h o s group, a Gospel b o o k i n
tinguishes i t f r o m the average Gospel b o o k and suggests Paris ( B i b l i o t h e q u e N a t i o n a l e gr. 7 5 ) . 70
A comparison
a private f u n c t i o n . 65
Decorated o n l y w i t h canon tables, o f the first pages f r o m M a r k i n the t w o b o o k s (figs. 18,
the m a n u s c r i p t , nevertheless, is carefully w r i t t e n and is 19) reveals a n u m b e r o f i d e n t i c a l letter forms and l i g a ­
o f h i g h quality. Its tables are s i m p l e r t h a n those o f the tures 71
and a s i m i l a r quiet, somber r h y t h m , so different
G e t t y N e w Testament, because the need t o a c c o m m o - f r o m the c o r r e s p o n d i n g pages i n the M e l b o u r n e 7 2
and

64. I . C. Cunningham, Greek Manuscripts in Scotland: Summary (illustrated i n Lake [supra, note 26], pi. 198) and on the following
Catalogue (Edinburgh, 1982), p. 18; Sotheby Parke Bernet & Co., Cata­ pages i n red. The m o t i f is a common one, admittedly, but the precise
logue of the Bute Collection of Forty-Two Illuminated Manuscripts and Mini­ execution is consistent i n both the Getty and Kraus manuscripts and
atures (London, 1983), pp. 6—9. Two tables are illustrated i n color on is further evidence that these sections are by the same hand.
p. 6. I thank Ms. M a r y A n n Mitchell o f the f i r m o f H . P. Kraus for 67. Described i n Hutter, Corpus, vol. 1, pp. 61—62.
sending me information about the manuscript. 68. G. Jacopi, "Le miniature dei codici di Patmo," Clara Rhodos
65. See the study o f Weyl Carr (supra, note 25). The manuscript is 6-7 (1932-1941), fig. 131.
cited on p. 156. It should be noted that the manuscript is one-half the 69. For example, Rome, Vatican U r b . gr. 2 has ten pages; the
size o f the Venice Gospels and one-fourth that o f the Melbourne Codex Ebnerianus, nine pages; and Paris, Bibliotheque Nationale gr.
Gospels, a further indication o f the relationship o f all three. 71, seven pages.
66. I n the latter, the same band is repeated on folio 269r i n gold 70. Anderson, "Examination," pp. 36—40, where the manuscript
 Theoktistos and Associates 67

Figure 18. F i r s t page o f the G o s p e l o f M a r k . Gospel Figure 19. F i r s t page o f the G o s p e l o f M a r k . Gospel
b o o k , f o l . 132r. C o n s t a n t i n o p l e , second q u a r ­ b o o k , f o l . 95r. C o n s t a n t i n o p l e , second quar­
ter o f the t w e l f t h century. T e m p e r a a n d g o l d ter o f the t w e l f t h century. T e m p e r a a n d g o l d
o n v e l l u m . H : 117 m m (4 /s"); W : 84 5
mm o n v e l l u m . H : 179 m m (7"); W : 127 m m (5").
(37i6"). N e w Y o r k : H . P. K r a u s c o l l e c t i o n . Paris, B i b l i o t h e q u e N a t i o n a l e gr. 75. P h o t o :
Photo: Courtesy H . P. K r a u s , N e w York. C o u r t e s y B i b l i o t h e q u e N a t i o n a l e , Paris.

G e t t y manuscripts (fig. 3). M o r e o v e r the same decora­ g r o u p is b e y o n d the scope o f the present essay, b u t
tive flair seems t o animate the i n i t i a l alphas. T h e Kraus some parts o f the puzzle are b e c o m i n g clearer. B u c h t h a l
Gospels has o n l y a simple band o f pseudo-Kufic o r n a ­ has s h o w n that the C o d e x Ebnerianus and the Escorial
m e n t as headpiece for M a r k , whereas the Paris v o l u m e N e w Testament were w r i t t e n b y the same scribe b u t
opens each Gospel w i t h a framed m i n i a t u r e p a i n t e d ac­ painted by different artists. 75
T h u s i t is already possible
c o r d i n g t o the style and i c o n o g r a p h y o f such K o k - to conclude that manuscript p r o d u c t i o n i n Constantinople
kinobaphos-school manuscripts as Vatican U r b . gr. 2 . 7 3
d u r i n g the second quarter o f the t w e l f t h c e n t u r y i n ­
T h e latter's script i n t u r n is t o be d i s t i n g u i s h e d f r o m v o l v e d s h i f t i n g associations o f scribes and i l l u m i n a t o r s ,
that o f Paris, B i b l i o t h e q u e N a t i o n a l e gr. 75, w h i c h b e t ­ and i n this respect the G e t t y N e w Testament is a typical
ter resembles the Paris Kokkinobaphos manuscript p r o d u c t o f the p e r i o d . Consequently, t o make a t t r i b u ­
( B i b l i o t h e q u e N a t i o n a l e , gr. 1208). 74
tions based o n l y o n script or i l l u m i n a t i o n is t o ignore
To trace further the intricate affiliations o f this large the larger reality o f medieval craft practices.

is compared w i t h Rome, Vatican Urb. gr. 2; and idem (supra, note 73. C. Stornajolo, Miniature delle omilie di Giacomo Monaco (Cod.
31), pp. 89, 95. It is unfortunate that someone erased t w o lines o f vatic, gr. 1162) e delVevangeliario greco urbinate (Cod. vatic, urbin. gr. 2)
text at the end o f the Gospel o f John and the beginning o f the l i t u r ­ (Rome, 1910), pi. 86.
gical tables i n the Kraus manuscript (fol. 429r). These may well have 74. I follow Anderson ("Examination," pp. 143—146) on these re­
been the book's original colophon. They were not readable w i t h ultra­ lations. I n the present context, I am not considering the intricate
violet light. I n the Getty manuscript the colophon appears i n the same codicological details o f these manuscripts, a matter not without inter­
position after the conclusion o f the canonical texts and before the est. Paris gr. 75, for example, is practically identical i n size (179 x 127
Synaxarium. m m ) to the Venice Gospels (175 X 123 m m ) .
71. C f the words irpo<()TiTais i n line 2 o f both and (jxovnn i n line 7 75. Buchthal, "Escorial," pp. 85-87.
o f the Kraus manuscript and line 6 o f the Paris manuscript.
72. Buchthal, "Melbourne," fig. 302.
 68 Nelson

Figure 20. T h e m o n k Theophanes presenting a b o o k to Figure 21. T h e t w e l v e apostles. N e w Testament, fol.

the V i r g i n and C h i l d . Gospel b o o k , f o l . l v . 134v (excised). C o n s t a n t i n o p l e , 1133. T e m ­
Constantinople, second quarter of the pera a n d g o l d o n v e l l u m . H : 185 m m (J U")\
X

twelfth century. Tempera and gold on W : 135 m m ( 5 7 i " ) . A t h e n s , Paul C a n e l l o -

6

vellum. H : 242 m m (9V ");

2 W : 174 mm poulos collection.
(6 /s"). M e l b o u r n e , N a t i o n a l G a l l e r y o f V i c ­
7

toria, MS. Felton 710/5 (Felton Bequest

1959). P h o t o : C o u r t e s y N a t i o n a l G a l l e r y o f
Victoria, Melbourne.

T h e context thus established for the canon tables bits o f d a r k blue have adhered t o an area between
o f the L u d w i g m a n u s c r i p t provides a useful f r a m e w o r k the double r u l i n g s .
for i n t e r p r e t i n g the bits o f color o n f o l i o l r (fig. 13), T h e k e y t o i n t e r p r e t i n g these offsets is as close as
the o n l y traces o f a m i n i a t u r e o n the n o w lost verso folio 2r (fig. 6). T h e p a l m e t t e corresponds t o one here
folio. Several o f these offsets m a y be seen at the upper or o n f o l i o 6 v (fig. 11), and the blue area b e l o w can o n l y
left. I n the i n n e r m a r g i n , a l i g h t blue p a l m e t t e g r o w s be f r o m a dark blue capital l i k e those o f the canon ta­
f r o m a stem that t w i s t s and projects t o the r i g h t . B e l o w bles. These p o r t i o n s o f the m i s s i n g leaf m u s t have been
are the d a r k blue remnants o f a capital, and l o w e r s t i l l , coordinated w i t h the tables, for the offset palmette is
dots o f l i g h t green t r a i l i n g d o w n the page b e t w e e n the o n l y a few m i l l i m e t e r s h i g h e r o n the page than its ana­
double r u l i n g lines. E x t e n d i n g above and s l i g h t l y t o l o g u e o n f o l i o 2r. L i k e the capitals o f the canon tables,
the r i g h t o f the capital are other patches o f the dark the offset capital is bisected b y the r u l i n g lines o f f o l i o
blue, the largest o f w h i c h overlays the w o r d Encreßios l r . T h e specks o f color b e l o w also fall b e t w e e n the r u l ­
and is j o i n e d t o a spot o f dark green, w h i c h obscures ings and m u s t therefore be the remnants o f a green
the w o r d 'Afiuxiovios. D o t s o f red and orange adjoin c o l u m n that corresponds t o one o f the outer ones
this offset. F i n a l l y i n the t o p left corner o f the page, elsewhere, for example, f o l i o 2 v (fig. 7). A b o v e the capi-

76. The codicology o f the manuscript is analyzed i n M a n i o n and "Melbourne," p. 145.

Vines (supra, note 51). The frames o f the missing evangelist portraits 77. Hutter, Corpus, vol. 1, pp. 60-61, fig. 225.
are visible o n the first pages o f the Gospels, as noted by Buchthal, 78. Buch thai (supra, note 52), p. 36.
 Theoktistos and Associates 69

tal the d a r k blue and green patches w i t h red and orange pianus were popular subjects i n the C o m n e n i a n p e r i o d ,
touches are f r o m a leaf analogous t o one i n the same appearing somewhat earlier i n the p r e v i o u s l y m e n ­
area o f f o l i o 5 v (fig. 10), and the smear o f color i n the t i o n e d Parma and O x f o r d manuscripts and later i n the
upper left corner p r o b a b l y came from a projecting V a n i Gospels, a b o o k w h o s e i l l u m i n a t i o n follows C o m ­
finial. Presumably the overall design was s y m m e t r i c a l , nenian models rather closely. 78

so that one m a y reconstruct another c o l u m n , capital, T h e general p r o g r a m o f figural decoration i n the Getty
and palmette o n the opposite side o f the page, b u t there v o l u m e is also understandable w i t h i n the context o f
is n o w a y to k n o w i f the lost i l l u m i n a t i o n had a central C o m n e n i a n b o o k p r o d u c t i o n . I n the subclass o f i l l u m i ­
c o l u m n l i k e the tables that follow. To achieve such p r e ­ nated manuscripts, one v o l u m e N e w Testaments are n o t
cise agreement w i t h the tables, the m i s s i n g page was c o m m o n . B y a w i d e m a r g i n i l l u m i n a t o r s and t h e i r pa­
doubtlessly r u l e d i n the p a t t e r n o f folios 1—7. trons preferred the separate Gospel b o o k over the less
Fortunately or unfortunately, n o m o r e o f the m i s s i n g c o m m o n l y illustrated Acts and Epistles, and i n the elev­
page was damaged b y r u b b i n g , so that one is left w i t h e n t h and t w e l f t h centuries they began t o j o i n the G o s ­
o n l y these scattered clues; s o m e t h i n g , nevertheless, can pels and/or N e w Testament t o the Psalter t o f o r m a
be said about the w h o l e page. I t m u s t have been part o f personal d e v o t i o n a l text. H o w e v e r , i n the p e r i o d i n
the o r i g i n a l p r o g r a m o f decoration, because i t was r u l e d w h i c h the G e t t y m a n u s c r i p t was created, t w o other i l ­
l i k e the first quire, and i t m u s t have been p a i n t e d b y the lustrated N e w Testaments were also p r o d u c e d i n C o n ­
o r i g i n a l i l l u m i n a t o r , w h o s e blues have also r u b b e d o f f stantinople, the often n o t e d C o d e x Ebnerianus and ms.
i n the same areas o f the canon tables (figs. 6—12). W h i l e X.IV.17 i n the l i b r a r y o f the Escorial, b o t h w e l l p u b ­
designed t o m a t c h the tables, the page was p r o b a b l y n o t lished and c o n v i n c i n g l y a t t r i b u t e d t o the second quarter
part o f the book's i n i t i a l q u a t e r n i o n , q u i n i o n s b e i n g o f the t w e l f t h c e n t u r y . 79
Perhaps because such m a n u ­
rare i n B y z a n t i n e manuscripts, b u t m a y rather have scripts were b o t h u n c o m m o n and h i g h l y luxurious,
been a s i n g l e t o n or a b i f o l i o set before the first regular t h e i r i l l u s t r a t i o n was n o t standardized. I n a d d i t i o n t o
quire. I t cannot, o f course, have been a canon table, Eusebius and Carpianus, the famed Ebnerianus is re­
because these were complete, b u t the m a n u s c r i p t i t s e l f plete w i t h ten author portraits j o i n e d w i t h narrative
provides n o further clues as to the content o f the m i s s ­ scenes i n the lunettes above. T h e Escorialensis contains
i n g page, so one m u s t l o o k elsewhere. simpler seated evangelists w i t h o u t narrative accompani­
B y z a n t i n e Gospel b o o k s or N e w Testaments might m e n t and standing portraits o f the Acts and Epistles,
be i n t r o d u c e d by a variety o f themes, C h r i s t and the arranged i n pairs over three consecutive pages.
four evangelists, the Deesis, a cross, etc., b u t the c o n ­ N e i t h e r decorative scheme is especially close t o the
temporaries o f the G e t t y N e w Testament suggest m o r e G e t t y v o l u m e , so that t o understand m o r e f u l l y the
l i k e l y possibilities. O n c e again the closest analogue is b a c k g r o u n d o f the latter's figural decoration, the i c o ­
the M e l b o u r n e Gospels. I t t o o has lost various m i n i a ­ n o g r a p h y and style o f its m i n i a t u r e s require separate
tures, w h o s e traces have also been preserved o n the o p ­ scrutiny. Perhaps the m o s t unusual is the g r i d o f apos­
posite pages. Its first folio (fig. 20) is a s i n g l e t o n , w h i c h tles that f o r m e r l y prefaced the Acts and Epistles (fig.
faces a regular q u a t e r n i o n c o n t a i n i n g , as i n the G e t t y 21). A s customary, the selection o f apostles includes
manuscript, the letter o f Eusebius (fols. 2r—v; f i g . 14) Paul and the four evangelists i n a hierarchical arrange­
and o r i g i n a l l y seven folios, or fourteen pages, o f canon m e n t , b e g i n n i n g w i t h Peter and Paul at the t o p left.
tables. 76
F o l i o l v depicts the scribe, i l l u m i n a t o r , a n d / o r T r a d i t i o n a l l y the four evangelists f o l l o w thereafter and
p a t r o n , Theophanes, p r e s e n t i n g his m a n u s c r i p t t o the here f i l l the next four positions, b u t t r a d i t i o n is c o n ­
V i r g i n . T h e three handsome c o l u m n s here c o m p l e m e n t travened b y the placement o f L u k e . M a r k and Luke, the
the book's canon tables and suggest one w a y o f r e c o n ­ j u n i o r evangelists, n o r m a l l y defer t o t h e i r senior c o l ­
s t r u c t i n g the lost G e t t y page. A second p o s s i b i l i t y is leagues, John and M a t t h e w , and consequently one
offered by the C o d e x Ebnerianus, w h e r e another large w o u l d n o t expect t o see L u k e o n the t o p r o w i n the
triple-arched structure frames the probable portraits o f third position. 80
H i s elevated status m u s t be a conse­
Eusebius and C a r p i a n u s . 77
T h e latter is the recipient o f quence o f the miniature's p o s i t i o n before the B o o k o f
Eusebius' letter, w h i c h follows o n the next page, as i t Acts, o f w h i c h L u k e is the author. T h e m i n i a t u r e , then,
w o u l d have i n the G e t t y manuscript. Eusebius and C a r - is m o r e a frontispiece to the Acts o f the Apostles than

79. Buchthal, "Escorial," pp. 85—94. The Escorial manuscript 80. One might compare the Acts frontispiece i n a late eleventh-
is illustrated here and the Ebnerianus i n Hutter, Corpus, vol. 1, century Psalter-New Testament i n the Vatopedi monastery on M o u n t
figs. 225-255. Athos (cod. 762). The miniature, now i n the Walters A r t Gallery,
 70 Nelson

Figure 22. P o r t r a i t o f M a t t h e w . N e w Testament, fol. Figure 23. P o r t r a i t o f M a r k . N e w Testament, f o l . 45v.

lOv. C o n s t a n t i n o p l e , 1133. T e m p e r a a n d g o l d C o n s t a n t i n o p l e , 1133. T e m p e r a a n d g o l d o n
o n v e l l u m . H : 220 m m (8 /s"); W : 180 m m
5
v e l l u m . H : 220 m m (8 /s"); W : 180 m m (7").
5

(7"). M a l i b u , T h e J. Paul G e t t y M u s e u m M s . Malibu, T h e J. Paul Getty Museum Ms.

L u d w i g I I 4; 8 3 . M B . 6 8 . L u d w i g I I 4; 8 3 . M B . 6 8 .

an i n t r o d u c t i o n t o the rest o f the N e w Testament. The open b o o k i n his hand, the stance assumed b y the first
f o r m a l o r i g i n s o f the c o m p o s i t i o n are t o be sought i n three evangelists i n the G e t t y m a n u s c r i p t (figs. 22—24).
certain earlier g r o u p author portraits, and as A n d e r s o n Each m a n s r i g h t a r m is enveloped i n a s l i n g o f drapery,
noted, 81
the busts themselves w i t h t h e i r r o u n d e d sil­ and bunches o f fabric fall f r o m either side o f h i m .
houettes are derived f r o m m e d a l l i o n images. O n l y J o h n (fig. 25) deviates f r o m the earlier m o d e l b y
T h e i c o n o g r a p h y o f the f o u r evangelist portraits is t u r n i n g back t o the h a n d o f G o d , w h i c h projects f r o m a
less c o m p l e x , and l o n g ago F r i e n d correctly associated quadrant o f heaven at the upper left. F r i e n d t o o k this t o
t h e m w i t h evangelists f r o m the n i n t h and t e n t h cen­ be a " c o n t a m i n a t i o n " f r o m the c o m m o n scene o f J o h n
turies. 82
T h e standing, as opposed t o the seated evange­ l o o k i n g back t o heaven for i n s p i r a t i o n w h i l e d i c t a t i n g
list, enjoyed its greatest p o p u l a r i t y at this t i m e b u t ap­ to his disciple P r o c h o r o s , 83
a c o m p o s i t i o n that does ap­
peared rarely i n the eleventh and t w e l f t h centuries. pear i n the Gospel b o o k s o f the c o n t e m p o r a r y K o k -
C o n s e q u e n t l y i t evolved so l i t t l e that the G e t t y evange­ kinobaphos g r o u p . 84
H o w e v e r , the w o r d contamination,
lists f i n d close iconographic antecedents i n manuscripts even i f its context for F r i e n d was p r o b a b l y p h i l o l o g i c a l ,
p r o d u c e d 150 years earlier. For example, a Gospel b o o k is pejorative, c o n n o t i n g a haphazard or even m i s t a k e n
in Vienna (Osterreichische N a t i o n a l b i b l i o t h e k cod. alteration. I n a m a n u s c r i p t o f the q u a l i t y o f the G e t t y
Theol. gr. 240) depicts M a t t h e w standing (fig. 26), N e w Testament, n o t h i n g is accidental, and other ex­
t u r n i n g i n w a r d t o w a r d the b i n d i n g , and h o l d i n g a half- planations for the p o r t r a i t s h o u l d be sought. Indeed a
shows six standing apostles i n t w o registers. A t the top from left to
right are Paul, Peter, and John and on the b o t t o m Luke, Matthew, and scripts from American Collections (Princeton, 1973), fig. 37.
Mark. Here the central position is the primary, so that Paul and John 81. Anderson, "Examination," pp. 67—68.
82. Friend (supra, note 7), p. 125.
turn toward Peter, while Matthew occupies the center post below.
83. Ibid.
The miniature is illustrated i n G. Vikan, ed., Illuminated Greek Manu- 84. For example, M o u n t Athos, Panteleimon cod. 25: S. M .
 Theoktistos and Associates 71

Figure 24. P o r t r a i t o f L u k e . N e w Testament, f o l . 6 9 v . Figure 25. P o r t r a i t o f J o h n . N e w Testament, f o l . 106v.

Constantinople, 1133. T e m p e r a a n d g o l d o n Constantinople, 1133. T e m p e r a a n d g o l d o n
v e l l u m . H : 220 m m (8 /s"); W : 180 m m (7").
5
v e l l u m . H : 220 m m ( 8 W ) ; W : 180 m m (7").
Malibu, T h e J. Paul Getty Museum Ms. Malibu, T h e J. Paul Getty Museum Ms.
L u d w i g I I 4; 8 3 . M B . 6 8 . L u d w i g I I 4; 8 3 . M B . 6 8 .

better analogy is p r o v i d e d b y a rare seated p o r t r a i t o f artist and t o general trends i n B y z a n t i n e p a i n t i n g o f the

J o h n i n a later eleventh-century l e c t i o n a r y i n the V a t i ­ p e r i o d . L i k e the fourteen canon tables and the m i s s i n g
can L i b r a r y (gr. 1156). T h e r e all four authors t u r n i n ­ frontispiece at the b e g i n n i n g , the portraits are products
w a r d t o w a r d t h e i r texts o n the facing rectos, b u t o n l y o f a singular desire for u n i f o r m i t y . A s n o t e d above, the
J o h n t w i s t s his head back t o w a r d the h a n d o f G o d i n i l l u m i n a t o r r u l e d the p a r c h m e n t especially for the evan­
the upper left corner o f the miniature. The type, gelists and the canon tables, so that a l l are approx­
as B u c h t h a l has s h o w n , derives f r o m early sources i m a t e l y equal i n height. W i t h such an artist, i t is n o t
c o m m o n t o later B y z a n t i n e and C a r o l i n g i a n i l l u m i n a ­ surprising, i f a b i t d i s a p p o i n t i n g , that the same figure
t i o n and is to be explained by the Early Christian n o t i o n type was used for all four evangelists. T h e i r dimensions
that o n l y J o h n a m o n g the four evangelists was d i v i n e l y are so similar that he may have mechanically re­
inspired. 85
The Getty portrait may be interpreted p r o d u c e d his m o d e l i n some manner. W h a t he varied
as a possibly u n i q u e standing v a r i a t i o n o f the i n s p i r e d were the outer drapery, and hence the breadth o f the
evangelist p a i n t e d by an i l l u m i n a t o r , w h o doubtlessly figures; the head types; to some extent the p o s i t i o n o f
was aware o f the c o n t e m p o r a r y depictions o f J o h n the feet; and, o f course, the c o l o r i n g o f the garments.
and Prochoros. E v e n J o h n fits the pattern, except for his t u r n e d head,
F o r m a l l y the manuscript's four evangelists are i m p o r ­ w h i c h again can h a r d l y be a casual v a r i a t i o n . Since the
tant witnesses t o the stylistic concerns o f this particular draperies range w i d e l y i n basic color and h i g h l i g h t i n g

Pelekanidis et al., The Treasures of Mount Athos (Athens, 1975), vol. 2, study o f the portraits i n Vatican gr. 1156 is I . Spatharakis, " A n
fig. 326. Unusual Iconographic Type o f the Seated Evangelist," AeA/uov
85. H . Buchthal, " A Byzantine Miniature o f the Fourth Evange­ X p i o r i a v i K T ^ Ä p x a i o Ä . o y i K f | s ETaipeias
c
ser. 4, 10 (1980—1981),
list and Its Relatives," Art of the Mediterranean World A.D. 100 to 1400 pp. 137-146.
(Washington, D.C., 1983), pp. 131-133, fig. 283. The most recent
72 Nelson

Figure 26. P o r t r a i t o f M a t t h e w . G o s p e l b o o k , f o l . 8 v . Figure 27. Portrait o f John. Cathedral, Cefalu, Sicily,

C o n s t a n t i n o p l e , t e n t h century. Tempera and 1148. Mosaic. Photo: Courtesy Ernst
g o l d o n v e l l u m . H : 215 m m (8 /i ");
7
6 W : 154 Kitzinger.
m m (6"). V i e n n a , Osterreichische National­
b i b l i o t h e k c o d . T h e o l . gr. 240. P h o t o : C o u r ­
tesy Osterreichische N a t i o n a l b i b l i o t h e k .

and because each figure is separated by m a n y pages i n resolved and certainly n o t w i t h i n the context o f the
the manuscript, t h e i r c o m m o n design is n o t readily per­ present study. T h e G e t t y i l l u m i n a t i o n s , nevertheless, d o
ceived, n o r is i t p a r t i c u l a r l y disconcerting i n situ. help to define the achievements of Constantino­
T h e q u a l i t y o f e x e c u t i o n equals the finest achieve­ p o l i t a n i l l u m i n a t o r s d u r i n g the second quarter o f the
ments o f C o n s t a n t i n o p o l i t a n m i n i a t u r i s t s i n w h a t is a t w e l f t h century.
major p e r i o d i n the h i s t o r y o f B y z a n t i n e i l l u m i n a t i o n . A t first, the stylistic j u x t a p o s i t i o n o f the G e t t y M a t ­
T h e dark, r i c h colors o f figures, such as M a r k , are h a l l ­ t h e w (fig. 22) w i t h the corresponding evangelist i n the
m a r k s o f the K o k k i n o b a p h o s style, and the l i n e d fore­ t e n t h - c e n t u r y V i e n n a codex (fig. 26) m i g h t seem t o be
heads and w o r r i e d expressions o f the evangelists and t o the d e t r i m e n t o f the later m i n i a t u r e . T h e massive,
o f the apostles o n the m i s s i n g l e a f (fig. 21) find parallels statuesque figure o f the Vienna Gospels is more convinc­
i n the Paris K o k k i n o b a p h o s v o l u m e and i n the v a r i ­ i n g l y and subtly m o d e l e d i n l i g h t and shadow, so that i t
ous Gospel b o o k s o f the g r o u p . 86
W h e t h e r the painter appears t o occupy physical space, b u t the i l l u s i o n is i m ­
o f the G e t t y m i n i a t u r e s was a m e m b e r o f the i n n e r c i r ­ mediately dispelled by the s u r r o u n d i n g g o l d g r o u n d
cle o f artists o f the K o k k i n o b a p h o s g r o u p or, as is m o r e o n t o w h i c h an architectural backdrop has been etched.
likely, an independent talent is, o f course, n o t easily Perhaps sensing these and other contradictions, later i l -

86. Anderson ("Examination," p. 68) compared the faces o f the unfurrowed brows (Oxford, Christ Church gr. 32; Rome, Vatican
apostles on the missing leaf (fig. 21) w i t h some i n the Paris manuscript Urb. gr. 2; Patmos cod. 274); others have even more troubled expres­
(Bibliotheque Nationale gr. 1208, fol. l v ) illustrated i n H . A . Omont, sions than the Getty evangelists and apostles (London, British Library
"Miniatures des homelies sur la vierge du moine Jacques (Ms. Grec. Burney 19; M o u n t Athos, Lavra A 44, t w o o f whose evangelists are i n
1208 de Paris)," Bulletin de la societe francaise de reproductions de the Walters A r t Gallery i n Baltimore).
manuscrits ä peintures 11 (1927), p. 1. Some evangelists i n the group have 87. D. M o u r i k i , "Stylistic Trends i n Monumental Painting o f
 Theoktistos and Associates 73

explain the crucial t r a n s f o r m a t i o n i n B y z a n t i n e p a i n t i n g

between the soft m o d e l i n g and gentle demeanor o f the
standing prophets at the late eleventh-century church o f
Daphni 8 8
and the taut, charged l i n e a r i s m o f the apostles
o f 1148 at C e f a l u . 89
T h e large, expansive figure o f J o h n
(fig. 27) i n the Sicilian apse has his r i g h t a r m i n a drap­
ery s l i n g l i k e his earlier counterpart i n the G e t t y N e w
Testament, b u t the f o r m a l differences between the t w o
figures separated b y fifteen years are revealing. N o w the
sling has become an a u t o n o m o u s f o r m , and the folds o n
the r i g h t t h i g h have been organized i n t o a l o n g oval.
T h e standing apostles at the church o f the M a r t o r a n a i n
Palermo, w h i c h are c o n t e m p o r a r y w i t h those at Cefalu,
represent a further stage o f r e f i n e m e n t . 90
Here i n the
analogous figure o f B a r t h o l o m e w (fig. 28), there is a
greater d i s j u n c t i o n between the s l i n g and the folds o n
the adjacent upper a r m . B e l o w , the lines o n the t h i g h
have coalesced i n t o a single, t i g h t l y c o i l e d spiral that
spills d o w n the m i d d l e o f the figure and unifies the
l o w e r body.
C o m p a r e d t o the softer h i g h l i g h t i n g i n earlier w o r k s ,
such as the D a p h n i prophets, the garments o f L u k e i n
the G e t t y N e w Testament (fig. 24) are almost garishly
adorned w i t h stark w h i t e lines. These n o longer m o d e l ,
Figure 28. P o r t r a i t o f Bartholomew. Church of the so as t o give the i l l u s i o n o f the t h i r d d i m e n s i o n , as i n
Martorana, Palermo, circa 1150. Mosaic. the t e n t h - c e n t u r y m i n i a t u r e i n V i e n n a (fig. 26), b u t flit
Photo: Courtesy Alinari/Art Resource,
across the surface as r a n d o m l y as the patterns o f shat­
N e w York.
tered glass and w i t h such l i t t l e regard for the b o d y u n ­
derneath that the figure is thereby flattened. T h e tech­
nique is used elsewhere i n the p e r i o d , as, for example,
l u m i n a t o r s d i s c o n t i n u e d the incised designs and aban­ i n the figure o f S o l o m o n i n an a p p r o x i m a t e l y c o n t e m ­
doned, as w e l l , the artificial classicism o f the t e n t h cen­ p o r a r y Psalter at the D i o n y s i o u monastery o n M o u n t
tury. G r a d u a l l y l i n e and surface pattern became the A t h o s (cod. 6 5 ) 91
or the mosaics o f the M a r t o r a n a . 92

expressive tools o f the i l l u m i n a t o r , and b y the end o f T h r o u g h these and other abstractions, the drapery be­
the t w e l f t h century, m o n u m e n t a l and m i n i a t u r e p a i n t ­ gins t o divorce i t s e l f f r o m the u n d e r l y i n g anatomy i n
i n g achieve r e m a r k a b l y expressionistic and mannered order t o serve the expressive purposes o f the artist. T h e
effects t h r o u g h exaggerated facial lines and b o l d l y pat­ stage is thus set for the r a p i d e v o l u t i o n o f w h a t has been
terned h i g h l i g h t s . t e r m e d the D y n a m i c s t y l e 93
o f later t w e l f t h - c e n t u r y
T h e G e t t y evangelists stand m i d w a y b e t w e e n the flat, p a i n t i n g . T h a t phase o f m o n u m e n t a l p a i n t i n g is p r i n ­
dematerialized, passive figures o f the eleventh c e n t u r y cipally preserved i n p r o v i n c i a l m o n u m e n t s . Because so
and the t u r b u l e n t excesses o f the late t w e l f t h century l i t t l e o f t w e l f t h - c e n t u r y m o n u m e n t a l p a i n t i n g survives
and are valuable witnesses t o the stylistic preoccupa­ i n m e t r o p o l i t a n centers, m i n i a t u r e s as w e l l d o c u m e n t e d
tions o f B y z a n t i n e painters d u r i n g the first h a l f o f the as those o f the G e t t y N e w Testament constitute i m ­
t w e l f t h century, a t i m e w h e n l i t t l e survives i n fresco or p o r t a n t evidence o f the t w e l f t h - c e n t u r y C o n s t a n t i n o -
mosaic. 87
A figure l i k e the G e t t y J o h n (fig. 25) helps politan tradition.

Greece D u r i n g the Eleventh and Twelfth Centuries," Dumbarton Oaks 90. Ibid., pis. 51-52.
Papers 34-35 (1980-1981), pp. 102-103. 91. Pelekanidis (supra, note 84), vol. 1, fig. 124.
88. E. Diez and O. Demus, Byzantine Mosaics in Greece: Hosios 92. Demus (supra, note 89), pi. 50 B.
Lucas and Daphni (Cambridge, Mass., 1931), figs. 54—63. 93. The term is that o f E. Kitzinger, see, for example, "The Byz­
89. O. Demus, The Mosaics of Norman Sicily (New York, 1950), antine Contribution to Western A r t o f the Twelfth and Thirteenth
pis. 1, 4. Centuries," Dumbarton Oaks Papers 20 (1966), p. 30.
74 Nelson

T h r o u g h its explicit c o l o p h o n and its script and i l ­ scripts came i n t o b e i n g , i t is necessary t o consider pa­
l u m i n a t i o n , M s . L u d w i g I I 4 also serves t o i n t r o d u c e tronage. Scribes and painters f o r m o n l y the w e f t o f the
the c o m p l e x relationships that existed b e t w e e n the p r o ­ historical fabric; the w a r p is social context: the patrons,
ducers and patrons o f deluxe b o o k s o f the p e r i o d ; this is audience, and f u n c t i o n o f the b o o k s . 95
Because such i s ­
the last c o n t e x t i n w h i c h the m a n u s c r i p t s h o u l d be c o n ­ sues have been insufficiently studied as they re­
sidered. A s the f o r e g o i n g has s h o w n , ever changing late to Byzantine i l l u m i n a t i o n , they are difficult to probe
c o m b i n a t i o n s o f scribes and i l l u m i n a t o r s collaborated i n depth. I t is possible, however, t o reconsider recent
t o produce manuscripts, a w o r k i n g m e t h o d that w o u l d studies that have so far remained isolated and i n d e p e n ­
have been facilitated b y the large u r b a n e n v i r o n m e n t o f dent o f each other, t o i n c l u d e a d d i t i o n a l p r o s o p o g r a p h i -
medieval C o n s t a n t i n o p l e , as i t was i n major western cal details, and thereby t o specify some o f the possible
European centers o f the later M i d d l e A g e s . 94
O n l y the patronage models p r e v a i l i n g i n C o n s t a n t i n o p l e d u r i n g
scribes are d o c u m e n t e d b y colophons, the usual state o f the second quarter o f the t w e l f t h century.
affairs for a l l periods o f B y z a n t i n e m a n u s c r i p t i l l u m i n a ­ M o n a s t i c patronage is i n i t i a l l y the m o s t relevant t o
t i o n . T h e existence o f separate i l l u m i n a t o r s m a y be de­ T h e o k t i s t o s and the G e t t y N e w Testament for reasons
duced, however, w h e n one encounters different p a i n t ­ that s h o u l d n o w be clear. T h e o k t i s t o s and A r s e n i o s
i n g styles i n manuscripts b y the same scribe or, the b o t h copied manuscripts for the A b b o t M a x i m o s o f the
opposite, different w r i t i n g styles i n manuscripts with Prodromos-Petra monastery i n Constantinople. The
the same i l l u m i n a t i o n . m o n k Theophanes was, at m i n i m u m , the p a t r o n o f the
Yet, w h i l e i t seems noncontroversial t o attribute the M e l b o u r n e Gospels and m a y also have been its scribe
decoration o f the C o d e x Ebnerianus and the Escorial and i l l u m i n a t o r , i f the i n s c r i p t i o n o n the frontispiece
N e w Testament t o different i n d i v i d u a l s , the n a r r o w e r (fig. 20) is t o be taken l i t e r a l l y . 96
T h u s i t m a y have been
differences among members o f the Kokkinobaphos Theophanes w h o collaborated w i t h T h e o k t i s t o s and
g r o u p are m o r e d i f f i c u l t t o explain. A r e these m a n u ­ w r o t e all or part o f the Venice and Kraus Gospels. I n
scripts the p r o d u c t o f a single artist capable o f v a r y i n g any event, the monastic context o f the M e l b o u r n e G o s ­
his style, a single artist w o r k i n g w i t h a n u m b e r o f pels is assured, and B u c h t h a l has s h o w n h o w its decora­
younger assistants, an o n g o i n g w o r k s h o p o f several t i o n and that o f the Venice m a n u s c r i p t were i n t e n d e d
painters, or a m o r e a m o r p h o u s " s c h o o l " o f i l l u m i n a ­ for a monastic audience. 97
A l t h o u g h the Gospel b o o k o f
tors? W h a t is the r e l a t i o n s h i p o f the g r o u p t o the s i m i ­ H . P. Kraus is presently u n d o c u m e n t e d , A . W e y l C a r r
lar, b u t n o t i d e n t i c a l , style o f the G e t t y N e w Testament? has n o t e d that the ex l i b r i s o f other such t i n y m a n u ­
Moreover, w h a t is the c o n n e c t i o n o f the latter's decora­ scripts refer " a l m o s t exclusively t o priests and m o n k s , "
t i o n w i t h the Gospels i n M e l b o u r n e , Venice, and N e w n o t t o lay people or w o m e n . 9 8

York? A l l f o u r share the same scribe, b u t there is a Two other manuscripts with monastic affiliations
considerable difference i n style b e t w e e n the large, v i g ­ p r o v i d e further evidence c o n c e r n i n g monastic patrons
orous G e t t y evangelists and the thinner, m o r e desic­ and audiences i n this p e r i o d . T h e first is the aforemen­
cated figures i n the Venice manuscript. O n e can o n l y t i o n e d Psalter at the D i o n y s i o u monastery (cod. 65),
conclude t e n t a t i v e l y that three scribes and one t o three w h i c h has n o w been correctly assigned to the second
i l l u m i n a t o r s collaborated o n the f o u r books. quarter o f the t w e l f t h c e n t u r y . 99
I t contains a fascinating
W h i l e T h e o k t i s t o s regrettably does n o t state w h e r e series o f p r e l i m i n a r y m i n i a t u r e s i l l u s t r a t i n g the death
and for w h o m he w r o t e his N e w Testament, m o r e is and salvation o f m o n k s , f o l l o w e d b y an i m a g e o f a
b e c o m i n g k n o w n about the patrons o f s i m i l a r m a n u ­ m o n k i n proskynesis before M a r y and the C h r i s t c h i l d .
scripts d u r i n g the second quarter o f the t w e l f t h century. A t the end, a c o l o p h o n states that the m a n u s c r i p t was
I n c o n c l u d i n g this i n v e s t i g a t i o n i n t o h o w such m a n u - w r i t t e n b y the m o n k Sabas. O n the next page, the five

94. For example, compare the situation i n thirteenth-century 99. I . Spatharakis, "The Date o f the Illustrations o f the Psalter
Paris: R. Branner, Manuscript Painting in Paris during the Reign of Saint Dionysiu 65," AeA/riov XpiorioiPiKfjs A p x a i o \ o 7 i K f j s E T a i p e C a < ; ser.
c

Louis (Berkeley, 1977), pp. 1—11; or that i n fifteenth-century Bruges: 4, 8 (1975-1976), pp. 173-177.
J. D. Farquhar and S. Hindman, Pen to Press (College Park, 1977), 100. Ibid. The miniatures i n question are illustrated i n Pelekanidis
pp. 27-29. (supra, note 84), vol. 1, figs. 121—123, w i t h the exception o f the cross
95. I have borrowed the metaphor o f the l o o m from J. G. page, and have been studied by R. Stichel, Studien zum Verhältnis von
Williams, The Art of Gupta India (Princeton, 1982), pp. 5-6. Text und Bild spät- und nachbyzantinischer Vergänglichkeitsdarstellungen
96. Supra, note 59. (Vienna, 1971), pp. 70-73.
97.. Supra, note 58. 101. Anderson (supra, note 59), pp. 167—168, fig. 1
98. Weyl Carr (supra, note 25), p. 134. The Kraus manuscript 102. P. Gautier, "Le typicon du Christ Sauveur Pantocrator," Revue
probably once contained a colophon. See supra, note 70. des etudes byzantines 32 (1974), pp. 22-23.
 Theoktistos and Associates 75

letters o f Sabas' name, a p a l i n d r o m e , are inscribed i n reasonable t o l o o k t o the d o n o r and recipient o f the
n i n e circles that f i l l a large full-page cross. A c c o r d i n g t o manuscript. P i c t o r i a l genealogy, n o t m o t i v a t i o n and i n ­
I . Spatharakis, the u n i n s c r i b e d m o n k w i t h the V i r g i n is t e n t i o n , has been the central concern o f previous schol­
this Sabas. A l t h o u g h Sabas states that he w r o t e the arship. I t has yet t o be established t o w h a t elements o f
manuscript, Spatharakis argues that he collaborated society the illustrated copies o f this text were addressed
w i t h other scribes. 100
L i k e the M e l b o u r n e manuscript, and if, for example, i t makes a difference w h e t h e r the
then, the D i o n y s i o u Psalter portrays its monastic p a t r o n p a t r o n is a male aristocrat—as i n the case o f a m a n u ­
and/or scribe before the V i r g i n and C h i l d , b u t its deco­ script o n M o u n t A t h o s ( D i o n y s i o u cod. 61)—or the ab­
rative p r o g r a m is m o r e e x p l i c i t l y addressed t o m o n k s . b o t o f an i m p e r i a l monastery.
W i t h the second manuscript, d o c u m e n t a t i o n is m o r e A l t h o u g h art historians have tended t o d i s t i n g u i s h
i n f o r m a t i v e t h a n decoration. T o w a r d the m i d d l e o f the between monastic and aristocratic manuscripts, the dis­
t w e l f t h century, the A b b o t Joseph H a g i o g l y k e r i t e s o f tance f r o m the Pantocrator or the Prodromos-Petra
the Pantocrator monastery i n C o n s t a n t i n o p l e c o m m i s ­ monasteries to the i m p e r i a l court was n o t far geographi­
sioned a handsome i l l u s t r a t e d m a n u s c r i p t o f the Homi­ cally, culturally, or socially. T h e association o f E m p e r o r
lies of Gregory Nazianzenus at M o u n t Sinai (gr. 339). A n M a n u e l C o m n e n u s w i t h the Prodromos-Petra monas­
impressive calligraphic i n s c r i p t i o n at the b e g i n n i n g an­ tery was n o t e d previously. Manuel's parents, J o h n I I and
nounces that Joseph dedicated the b o o k t o the monas­ Irene, the r e i g n i n g monarchs at the t i m e w h e n T h e o k ­
tery o f the T h e o t o k o s Pantanassa o n the island o f H a g i a tistos w r o t e the G e t t y N e w Testament, founded the
G l y k e r i a near C o n s t a n t i n o p l e . 101
T h i s Joseph, w h o is Pantocrator monastery, and its charter, signed b y J o h n
elsewhere attested as abbot o f the monastery i n 1149, i n 1136, regulated m y r i a d details o f daily life. A chapel
probably died about 1154/55. 102
T h e book's ornament at the monastery served as a dynastic b u r i a l place for the
connects i t w i t h the K o k k i n o b a p h o s style, b u t its f i g u r a l C o m n e n i , and various aristocrats and intellectuals were
m i n i a t u r e s p o i n t i n other directions; exactly w h e r e is associated w i t h the i n s t i t u t i o n i n one w a y or another. 106

unclear. 103
T h e abbot m i g h t have c o m m i s s i o n e d the For example, t o protect his t h r o n e d u r i n g the 1140s,
b o o k f r o m his o w n s c r i p t o r i u m , b u t u n l i k e the P r o - M a n u e l h a d sequestered at the Pantocrator monastery
dromos-Petra monastery, there is n o other evidence his sister-in-law, the Sebastokratorissa Irene, the w i f e o f
about the w r i t i n g or the decorating o f manuscripts at his deceased older brother, A n d r o n i c u s . 107

this major C o m n e n i a n establishment. 104

Thus, i n view T h i s Irene was a major patroness o f arts and letters i n
o f w h a t has been learned about c o n t e m p o r a r y patterns t w e l f t h - c e n t u r y Constantinople. C o n s t a n t i n e Manasses
o f p r o d u c t i o n , i t w o u l d be u n w i s e t o associate those dedicated t o her his Chronicle of the History of the World
w h o w r o t e and decorated the m a n u s c r i p t t o o closely from Adam to 1081 and prepared an astrological treatise
w i t h the Pantocrator monastery. for her as w e l l . J o h n Tzetzes, w h o h e l d a post at the
W i t h o u t a doubt, the p a t r o n and the i n t e n d e d au­ Pantocrator monastery and corresponded w i t h its ab­
dience for the b o o k were monastic, b u t the extent t o bot, Joseph, dedicated his Theogony t o her. "Man-
w h i c h these circumstances governed the manuscript's ganeios" P r o d r o m o s w r o t e a n u m b e r o f poems for her
i m a g e r y has scarcely been e x a m i n e d . Indeed, i t has o n l y and members o f her f a m i l y f r o m 1138 u n t i l her death i n
been n o t e d i n passing that G r e g o r y is s h o w n at the the early 1150s. Finally, T h e o d o r o s P r o d r o m o s dedicated
b e g i n n i n g as a m o n k , n o t a bishop, a change described t o her an astrological p o e m and a g r a m m a t i c a l treatise,
as " u n h i s t o r i c a l " and a t t r i b u t e d t o " t h e direct influence the o r i g i n a l version o f w h i c h may s t i l l e x i s t . 108

o f m o n a s t i c i s m , w h i c h became v e r y m a r k e d i n the The manuscript i n question, now at the Greek

t h o u g h t o f B y z a n t i u m i n the eleventh c e n t u r y and l a ­ O r t h o d o x Patriarchate i n Jerusalem (cod. Taphou 52), is
ter." 105
Rather than r e s o r t i n g t o a Zeitgeist, i t is m o r e decorated w i t h r i c h o r n a m e n t i n the style o f the K o k -

103. Anderson (supra, note 59), pp. 170—185. 1912), reprint (New York, 1960), p. 213.
104. Little is k n o w n about the monastery's library. See Janin (supra, 108. That patronage is surveyed i n ibid, and i n C. Diehl, Figures
note 19), p. 521. byzantines ser. 2 (Paris, 1913), pp. 142—153, but has now received a
105. G. Galavaris, The Illustrations of the Liturgical Homilies of more thorough treatment by E. M . Jeffreys: "The Comnenian Back­
Gregory Nazianzenus (Princeton, 1969), p. 25. ground to the 'Romans d'antiquite," Byzantion 50 (1980), pp.
106. Most recently on the Pantocrator monastery there is R. 473—474, 478—481; "The Sevastokratorissa Eirene as Literary Patron­
Cormack, Writing in Gold: Byzantine Society and Its Icons (New ess: The M o n k Iakovos," JOB 32/3 (1982), pp. 63-71; "Western I n f i l ­
York, 1985), pp. 200—214. The charter is published by Gautier (supra, tration o f the Byzantine Aristocracy: Some Suggestions," The Byzan­
note 102), pp. 1-145. tine Aristocracy IX to XII Centuries, B A R International Series 221, ed.
107. F. Chalandon, Les Comnene, etudes sur Vempire byzantin au Xle M . Angold (Oxford, 1984), pp. 204-207. The individual authors are
et au Xlle siecles: II. 1 Jean I I Comnene et Manuel I Comnene (Paris,
76 Nelson

kinobaphos school. 109

T h e same o r n a m e n t Anderson (circa 1140—circa 1190) received his t i t l e f r o m his m o t h ­
n o t e d i n a deluxe copy o f letters w r i t t e n b y a m o n k er's first cousin, the emperor M a n u e l I C o m n e n u s . 115

named Iakovos (Paris, Bibliotheque Nationale gr. A l t h o u g h the m a n u s c r i p t i t s e l f was p r o d u c e d d u r i n g

3039). 110
A c c o r d i n g t o E. Jeffreys, the addressee o f these the second quarter o f the t w e l f t h century, the added
letters was the Sebastokratorissa Irene. 111
Both manu­ notes, nevertheless, attest t o the aristocratic connections
scripts m a y be reasonably credited t o the patronage o f o f the K o k k i n o b a p h o s g r o u p and suggest that the b o o k
Irene, w h o f r o m other poems is k n o w n to have donated f u n c t i o n e d l i k e a m o d e r n f a m i l y Bible. M i g h t the later
hangings and liturgical vessels to churches. 112
I t is Isaac C o m n e n u s have chosen t o c o m m e m o r a t e his c h i l ­
t e m p t i n g , therefore, t o take the next step and also t o dren's b i r t h s i n this particular m a n u s c r i p t because i t
associate w i t h Irene the i l l u s t r a t e d copies o f the h o m i ­ had been passed d o w n t h r o u g h t w o generations of
lies o f the m o n k Iakovos K o k k i n o b a p h o s p r o d u c e d b y his family?
the " w o r k s h o p " responsible for her manuscripts that Aristocratic associations may also be i m p l i e d by
are n o w i n Paris and Jerusalem and t o equate the the famous portraits o f J o h n I I C o m n e n u s and his son
Iakovos o f the letters w i t h the Iakovos o f the h o m i l i e s . A l e x i u s i n the Vatican Gospel b o o k ( U r b . gr. 2). 116

Jeffreys, once hesitant, is now more amenable to E x a c t l y w h o m i g h t have been the p a t r o n o f the m a n u ­
the idea. 113
script is nevertheless unclear, i n spite o f the frequent
Irene, thus, provides an excellent m o d e l o f aristocra­ assumptions, explicit and i m p l i c i t , that are made about
tic patronage o f deluxe manuscripts, i n part because her the matter. A n i m p e r i a l p o r t r a i t need n o t necessarily
activities are so w e l l d o c u m e n t e d . A m o n g the few other signal an i m p e r i a l p a t r o n or owner, and indeed, T h e ­
i n d i v i d u a l s that emerge f r o m the stark a n o n y m i t y o f odoras P r o d r o m o s w r o t e a p o e m about a p a i n t i n g o f
most contemporary Byzantine illumination is the E m p e r o r J o h n I I that his brother, the Sebastokrator
Sebastokrator Isaac C o m n e n u s , the renovator o f the Isaac, commissioned for himself. 117
Unfortunately,
m o n a s t e r y o f the C h o r a i n C o n s t a n t i n o p l e , near the n o t h i n g is k n o w n about the patronage o f yet another
Blachernae palace and the Prodromos-Petra monastery, Gospel b o o k o f the K o k k i n o b a p h o s group, the afore­
and the f o u n d e r o f the K o s m o s o t e i r a monastery i n m e n t i o n e d Paris gr. 75, whose scribe is i n d i r e c t l y l i n k e d
Thrace, w h o s e frescoed c h u r c h s t i l l survives. T h i s Isaac, w i t h T h e o k t i s t o s and the G e t t y N e w Testament.
the uncle o f Irene's husband, is the probable p a t r o n o f T h e generalized i l l u m i n a t i o n i n the latter t w o m a n u ­
the Seraglio Octateuch, a m a n u s c r i p t w i t h extensive scripts w o u l d have been suitable for a monastic or aris­
narrative i l l u s t r a t i o n p a i n t e d i n several styles, i n c l u d ­ tocratic audience i n twelfth-century Constantinople,
i n g that o f the K o k k i n o b a p h o s g r o u p , as A n d e r s o n w h e r e c o m p l e x associations a m o n g scribes, painters,
has p r o p o s e d . 114
and patrons were p e r m i t t e d and encouraged. I n such a
Finally, the name o f yet another Isaac C o m n e n u s ap­ society, the d i s t i n c t i o n b e t w e e n monastic and aristocra­
pears at the back o f a Gospel b o o k o f this g r o u p ( O x ­ tic has l i m i t e d u t i l i t y . D e l u x e manuscripts were e x p e n ­
ford, C h r i s t C h u r c h gr. 32). Heretofore u n n o t i c e d e n ­ sive t o produce. T h e materials used, g o l d , precious c o l ­
tries record the b i r t h s o f c h i l d r e n t o the Pansebastos ors, and parchment, were costly, and the skills o f
Sebastos Isaac i n 1172 and 1174 and perhaps 1171. T h e artisans as talented as T h e o k t i s t o s and his associates had
o w n e r is p r o b a b l y t o be i d e n t i f i e d as the Isaac C o m ­ t o be h o n e d over an extended p e r i o d o f t i m e , necessitat­
nenus w h o was the grandson and namesake o f the pre­ i n g a h i g h level o f sustained patronage. I n general
ceding Isaac b y his daughter A n n a . T h e y o u n g e r Isaac terms, that support was p r o v i d e d b y the e c o n o m i c re-

surveyed i n H . Hunger, Die hochsprachliche profane Literatur der Byzan­ trated i n a mid-fourteenth-century Bulgarian manuscript, published
tiner (Munich, 1978), vol. 1, pp. 419-422; vol. 2, pp. 59, 113, 118, 243. by I . Dujcev, Die Miniaturen der Manasses-Chronik (Leipzig, 1965).
109. Spatharakis, "Grammar," pp. 231—243. Lazarev (supra, note 49, p. 395) thought that some o f the miniatures
110. Anderson, "Examination," pp. 97—98. were based on a "metropolitan prototype" o f the twelfth century,
111. Jeffreys, "Sevastokratorissa" (supra, note 108). She gives the while others were created i n the fourteenth century. A Greek copy o f
Paris manuscript's signature as gr. 3909, a slip. Anderson ("Examina­ the Chronicle from the Palaeologan period (Vienna, Österreichische
tion," p. 97) reports i t as gr. 3039, as does H . Omont, Inventaire Nationalbibliothek Phil. gr. 149), contains a drawing o f the author
sommaire des manuscrits grecs de la Bibliotheque Nationale (Paris, 1888), and patron at the beginning. See I . Spatharakis, The Portrait in Byzan­
vol. 3, p. 97. The latest study on the letters is M . J. Jeffreys, "Iakovos tine Illuminated Manuscripts (Leiden, 1976), pp. 158—159, fig. 100. I n
Monachos, Letter 3," Maistor, Classical, Byzantine and Renaissance Stud­ view o f Irene's literary and artistic interests, it might be worthwhile to
ies for Robert Browning (Canberra, 1984), pp. 241—257. identify the Comnenian element i n these manuscripts.
112. Jeffreys, "Sevastokratorissa" (supra, note 108), p. 69. To m y 113. E. Jeffreys expressed her reservations i n a JOB article (supra,
knowledge, none o f the other texts dedicated to Irene are preserved i n note 108), pp. 69—70. I n a letter o f January 1987, she was more w i l l i n g
illuminated manuscripts that are contemporaneous w i t h the patron. to identify the Iakovos o f the letters w i t h the Iakovos o f the homilies.
However, the Slavonic translation o f the Chronicle o f Manasses is illus- A fuller treatment o f the problem w i l l have to await the important
 Theoktistos and Associates 77

surgence o f the C o m n e n i a n period, but more specifi­ and the evangelist portraits are ruled differently to suit

cally, i t was the p r o d u c t o f a c o m p l e x social m a t r i x . 1 1 8 t h e i r respective designs. A l l o f q u i r e I (fols. 1—7) shares the

O n e p a r t c o m p r i s e d the C o n s t a n t i n o p o l i t a n elite, w h i c h same r u l i n g except t h a t f o l i o 1 has lines added for the Euse-
b i a n letter.
at this t i m e l a r g e l y m e a n t the extensive relations o f the
imperial family; and the other, the monasteries that COLLATION: I -
8 1
(fols. 1-7); IP (fols. 8-10); III-VI 8
(fols.

they financed and i n w h i c h they prayed, r e t i r e d , and 11-42); V I I 9

(fols. 4 3 - 5 1 ) ; V I I I - I X 8
(fols. 5 2 - 6 7 ) ; X 9
(fols.

w e r e b u r i e d . T h e o k t i s t o s either resided i n a monastery, 68-76); X I - X I I I 8

(fols. 7 7 - 1 0 0 ) ; X I V 9
(fols. 101-109); X V -
XXXIII 8
(fols. 110-262); X X X I V 6
(fols. 2 6 3 - 2 6 8 ) ; XXXV 8

such as that o f P r o d r o m o s - P e t r a , or else w o r k e d for i t .

(fols. 2 6 9 - 2 7 6 ) ; X X X V I 4
(fols. 2 7 7 - 2 8 0 ) . A f e w q u i r e signa­
Some o f the o t h e r scribes and i l l u m i n a t o r s w i t h which
tures are v i s i b l e (e.g., fols. 35r, 43r, 93r) i n the l o w e r i n n e r
he collaborated w e r e m o n k s , w h i l e others m a y have
corner o f the first page o f a q u i r e ; the others have been t r i m ­
been i n d e p e n d e n t craftsmen. But each m i g h t at one
m e d off. A s t r a d i t i o n a l , the n u m b e r i n g began w i t h the f i r s t
moment work for an aristocrat and at another for a
page o f M a t t h e w ' s G o s p e l , thus e x c l u d i n g the p r e l i m i n a r y
m o n k or abbot o f an aristocratic monastery.
matter. O n e f o l i o o f the c a n o n tables b e t w e e n folios 1 a n d 2
has been r e m o v e d ; an offset o n f o l i o l r indicates t h a t at least
University o f Chicago one f o l i o is m i s s i n g f r o m the b e g i n n i n g o f the manuscript;
a n d f o l i o 134 has also been excised. T h e f o u r evangelist p o r ­
traits are t i p p e d i n o n separate folios. T h e m i s s i n g f o l i o 134
POSTSCRIPT
w i t h the m i n i a t u r e o f the t w e l v e apostles was also inserted
Since c o m p l e t i n g the f o r e g o i n g , t w o relevant references
i n t o the r e g u l a r q u i r e s t r u c t u r e and m u s t have been attached
have c o m e to m y attention. The first, n o t available t o either t o X V I I 8
(fols. 126-133) or t o X V I I I 8
(fols. 135-142).
me, apparently bears o n the f o u r t e e n t h - c e n t u r y T h e o k ­
S C R I P T : M e d i u m b r o w n i n k f o r the p r i n c i p a l t e x t ; c a r m i n e i n k
tistos: G. A. Papademetriu, " C
H ' K p d X a i v a TCOV T p i -
for the m a r g i n a l n o t a t i o n s a n d l i t u r g i c a l m a r k i n g s i n the t e x t ;
ßaXcov' K a i 6 Koa8LKcr/pdc(x)s teoKTtaros ( ± 1 3 4 0 ) , " Mea-
g o l d i n k f o r the n u m b e r s o f c a n o n tables, the l i s t o f chapters
aiwpiKa K a i N e a c
E \ \ T ] v i K a l (1984), pp. 4 1 9 - 4 5 1 . The
i n M a t t h e w , a n d parts o f o t h e r chapter lists. T h e basic s c r i p t is
article is c i t e d i n Byzantinische Zeitschrift 79 (1986), p.
a typical twelfth-century religious hand w i t h mixtures o f u n ­
104. The second paper concerns the Lafskali (or cial a n d m i n u s c u l e f o r m s . D i s t i n c t i v e t o the scribe Theok­
Lapskald) Gospels, mentioned supra, note 54. A. tistos are the gracefully c u r v i n g zeta; the occasional alpha w i t h
S a m i n s k i analyzes this and o t h e r G e o r g i a n m a n u s c r i p t s a l o n g d i a g o n a l stroke; frequent e p s i l o n - o r a l p h a - r h o liga­
in his i m p o r t a n t study, " M a s t e r s k a j a g r u z i n s k o j i gre- tures; the large p h i ; the occasional minuscule delta with
ceskoj k n i g i v K o n s t a n t i n o p o l e XII—nacala X I I I v.," s w e e p i n g t a i l at the t o p ; a n d the l o n g , p r o m i n e n t abbrevia­
w h i c h is t o appear i n Izvestija Akademii Nauk Gruzinskoj t i o n m a r k s above w o r d s . T h e l e t t e r o f Eusebius (fols. l r — v )

SSR i n D e c e m b e r 1987. I w i s h to thank Dr. Saminski a n d the l i t u r g i c a l tables (fols. 269r—280r) are w r i t t e n b y a

for sending me his paper and photographs of the second scribe.

manuscript. CONTENTS: 1 2 0
F o l i o s l r — v l e t t e r o f Eusebius; 2r—7v c a n o n t a ­
bles; 8r—9r l i s t o f chapters f o r M a t t h e w ; 9 v o r i g i n a l l y b l a n k ,
APPENDIX now w i t h t e x t b y a later h a n d ; lOr b l a n k ; lOv p o r t r a i t o f M a t ­
C O D I C O L O G Y : Parchment. Folios 280. 220 X 180 m m (both t h e w ; Ur—44v G o s p e l o f M a t t h e w ; 4 4 v s u b s c r i p t i o n t o M a t ­
l e n g t h a n d w i d t h have been t r i m m e d ) . 26 lines i n 1 c o l u m n t h e w ; 4 4 v list o f chapters t o M a r k , i n c o m p l e t e ; 45r b l a n k ; 4 5 v
(160 X 125 m m ) . p o r t r a i t o f M a r k ; 46r c o n t i n u a t i o n o f l i s t o f chapters t o M a r k ;
Ruling: Leroy 42C1. 119
T h e c a n o n tables, the l i t u r g i c a l tables, 46v—67v G o s p e l o f M a r k ; 67v—68v l i s t o f chapters t o L u k e ;

studies that she and her husband are preparing. 118. O n the economic history o f the twelfth century see M .
114. Anderson (supra, note 31), pp. 83—104. For Isaac and the t w o Hendy, "Byzantium, 1081—1204: A n Economic Reappraisal," Transac­
monasteries see R A . Underwood, The Kariye Djami (New York, tions of the Royal Historical Society ser. 5, 20 (1970), pp. 31—52. There
1966), vol. 1, pp. 10-13; and M o u r i k i (supra, note 87), pp. 103-106, are important papers on contemporary social history i n M . Angold,
w i t h further references. ed., The Byzantine Aristocracy IX to XII Centuries, B A R International
115. See my paper, supra, note 31, and K . Barzos, H TeveaXo^ta C
Series 221 (Oxford, 1984). There, R. Cormack ("Aristocratic Pa­
Tcav KOIJLVTJI'WV (Thessaloniki, 1984), vol. 2, pp. 507—511. A t the end tronage o f the Arts i n 11th- and 12th-century Byzantium," pp.
of the Codex Ebnerianus, a sixteenth-century owner recorded the 158—172) also discusses "aristocratic" art.
births o f five children. See A . Turyn, Dated Greek Manuscripts of the 119. The system used is that o f J. Leroy, Les types de regime des
Thirteenth and Fourteenth Centuries in the Libraries of Great Britain manuscrits grecs (Paris, 1976).
(Washington, D.C., 1980), p. 149. 120. Those N e w Testament prefaces that are listed i n H . F. von
116. Stornajolo (supra, note 73), pi. 83. Soden, Die Schriften des Neuen Testaments, 1,1 (Berlin, 1902) are de­
117. R Magdalino and R. Nelson, "The Emperor i n Byzantine noted by the numbers given there.
A r t o f the Twelfth Century," Byzantinische Forschungen 8 (1982),
pp. 130-131.
 78 Nelson

69r b l a n k ; 6 9 v p o r t r a i t o f L u k e ; 70r—105v G o s p e l o f L u k e , b u t Bibliothekswesen, B e i h e f t 33 ( L e i p z i g , 1909); C . R. M o r e y , East

n o t c o m p l e t e o n 105v; 106r o r i g i n a l l y b l a n k , n o w the c o n c l u ­ Christian Paintings in the Freer Collection ( W a s h i n g t o n , D . C . ,
s i o n o f L u k e b y a later h a n d ; 106v p o r t r a i t o f J o h n ; 107r o r i g i ­ 1914), pp. 28, 30; J. B i c k , Die Schreiber der wiener griechischen
nal c o n c l u s i o n o f L u k e a n d l i s t o f chapters t o J o h n ; 107v—133v Handschriften ( V i e n n a , 1920), p. 66; A . M . F r i e n d , Jr., "The
G o s p e l o f J o h n ; 133v preface t o A c t s and, at the b o t t o m o f the Portraits o f the Evangelists i n G r e e k a n d L a t i n M a n u s c r i p t s , "
page, a later list o f the apostles t h a t was c o n t i n u e d o n the Art Studies 5 (1927), pp. 125, 133, figs. 9 - 1 2 ; K . L a k e a n d S.
m i s s i n g f o l i o 134r, n o w i n the Paul C a n e l l o p o u l o s c o l l e c t i o n , Lake, Dated Greek Manuscripts to the Year 1200 ( B o s t o n , 1935),
A t h e n s ; 134v ( m i s s i n g ) busts o f the t w e l v e apostles; 135r—171r fasc. 3, no. 116, pis. 197-198; F. D ö l g e r , E . W e i g a n d , a n d A .
Acts of the Apostles; 171r preface to Catholic Epistles; D e i n d l , Mönchsland Athos ( M u n i c h , 1942), pp. 194-197; E . W .
171 v—172r preface t o James ( V o n S o d e n n o . 134); 172r—175v Saunders, A Descriptive Checklist of Selected Manuscripts in the
James; 175v preface t o I Peter ( V o n S o d e n no. 135); 175v—179r I Monasteries of Mount Athos ( W a s h i n g t o n , D . C . , 1957), p. 3;
Peter; 179r—v preface to I I Peter ( V o n Soden no. 137); K. A l a n d , Kurzgefasste Liste der griechischen Handschriften des
1 7 9 v - 1 8 2 r I I Peter; 1 8 2 r - v preface t o I J o h n ( V o n S o d e n n o . Neuen Testaments ( B e r l i n , 1963), p. 110; M . R i c h a r d , Repertoire
137); 1 8 2 v - 1 8 6 r I J o h n ; 186r preface t o I I J o h n ( V o n S o d e n n o . des bibliotheques et des catalogues de manuscrits grecs: Supplement I
137); 1 8 6 r - 1 8 6 v I I J o h n ; 1 8 6 v - 1 8 7 r preface t o I I I J o h n ( V o n (1958-1963) (Paris, 1964), p. 12; V . Lazarev, Storia della pit-
S o d e n n o . 138); 1 8 7 r - v I I I J o h n ; 187v preface t o J u d e ( V o n tura bizantina ( T u r i n , 1967), p. 252; M . Restle, Byzantine Wall
S o d e n n o . 139); 1 8 7 v - 1 8 8 v Jude; 1 8 8 v - 1 8 9 v preface t o R o m a n s Painting in Asia Minor (Greenwich, Conn., 1967), v o l . 1,
(Von S o d e n n o . 140); 1 9 0 r - 2 0 3 r R o m a n s ; 2 0 3 r - v preface t o I pp. 81, 244; E . D . K a k o u l i d i , " C
H ßißA.ioÖTJKT) TTJS |xopf|S
C o r i n t h i a n s ( V o n S o d e n n o . 140); 203v—216r I C o r i n t h i a n s ; n p o ö p ö i x o i v ü e r p a s aTTjv KcovaTavTLVOtm-oXri," Hellenika 21
216v—217r preface t o I I C o r i n t h i a n s ( V o n Soden no. 140); (1968), p. 19; H . H u n g e r , " E v a n g e l i s t e n , " Reallexikon zur by­
217r—225v I I Corinthians; 225v preface to Galatians (Von zantinischen Kunst 2 (1968), c o l . 458; K . T r e u , " B y z a n t i n i s c h e
S o d e n n o . 140); 2 2 6 r - 2 2 9 v Galatians; 230r preface t o Ephe- Kaiser i n d e n S c h r e i b e r n o t i z e n griechischer Handschriften,"
sians ( V o n S o d e n n o . 140); 230r—234v Ephesians; 2 3 4 v preface Byzantinische Zeitschrift 65 (1972), p. 17; S. D e r Nersessian,
t o P h i l i p p i a n s ( V o n S o d e n n o . 140); 234v—237v P h i l i p p i a n s ; " T h e P r a x a p o s t o l o s o f the Walters A r t G a l l e r y , " Gatherings in
237v—238r preface to Colossians (Von Soden no. 140); Honor of Dorothy E. Miner, ed. U . E . M c C r a c k e n et al. ( B a l ­
238r—241r Colossians; 241r—v preface t o I Thessalonians ( V o n t i m o r e , 1974), p. 41; J. C . A n d e r s o n , " A n E x a m i n a t i o n o f T w o
S o d e n n o . 140); 241 v—244r I Thessalonians; 244r—v preface t o T w e l f t h - C e n t u r y Centers o f Byzantine M a n u s c r i p t Produc­
I I Thessalonians ( V o n S o d e n n o . 140); 244v—246r I I T h e s s a l o ­ t i o n " ( P h . D . diss., P r i n c e t o n U n i v e r s i t y , 1975), pp. 2, 6 6 - 6 9 ,
nians; 246r—v preface to Hebrews ( V o n Soden no. 140); 158—159; A . v o n E u w a n d J. M . P l o t z e k , Die Handschriften der
246v—247r preface to Hebrews (Von Soden no. 141); Sammlung Ludwig ( C o l o g n e , 1979), v o l . 1, pp. 159—163, figs.
2 4 7 r - 2 5 7 v H e b r e w s ; 2 5 7 v - 2 5 8 r preface t o I T i m o t h y ( V o n 56—63; H . H u n g e r a n d O . K r e s t e n , " A r c h a i s i e r e n d e M i n u s k e l
S o d e n n o . 141); 2 5 8 r - 2 6 1 v I T i m o t h y ; 2 6 2 r - 2 6 2 v preface t o I I und H o d e g o n s t i l i m 14. J a h r h u n d e r t : D e r Schreiber Theok­
Timothy (Von Soden no. 141); 262v—265r II Timothy; tistos u n d die K p & X a i p a TCOV T p i ß a X c o p , " JOB 29 (1980), pp.
265v—266r preface t o T i t u s ( V o n S o d e n n o . 141); 266r—267v 188-191, 211-212, 214, 217, 220; R . N e l s o n , " A T h i r t e e n t h -
Titus; 267v preface to Philemon (Von Soden no. 141); C e n t u r y B y z a n t i n e M i n i a t u r e i n the V a t i c a n L i b r a r y , " Gesta 20
267v—268v P h i l e m o n ; 2 6 8 v c o l o p h o n a n d later o w n e r e n t r y o f (1981), p. 221; P. M a g d a l i n o a n d R. N e l s o n , " T h e E m p e r o r i n
the D i o n y s i o u m o n a s t e r y ; 269r—274v S y n a x a r i u m ; 275r—280r B y z a n t i n e A r t o f the T w e l f t h C e n t u r y , " Byzantinische For­
Eklogadion. schungen 8 (1982), pp. 1 5 0 - 1 5 1 ; H . B u c h t h a l , " D i s i e c t a M e m ­
b r a , " The Burlington Magazine 124 (1982), p. 214, figs. 15-17;
D E C O R A T I O N : I l l u m i n a t e d c a n o n tables, f o l i o s 2r—7v; p o r t r a i t s
H. B u c h t h a l , " A G r e e k N e w Testament M a n u s c r i p t i n the
o f M a t t h e w (fol. lOv), M a r k (fol. 45v), L u k e (fol. 69v), and
E s c o r i a l L i b r a r y : Its M i n i a t u r e s a n d Its B i n d i n g , " Byzanz und
J o h n ( f o l . 106v); i l l u m i n a t e d headpieces o n f o l i o s l l r , 4 6 v , 70r,
der Westen: Studien zur Kunst des europäischen Mittelalters, ed. I .
107v, 135r, 190r.
H u t t e r ( V i e n n a , 1984), p. 90; I . Spatharakis, " A n Illuminated

P R O V E N A N C E : D i o n y s i o u monastery, M o u n t A t h o s ( c o d . 8), G r e e k G r a m m a r M a n u s c r i p t i n Jerusalem: A C o n t r i b u t i o n t o

perhaps f r o m the s i x t e e n t h c e n t u r y (see v o n E u w a n d P l o t z e k , the S t u d y o f Comnenian I l l u m i n a t e d O r n a m e n t , " JOB 35

p. 160), removed from the monastery around 1960 (see (1985), p. 237.

Buchthal, "Disiecta M e m b r a " ) ; Oscar M e y e r collection, Los

A n g e l e s ; L u d w i g c o l l e c t i o n ; a c q u i r e d b y the J. Paul G e t t y M u ­
s e u m i n 1983.

BIBLIOGRAPHY: H . Brockhaus, Die Kunst in den Athos-Klöstern

( L e i p z i g , 1891), pp. 183, 211, 2 3 1 - 2 3 3 , p i . 2 1 ; S. P. L a m b r o s ,
Catalogue of the Greek Manuscripts on Mount Athos ( C a m b r i d g e ,
1895), v o l . 1, p. 319; M . V o g e l a n d V. Gardthausen, Die
griechischen Schreiber des Mittelalters und der Renaissance
(Hildesheim, 1966), p. 143, r e p r i n t e d f r o m Zentralblatt für
A Celibate Marriage and Franciscan Poverty Reflected
in a Neapolitan Trecento Diptych
Carl Brandon Strehlke

I n 1986 the J. Paul G e t t y M u s e u m acquired a f o u r ­ c o n n e c t i o n to the Sabrans. However, the episode o f an

teenth-century d i p t y c h (figs, la—c) that came f r o m the
1
angelic c o r o n a t i o n does n o t appear i n any extant f o u r ­
Sabran, a p r o m i n e n t Provencal aristocratic family. R e p ­ teenth-century source c o n c e r n i n g Elzear and D e l p h i n e .
resented i n the left-hand panel o f the d i p t y c h is Saint I n later biographies, w h i c h are perhaps based o n n o w -
Francis r e c e i v i n g the stigmata; the r i g h t - h a n d panel lost documents, the o n l y similar incident is one i n w h i c h
portrays an angel suspended i n flight w h o bestows floral an angel visits the couple i n their bedchamber and lays his
crowns o n a m a n and w o m a n k n e e l i n g i n a b e d c h a m ­ hands o n t h e i r heads. N o t a b l y , the couple is described as
ber. T h o u g h the picture's provenance cannot be d o c u ­ sleeping, and there is n o m e n t i o n o f floral wreaths. I n 3

mented before the twentieth century, in modern a d d i t i o n , the i d e n t i f i c a t i o n does n o t stand o n c h r o n o ­

hagiographical w r i t i n g s the t w o k n e e l i n g figures have logical grounds. Based u p o n its style and the costumes
been i d e n t i f i e d as f o u r t e e n t h - c e n t u r y members o f the o f the couple, w h i c h reflect fashions before the m i d -
Sabran f a m i l y : Saint Elzear de Sabran (1286—1323) and f o u r t e e n t h c e n t u r y (as w i l l be discussed i n detail later),
his wife, the Blessed D e l p h i n e de Signe (1284—1360), the picture m u s t date considerably before Delphine's
courtiers t o K i n g Robert and Q u e e n Sancha o f Naples. 2
death i n 1360 and Elzear's canonization, declared b y his
T h e scene i n the b e d r o o m has been t h o u g h t t o repre­ own godson, U r b a n V de G r i m o a r d (r. 1362—1370), i n
sent an angel c r o w n i n g the couple t o h o n o r t h e i r fa­ 1369. A l t h o u g h Elzear and D e l p h i n e cannot possibly be
mous v o w o f chastity. Because they were p r o b a b l y the subjects o f the d i p t y c h , other c o n v i n c i n g i c o n o -
members o f the lay, or tertiary, order o f the Franciscans, graphic reasons exist for associating i t w i t h t h e m , and
the s t i g m a t i z a t i o n o f Saint Francis represented i n the there is historical and stylistic evidence for c o n c l u d i n g
left-hand panel also seemed t o c o n f i r m the diptych's that i t was c o m m i s s i o n e d by D e l p h i n e or someone close

Abbreviations by Jacques Dupont, "Quelques exemples des rapports entre la France

Actus: Paul Sabatier, ed., Actus beati Francisci et sociorum et l'ltalie au X I V et au X V siecles," Cahiers de VAssociation interna­
e e

eius, Collection d'etudes et de documents no. 4 tionale des etudes francaises 8 (1956), p. 8, and Michel Laclotte and
(Paris, 1902). Dominique Thiebaut, L'ecole dAvignon (Paris, 1983), pp. 194—195. The
Bologna: Ferdinando Bologna, / pittori alia corte angioma di former attributes the diptych to the Sienese school, and the latter call
Napoli, Saggi e studi d i storia dell'arte no. 2 it simply Italian, circa 1340—1350. Enrico Castelnuovo has identified
(Rome, 1969). the saints as Quiricus and Julietta and the artist as from the circle o f
Enquete: Jacques Cambell, ed., Enquete pour le proces de Paolo Veneziano, circa 1340; see "Ecole dAvignon," Art de France 1
canonisation de Dauphine de Puimichel comtesse (1961), p. 284.
dAriano (Turin, 1978). 3. Garsende Alphant, Elzear's nurse and the couple's companion,
"Trois sermons": W i l l i b o r d Lampen, ed., "Trois sermons de Fran­ is said to have witnessed this, as was supposedly reported at Elzear's
cois de Meyronnes sur la stigmatization de canonization hearings, which took place over forty years after
Saint Francois," La France franciscaine 10 (1927), Alphant's death. See Genevieve Duhamelet, Saint Elzear et la Bien­
pp. 371-397. heureuse Delphine (Paris, 1944), p. 17. Alphant's testimony was entered
Vies occitanes: Jacques Cambell, ed., Vies occitanes de Saint in the record but was obviously not first hand. See Jacques Cambell,
Auzias et de Sainte Dauphine, Bibliotheca Pon- "Le sommaire de l'enquete pour la canonisation de S. Elzear de
tificii Athenei Antoniani no. 12 (Rome, 1978). Sabran," Miscellanea Francescana 73 (1973), p. 445. The first text that
1. 86.PB.490. Tempera and tooled gold on wood. Each panel— describes the couple's angelic coronation is J. Raphael, L'ensuit la vie de
H : 31.2 cm ( 1 2 / i " ) ; W : 22.9 cm (9"). Exhibited i n Cent tableaux
5
6 monseigneur Saint Aulzias de Sabran comte darian glorieux confesseur et
d'art religieux de XIV siede ä nos jours, Galerie Charpentier, Paris,
e
vierge (Paris, circa 1523), first part, chap. 1, unpaginated: "et en regar­
1952-1953, no. 38. dant par alcune petite vuee dedans la chambre du dit sainct Garsende
2. The earliest published source for the provenance states that a Alphant v i t quilz les dormoient encores et aussi ladicte Benoiste
copy o f the diptych exists i n the castle o f Ansouis, ancestral seat o f the Daulphine et v i t une ange le quel tenoit chescune teste deux une
Sabran. Pierre Girard, Saint Elzear de Sabran et la Bienheureuse Delphine main. Si en remercia icelle a dieu et luy en rendait graces car eile
de Signe (Paris, 1912), p. 6. The copy is u n k n o w n to me. cogneut bien que lange avoit specialle cure deulx."
80 Strehlke

Figure la. Neapolitan school. The Stigmatization of Saint Francis of Assisi and The Crowning of Saints Cecilia and Valerian of Rome,
1330s. Tempera and tooled gold on wood. Each panel—H: 31.2 cm ( 1 2 / i 6 " ) ; W: 22.9 cm (9"). Malibu, The J. Paul Getty
5

Museum 86.PB.490.

t o her f r o m an artist active i n Naples i n the 1330s. heritance o f the m o t h e r o f Charles I I o f A n j o u , K i n g o f

F r o m the m i n u t e s o f the c a n o n i z a t i o n trials o f Elzear Naples. Hence, Provencal families, l i k e the Sabran,
and D e l p h i n e , h e l d i n 1351 and 1363 respectively, and f i l l e d positions at the N e a p o l i t a n court, sat o n the
f r o m t w o early parallel biographies, the s t o r y o f a re­ bench, and staffed the m i l i t a r y . I n r e w a r d for m i l i t a r y
markable marriage emerges. T h e Sabran, lords o f A n -
4
service, Charles I I created Elzears father, H e r m e n g a u d ,
souis (located southeast o f A v i g n o n ) , were l o y a l allies o f C o u n t o f A r i a n o , a t i t l e Elzear received i n 1310, after his
the A n g e v i n s , a branch o f the French royal f a m i l y since father's death, f r o m K i n g Robert, Charles' successor.
the t i m e o f the conquest o f s o u t h e r n Italy. T h e A n ­ Elzear served the A n g e v i n s w e l l . H e successfully l e d
gevins m a i n t a i n e d t h e i r p o w e r base i n Provence, an i n - t h e i r troops i n defense o f Rome, then under seige

4. Elzear's proceedings survive i n a summarium, compiled for the torum Septembris 7 (Antwerp, 1760), rev. ed. (Paris, 1867), pp. 494-555.
papal archives between 1362 and 1364. See Cambell, "Le sommaire" 5. For additional information on the Angevins, see Emile G.
(supra, note 3), pp. 438—473, for its dating. The other sources, Enquete Leonard, Les Angevins de Naples (Paris, 1954); Romolo Caggese, Roberto
and Vies occitanes, are also edited by Cambell. The probable authors o f dAngid e i suoi tempi (Florence, 1922, 1930), 2 vols.; and the appropriate
the latter's Latin text are A i m a r and Guillaume de La Voutre, t w o entires i n Dizionario biografico degli italiani (Rome, I960—), 1 vol. to
brothers from A p t (the burial place o f Elzear and Delphine), w h o had date. For Sabrän genealogy, see [Francois A . A . ] de La Chesnaye-
distinguished and somewhat parallel church careers, both having Desbois and [?] Badier, Dictionnaire de la noblesse, 3rd ed. (Paris, 1873),
served as bishops o f Marseilles. Soon after its publication i n Latin, vol. 18, cols. 4-23.
Vies occitanes was translated into the Provencal langue d'oc. 6. Andre Vauchez, La saintete en Occident aux derniers siecles du
The most reliable secondary sources are Luke wadding, Annates moyen age d'apres les proces de canonisation et les documents hagiogra-
minorum seu trium ordinum a S. Francisco institutorum, 2nd ed. (Rome, phiques, Bibliotheque des ecoles franchises dAthenes et de Rome no.
1733), pp. 278—292, 378—382, and Constantin Suyskens i n Acta sanc- 241 (Rome, 1981), p. 419, no. 397.
 A Celibate Marriage 81

by the G e r m a n emperor, H e n r y V I I ; he acted as a m i n ­ c u r r e d s h o r t l y after the Sabran w e d d i n g . F o l l o w i n g this,

ister t o K i n g Robert's heir, the D u k e o f Calabria; and D e l p h i n e suddenly fell i l l and extracted a p r o m i s e o f
he arranged the latter's b e t r o t h a l t o a French prin­ t w o years continence f r o m Elzear. B y the close o f this
cess. W h i l e o n this last m i s s i o n i n Paris, he d i e d o n Sep­ p e r i o d , the y o u n g g r o o m had experienced d i v i n e e n ­
tember 27, 1323. 5
lightenment, and carnal temptations never again
T h e marriage o f Elzear and D e l p h i n e was arranged plagued h i m . Fearing f a m i l y o p p o s i t i o n , the couple
and mandated by Charles I I . T h e king's concern for his vas­ kept t h e i r v o w secret, b u t as t i m e passed, the lack o f
sal's family clearly lent dynastic implications to the union. issue exposed t h e m t o ridicule.
Despite this, D e l p h i n e , a headstrong t w e l v e - y e a r - o l d T h o u g h t s o f an h e i r had i n i t i a l l y t r o u b l e d Elzear, b u t
orphan, objected t o the proposed marriage because she he nevertheless acceded to Delphine's wishes. His
had s w o r n a v o w o f v i r g i n i t y . O n l y after the Franciscan grandfather, however, demanded that a d o c t o r e x a m i n e
m o n k G u i l l a u m e de S a i n t - M a r t i a l — a c o m p a n i o n o f t h e m . T h o u g h the sources are scant, a separation m a y
the recently deceased L o u i s o f Toulouse, K i n g Charles' have been contemplated. C a n o n i c a l l a w decreed that
son—convinced her o f the p r o p r i e t y o f o b e y i n g the a divorce required p r o o f o f the i m p o t e n c e o f one o f
k i n g d i d D e l p h i n e concede. F o l l o w i n g a three-year be­ the partners. I n such situations, Pope I n n o c e n t I I I
t r o t h a l , she was m a r r i e d t o Elzear i n February o f 1300. (r. 1198—1216) had legislated that matrons e x a m i n e the
She d i d n o t , however, at any t i m e renounce her v o w . w o m a n to determine physical capability for intercourse. 9

Elzear was a deeply r e l i g i o u s y o u t h , k n o w n t o be A male d o c t o r was, nonetheless, s u m m o n e d t o this

susceptible t o m y s t i c trances, b u t he was apparently n o t case; the diagnosis was made public; and the process
prepared for a chaste m a r r i a g e . D u r i n g the first nights
6
resembled a t r i a l .
o f t h e i r life together, D e l p h i n e , e m p l o y i n g the g u i l e o f T h e Catalan A r n a l d o f V i l l a n o v a , physician t o the
a Scheherazade, delayed c o n s u m m a t i o n b y regaling her k i n g o f A r a g o n , served as medical examiner, and he
husband w i t h stories o f v i r g i n saints u n t i l he n o d d e d c o u l d n o t have been m o r e u n d e r s t a n d i n g o f the y o u n g
o f f t o sleep. A c c o r d i n g t o b i o g r a p h i c a l sources, she couple's p l i g h t . 10
A radical Franciscan g i v e n t o p r o p h e t -
recounted the legends o f C e c i l i a and Valerian, A l e x i s , i s m and close t o the S p i r i t u a l Franciscan party—a sepa­
Catherine o f A l e x a n d r i a , Agnes, Lucy, and A g a t h a . 7
ratist g r o u p that felt that the order had strayed from
A l t h o u g h a l l were v i r g i n s , o n l y the first three listed Saint Francis' i d e a l s — A r n a l d escaped b u r n i n g at the
preserved this state w i t h i n a marriage. Elzear and stake for unrecanted heretical w r i t i n g s o n l y because o f
Delphine's o w n s i t u a t i o n m o s t closely paralleled that shrewd p o l i t i c a l m a n e u v e r i n g and the acknowledged
o f C e c i l i a and Valerian. Cecilia, l i k e D e l p h i n e , h a d value o f his medical skills. H i s influence o n Elzear and
converted her husband t o chastity, and they r e m a i n e d D e l p h i n e was considerable and has been cited as an ex­
together despite t h e i r v o w . ( B y contrast, Alexis on p l a n a t i o n for t h e i r subsequent religious leanings. 11
The
his w e d d i n g n i g h t i n s p i r e d his y o u n g w i f e w i t h a " l o v e biographers make clear that b e i n g secretly i n f o r m e d o f
o f v i r g i n i t y , " b u t after d e l i v e r i n g a lecture o n its v i r ­ t h e i r vow, A r n a l d faked the inquest i n t o t h e i r m a r i t a l
tues, he abandoned h e r . ) I n v i e w o f w h a t Elzear and
8
habits. 12
H a v i n g prescribed a curative meat diet, he i n ­
D e l p h i n e w o u l d suffer for t h e i r d e v o t i o n t o celibacy, terrogated t h e m p u b l i c a l l y o n t h e i r sleeping habits b u t
i t is understandable that the s p i r i t u a l b o n d u n i t i n g C e c i ­ p r i v a t e l y spoke t o t h e m o n l y o f r e l i g i o u s matters. 13
Af­
lia and Valerian w o u l d come t o have a special s y m ­ ter fifteen days o f scrutiny, he presented the results t o
b o l i c i m p o r t for t h e m and serve as a m o d e l for t h e i r a physicians' gathering w i t h such s k i l l that n o one c o n ­
o w n marriage. tradicted him. He contended that the couple was
Lent, w h e n abstension was an acceptable practice, o c - physically underdeveloped and c o u l d n o t conceive c h i l -

7. Vies occitanes, pp. 147—149. 10. Raoul Manselli, Spirituali e beghini in Provenza, Studi storici
8. Baudoin de Geffier, " 'Intactam sponsam relinquens' δ propos nos. 31—34 (Rome, 1959), pp. 55—80, w i t h earlier bibliography cited.
de la vie de S. Alexis," Analecta Bollandiana 65 (1947), pp. 157—197. 11. See Carles Campos, " A perpaus de la perfection dAlzeas et de
9. O n the legal foundations, see Gabriel le Bras, "Le marriage Delfina," Annales de l'institut d'etudes occitanes 4, no. 1 (1965),
dans la theologie et le droit de l'eglise du X I au X I I I siecle," Cahiers
e e
pp. 88-105.
de civilisation medievale X -XII
e e
siecles 9 (1968), pp. 191-202, and 12. Vies occitanes, pp. 161—163.
Vauchez (supra, note 6), p. 498, for bibliography and sources on v i r ­ 13. He may also have recommended crayfish, pinecones, chestnuts,
ginal marriages. O n impotence as grounds for divorce, see Bernard nasturtiums, truffles, and onions, all o f which encourage coitus, and
David, L'impuissance est-elle un empechement de droit naturel ou positiß, advised against lettuce and citrus-based wines, which discourage it,
Analecta Gregoriana no. 220 (Rome, 1981), and Pierre D a r m i o n , Le according to the Taciunum sanitatis, a health manual i n circulation i n
tribunal de l'impuissance virilite et defaillances conjugates dans Vancienne the late Middle Ages. Luisa Cogliati Arano, The Medieval Health
France (Paris, 1979), pp. 78-81, 89-93, 106-161. Handbook (New York, 1976).
82 Strehlke

Figure lb. The Stigmatization of Saint Francis of Assisi (detail o f f i g . l a ) .

 A Celibate Marriage 83

Figure lc. The Crowning of Saints Cecilia and Valerian of Rome (detail o f fig. l a ) .
84 Strehlke

dreri u n t i l t h e i r t w e n t y - f i f t h year. H a v i n g established i n c i d e n t i n the lives o f Elzear and D e l p h i n e and is

that the c o n d i t i o n was t e m p o r a r y (canonical l a w re­ c h r o n o l o g i c a l l y impossible t o associate w i t h t h e m , i t
q u i r e d that i m p o t e n c e be p r o v e n perpetual), Arnald clearly f o l l o w s the t r a d i t i o n a l representation o f an e p i ­
cleverly avoided establishing g r o u n d s for divorce. sode f r o m the lives o f Saints C e c i l i a and Valerian. T h i s
Disappointed, Elzear's family resorted to other is related i n The Golden Legend, a late t h i r t e e n t h - c e n t u r y
means, such as sending e n t e r t a i n i n g y o u n g girls i n t o text b y Jacopo da V o r a g i n e . 21
O n her w e d d i n g day
the couple's b e d r o o m at n i g h t t o encourage conjugal Cecilia w o r e a hair s h i r t concealed b y a splendid g o l d
relations. 14
I n 1307 Elzear and D e l p h i n e f i n a l l y liberated garment. Before the ceremony, she had entrusted her
themselves f r o m this pressure, r e t i r i n g t o a castle at m a i d e n h o o d t o G o d and that n i g h t i n f o r m e d her star­
P u y - M i c h e l , a paternal inheritance o f D e l p h i n e . T h e y tled g r o o m that an angel, w h o guarded her b o d y w i t h
ran t h e i r h o u s e h o l d a l o n g the lines o f a monastery. "exceeding zeal," was her lover. T h e pagan Valerian was
Elzear, w h o f u n c t i o n e d m o r e l i k e an abbot t h a n a g r a n d also t o l d that he c o u l d meet this r i v a l i f he agreed t o
seigneur, w r o t e a rule, the first p r o v i s o o f w h i c h e n ­ b a p t i s m . A s his b r i d e instructed, he i m m e d i a t e l y sought
forced the strictest observance o f chastity b y a l l i n h a b i ­ out the persecuted bishop o f Rome, Urban I (r.
tants o f the castle; f u r t h e r m o r e , w i t h the exception o f 222—230), w h o was t h e n h i d i n g f r o m the i m p e r i a l au­
D e l p h i n e , a l l m a r r i e d w o m e n were e x c l u d e d . 15
T h i s life thorities, and he received b a p t i s m . R e t u r n i n g t o the
c o n t i n u e d u n t i l Elzear's father d i e d i n 1310, and Elzear marriage chamber, he witnessed C e c i l i a and the angel
w e n t t o Naples t o be k n i g h t e d . i n discourse, and " t h e angel h e l d t w o c r o w n s fashioned
T h e v o w o f chastity d i d n o t decrease the couple's o f roses and lilies, o f w h i c h he gave one t o C e c i l i a and
closeness and d e v o t i o n t o each other. T h e y seem t o the other t o Valerian, saying: G u a r d these crowns
have shared quarters and possibly a c o m m o n b e d . 16
Ac­ w i t h spotless hearts and pure bodies, because I have
c o r d i n g t o a l l witnesses, D e l p h i n e w e n t t o bed dressed b r o u g h t t h e m f r o m God's Paradise t o y o u , n o r will
and Elzear slept i n a h a i r g a r m e n t except w h e n gravely they ever fade; and none can see t h e m , save those
i l l ; this was considered unusual, as sleeping naked was w h o love c h a s t i t y ! " 22

the n o r m at the t i m e . 17
T h e o r i g i n s o f the c o m p o s i t i o n o f C e c i l i a and V a l ­
F o u r years after Elzear's death i n 1323, a Libellus sup- erian i n the G e t t y picture—as w e l l as m o s t other f o u r ­
plex, p e n n e d b y the Provencal Franciscan m o n k Franqois t e e n t h - and f i f t e e n t h - c e n t u r y representations o f this
de Meyronnes, was presented to Pope J o h n XXII rare subject—can be traced at least t o the late eleventh
d'Euse (r. 1316—1334) t o p r o m o t e the cause o f his sanc­ century. 23
Images p r e d a t i n g the G e t t y d i p t y c h t e n d t o
tity. 18
T h e Libellus attaches great i m p o r t a n c e t o the c e l i ­ be m o r e i c o n i c and s h o w the angel standing b e t w e e n
bate marriage; i n i t Elzear is called another Joseph, V a l ­ the couple w h o m a y be represented either standing or
erian, or A l e x i s . 19
T h e analogy o f the Sabran marriage s i t t i n g . T h e scene was frequently conflated w i t h a sub­
to that o f C e c i l i a and Valerian apparently o r i g i n a t e d sequent episode, the c r o w n i n g o f Valerian's brother,
w i t h the stories that D e l p h i n e t o l d o n her w e d d i n g T i b u r i u s , also a convert. These images p r o b a b l y o r i g i ­
n i g h t , b u t the t r a d i t i o n was k e p t w e l l e n o u g h alive d u r ­ nated w i t h the design o f a lost c l o t h altar f r o n t a l c o m ­
i n g her l o n g w i d o w h o o d t o be repeated i n the proposed m i s s i o n e d b y Paschal I (r. 817—821) for the c h u r c h o f
articles for her o w n unsuccessful c a n o n i z a t i o n , w h i c h Santa C e c i l i a i n Trastevere, w h e r e the saint's relics were
were prepared i n 1363. 20
D e l p h i n e and Elzear must transferred i n 821. Versions o f the scene occur at least
therefore have closely associated t h e i r early days t o ­ t w i c e i n t h i r t e e n t h - c e n t u r y seals o f the church's t i t u l a r
gether w i t h the s t o r y o f the ancient R o m a n n e w l y weds cardinals, w h e r e Valerian and his b r o t h e r are s h o w n
who had s i m i l a r l y cherished t h e i r v i r g i n i t y and were flanking C e c i l i a w h i l e an angel swoops d o w n c r o w n i n g
persecuted for t h e i r C h r i s t i a n beliefs. the b r o t h e r s . 24
T h e d i v i n g angel was adopted b y A r -
Significantly i n this context, a l t h o u g h the r i g h t - h a n d n o l f o d i C a m b i o i n his c i b o r i u m for San Paolo f u o r i le
panel o f the G e t t y d i p t y c h does n o t relate t o any specific m u r a and reappears transformed i n the G e t t y d i p t y c h . 25

14. Vies occitanes, p. 163. andria dictating his w i l l by Giovanni and Pacio da Firenze i n Santa
15. Ibid., p. 77. Chiara, Naples, illustrated i n John Pope-Hennessy, Italian Gothic
16. The evidence is conflicting. Article eleven o f Delphine's hear­ Sculpture (London, 1972), pi. 37.
ing says that they shared (cohabitant) quarters and bed. Article fourteen 18. It was prepared by Meyronnes and presented to the pope by
says that they lived together but did not sleep i n the same bed. See Raymond Bot, Bishop o f Apt. See text i n Acta sanctorum (supra, note
Enquete, pp. 37—38, 40, and Vies occitanes, p. 159. 4), pp. 521-525.
17. Vies occitanes, p. 83. O n l y a nightcap was customarily w o r n . For 19. Ibid., p. 522.
example, see the sculpture o f the father o f Saint Catherine o f A l e x - 20. Enquete, p. 36.
 A Celibate Marriage 85

tfflftun nolo

lQQ\tom<m

Figure 2. S c h o o l o f Jean Pucelle. The Crowning of Saints Figure 3. M a s t e r o f t h e Pesaro C r u c i f i x ( I t a l i a n , active

Cecilia and Valerian of Rome (detail) f r o m t h e late f o u r t e e n t h a n d early f i f t e e n t h c e n t u r y ) .
Breviary o f Jeanne d'Evreux, circa 1340. The Crowning of Saints Cecilia and Valerian of
Illumination o n vellum. Chantilly, Musee Rome, circa 1425—1430. Tempera o n w o o d . H :
C o n d e m s . 51, f o l . 4 9 1 v . P h o t o : Courtesy 55.3 c m (21 A"); W : 36.5 c m ( 1 4 W ) . P h i l a ­
3

Conway Library, Courtauld Institute o f A r t , delphia, P h i l a d e l p h i a M u s e u m o f A r t , T h e

negative 299/39 ( 3 0 A ) . M c l l h e n n y C o l l e c t i o n : Bequest o f J o h n D .
Mcllhenny, 43-40-51. Photo: Courtesy Phila­
delphia M u s e u m o f A r t .

Similar treatments o f the angelic coronation o f Cecilia presence o f this subject i n such b o o k s demonstrates an
and Valerian o c c u r i n f o u r t e e n t h - c e n t u r y F r e n c h d e v o ­ interest i n the d o m e s t i c aspects o f the l e g e n d o f the
t i o n a l m a n u s c r i p t s f r o m the circle o f Jean Pucelle and i n R o m a n couple, as opposed t o the m o r e d r a m a t i c and
others that are associated w i t h the r o y a l f a m i l y , specifi­ frequently depicted scenes o f m a r t y r d o m . Elzear and
cally the B r e v i a r y o f Jeanne d ' E v r e u x , queen o f Charles D e l p h i n e m a y w e l l have i n f l u e n c e d F r e n c h aristocratic
I V ( f i g . 2 ) , and the H o u r s o f B l a n c h e o f Savoy. 26
The taste for this episode. T h e s i m i l a r i t i e s t o early f i f t e e n t h -

21. Granger Ryan and H e l m u t Ripperger, trans., The Golden Legend 25. Ibid.; illustrated i n Adolfo Venturi, Storia dell'arte italiana
of Jacobus da Voragine (New York, 1941), pp. 690-691. (Milan, 1906), vol. 4,fig.62.
22. Ibid., p. 691. 26. Breviary o f Jeanne d'Evreux: Chantilly, Musee Conde ms. 51,
23. O n the iconography, see Wolfgang Braunfels, ed., Lexikon der fol. 49lv. See Jacques Meugey, Les principaux manuscrits ä peinture du
christlichen Ikonographie (Freiburg, 1973), vol. 5, cols. 445—463. Musee Conde ä Chantilly (Paris, 1930), pp. 40—42; photo: Courtauld
24. Julian Gardner, "Some Cardinals' Seals o f the Thirteenth negative 299/39 (30A). Hours o f Blanche o f Savoy: N e w Haven, Yale
Century," Journal of the Warburg and Courtauld Institutes 38 (1975), University Libraries ms. 390, fol. 18v. See P. Blanchard, Les heures de
pp. 85-86, pi. 11 g - h . Savoie (London, 1910), p i . 36.
86 Strehlke

c e n t u r y representations—a fresco i n the C a r m i n e i n w i t h Robert's b r o t h e r L o u i s . 33

W h i l e incarcerated i n
Florence and a panel b y the M a s t e r o f the Pesaro C r u ­ A r a g o n as hostages for t h e i r father's freedom, the t w o
c i f i x i n the P h i l a d e l p h i a M u s e u m o f A r t (fig. 3)—attest brothers solicited c o n s o l a t i o n f r o m the radical Spiritual
to the d u r a b i l i t y o f the iconographic f o r m u l a over t i m e Peter O l i v i , w h o s e w r i t i n g s h a d been c o n d e m n e d as
and geography as w e l l as t o the p a u c i t y o f possible ways heretical. I t was d u r i n g his stay i n p r i s o n that L o u i s
o f p a i n t i n g the scene as i t is narrated i n The Golden decided t o renounce his r i g h t t o the t h r o n e and j o i n the
Legend. 27
O n l y rarely d i d an artist approach the theme Franciscans. T h o u g h he was later n a m e d bishop o f
w i t h the o r i g i n a l i t y o f the M a s t e r o f Santa Cecilia. I n Toulouse, he o n l y b e g r u d g i n g l y accepted official h o n ­
his altarpiece d a t i n g before 1307, n o w i n the U f f i z i , the ors, and his d e v o t i o n t o the ideal o f evangelical p o v e r t y
angel c r o w n s Valerian as he crosses the t h r e s h o l d o f the was n o secret. H i s c a n o n i z a t i o n was celebrated o n A p r i l
b e d r o o m t o receive Cecilia's j o y o u s embrace. 28
7, 1317, b y J o h n X X I I , b u t this o c c u r r e d o n l y after the
T h e s t r o n g parallel that was perceived b e t w e e n the pope had suppressed any m e n t i o n o f L o u i s ' s y m p a t h y
marriage o f C e c i l i a and Valerian and that o f Elzear and for p o v e r t y and, therefore, for the Spirituals i n the b u l l .
D e l p h i n e is n o t the sole l i n k uniting the celibate To underscore this p o i n t , a few m o n t h s later, J o h n p r o ­
Provencal couple w i t h the G e t t y d i p t y c h . T h e s t i g m a - mulgated three bulls c o n d e m n i n g the Spirituals o f
t i z a t i o n o f Saint Francis o n the left-hand panel and its Provence and launched an i n q u i s i t i o n that i n 1318
m a n n e r o f d e p i c t i o n also support such an association. c u l m i n a t e d i n the b u r n i n g o f four m o n k s at the stake
T h o u g h the earliest extant sources are silent, i t is often i n Marseilles. T h e c o n d e m n e d had refused t o abjure
stated that Elzear and D e l p h i n e were members o f the paupertas evangelica.
T h i r d O r d e r o f Saint Francis, as was K i n g R o b e r t o f B u r n i n g s and papal p o s t u r i n g d i d n o t deter King
Naples, w h o wears its habit i n funeral e f f i g y . 29
O n July Robert. H e succored S p i r i t u a l refugees and even w r o t e a
13, 1317, Elzear w r o t e his w i l l and specifically stated tract i n support o f t h e i r v i e w s o n poverty. A f t e r the
that he was t o be b u r i e d i n the Franciscan h a b i t . 30
More­ issue o f the b u l l Cum inter nonnullos (1323), w h i c h de­
over, Franciscans were the couple's confessors and c o m ­ clared i t heretical t o assert that C h r i s t and his apostles
panions, as w e l l as the c h a m p i o n s o f t h e i r canonization. o w n e d n o property, R o b e r t repudiated the pope and
T h e order soon c l a i m e d Elzear as its o w n ; i n the c h u r c h suppressed p u b l i c a t i o n o f papal edicts against the Spir­
o f San Francesco i n L o d i there is a late f o u r t e e n t h - c e n ­ ituals. Q u e e n Sancha and her b r o t h e r P h i l i p o f Majorca
t u r y fresco o f h i m i n the t u n i c o f the T h i r d O r d e r . 31
also c o n t r i b u t e d t o the A n g e v i n court's i n f l a m m a t o r y
B e i n g i n t i m a t e members o f the N e a p o l i t a n court, the stance. A l t h o u g h the queen b u r d e n e d the treasury w i t h
Sabrans u n d o u b t e d l y shared the k i n g and queen's s y m ­ the f i n a n c i n g o f S p i r i t u a l Franciscan c o m m u n i t i e s , she
p a t h y for the S p i r i t u a l Franciscans. T h i s g r o u p , w h i c h was a d m o n i s h e d b y J o h n X X I I for t h e o l o g i z i n g about
flourished i n Provence and Naples, espoused the d o c ­ holy poverty. 34
H e r brother, m e a n w h i l e , a t t e m p t e d t o
t r i n e o f evangelical poverty, or adherence t o w h a t they establish his o w n order and p u b l i c a l l y preached against
perceived as the unmediated ideals o f Francis and the pope i n N a p l e s . 35
A f t e r John's death, Pope B e n e ­
Christ. 32
Fractious and u n c o m p r o m i s i n g , the Spirituals dict X I I (r. 1334—1342) also t r i e d t o b r i n g the A n g e v i n s
alienated the c h u r c h hierarchy and the rest o f the o r ­ back i n line.
der, w h i c h they accused o f laxity. P l a y i n g o n the age's In 1316 at the start o f the controversies, Robert
prophetic mode o f thinking, they heightened their granted Elzear and D e l p h i n e p e r m i s s i o n t o leave Naples
sense o f m i s s i o n i n a w o r l d a w a i t i n g the Second C o m ­ for A n s o u i s i n order t o avow t h e i r celibacy p u b l i c a l l y
ing. B y f o r c i n g the issue o f Franciscan poverty, h o w ­ (apparently this was also an u n f u l f i l l e d desire o f Q u e e n
ever, they invited violent reactions aimed at their Sancha). 36
W i t h great rejoicing, the Sabrans celebrated
o w n destruction. t h e i r chastity o n the feast day o f M a r y Magdalene, pa­
T h e A n g e v i n s ' support o f the Spirituals o r i g i n a t e d t r o n saint o f Provence. B e t w e e n that t i m e and J u l y 1317,

27. For the attribution o f the Philadelphia panel, see the oral com­ de Sabran et les saints de Provence au XIV siede (Paris, 1883),
6

munication o f M i k l φ s Boskovits i n Michel Laclotte and Elisabeth pp. 412—425. O n entry into the order, tertiaries were required to write
Mognetti, Avignon—Musee du Petit Palais: Peinture italienne (Paris, their final w i l l .
1976), no. 132. For the Carmine fresco, see George Kaftal, Iconography 31. George Kaftal and Fabio Bisogni, Iconography of the Saints in the
of the Saints in Tuscan Painting (Florence, 1952), fig. 287. Painting of North West Italy (Florence, 1985), fig. 354.
28. For the Master o f Santa Cecilia, see Bernard Berenson, Italian 32. Literature on the Spirituals is vast. A clear summary o f the
Pictures of the Renaissance: Florentine School (London, 1963), vol. 1, fig. 88. issues is found i n Michael B i h l , "Fraticelli," The Catholic Encyclopedia
29. For Robert's effigy, see Pope-Hennessy (supra, note 17), fig. 32. (New York), vol. 6, pp. 244—249. Also useful are: Decima L. Douie,
O n the Sabran as tertiaries, see Girard (supra, note 2), pp. 61—64. The Nature and Effect of the Heresy of the Fraticelli (Manchester, 1932);
30. See Vies occitanes, p. 33, and Forbin d'Oppede, La Bse Delphine Malcolm D. Lambert, Franciscan Poverty: The Doctrine of the Absolute
 A Celibate Marriage 87

w h e n Elzear n o t a r i z e d his w i l l at T o u l o n before again

e m b a r k i n g for Naples, the couple p r o b a b l y entered the
T h i r d Order. I f he was n o t already a tertiary, i t is u n ­
l i k e l y that Elzear w o u l d have requested b u r i a l i n F r a n ­
ciscan habit. T h e i r m e m b e r s h i p therefore coincided
w i t h t h e i r p u b l i c avowal o f v i r g i n i t y . I t is certainly
significant that the t w o themes are also l i n k e d in
the d i p t y c h .
D e l p h i n e and Elzear j o i n e d the order d u r i n g its m o s t
t r o u b l e d p e r i o d . T h e decision c o u l d n o t have been u n ­
affected b y L o u i s ' c a n o n i z a t i o n i n 1317; t h e i r o w n p u b l i c
vow; and the intensified persecution o f the Spirituals
i n Provence. I n the papal c o n d e m n a t i o n called Sancta
romana, m u c h o f the T h i r d O r d e r o f Provence was i n ­
dicted. 37
M a n y members, some loosely organized i n
groups called Beguines, were suspected o f heresy and
c o l l u s i o n w i t h the Spirituals. Trials abounded and m a n y
perished at the stake. T h e couple were i n t i m a t e s o f the
secular authorities w h o supported the Spiritual cause,
and t h e i r associates i n the religious w o r l d were a l l fierce
S p i r i t u a l s — A r n a l d o f V i l l a n o v a , G u i l l a u m e de Saint- Figure 4. M a s t e r o f the Franciscan Temperas (Italian,
Martial, and Frangois de M e y r o n n e s . I t is, i n fact, active circa 1330—1355). The Stigmatization of

h i g h l y probable that J o h n X X I I p u t o f f Elzear's canon­ Saint Francis of Assisi, before 1336. Tempera o n
canvas. Private collection. Photo: Courtesy
i z a t i o n because he was so closely associated w i t h the
Ugo B o z z i E d i t o r e s.a.s., R o m e .
Spiritual m o v e m e n t .
I f there is any d o u b t w h e r e t h e i r sympathies lay d u r ­ the s t i g m a t i z a t i o n , part o f a cycle o f canvases l i k e l y
i n g Elzear's l i f e t i m e , there can be none that D e l p h i n e made for the Franciscan monastery o f Santa Chiara be­
became a radical B e g u i n e i n w i d o w h o o d . 3 8
She is even fore 1336 as a royal c o m m i s s i o n f r o m an artist w h o is
called such i n her first biographies. To the family's c o n ­ called the Master o f the Franciscan Temperas (fig. 4 ) . 4 0

sternation she obtained p e r m i s s i o n f r o m K i n g R o b e r t T h e S p i r i t u a l Franciscan i m p r i n t i n the Master o f the

to divest herself o f all p r o p e r t y r i g h t f u l l y hers. A n d i n Franciscan Temperas' p a i n t i n g is apparent i n Francis'
1333 at the A n g e v i n castle o f Castellemare, she t o o k beard, his p o o r patched habit, and the detailed represen­
another p u b l i c v o w , this t i m e o f p o v e r t y . 39
I n 1340 she t a t i o n o f nature. B e l l o s i has argued that the saint rarely
l i q u i d a t e d her estates i n Provence. She passed m o s t o f appears bearded i n Italian art after 1296 except i n Spir­
her l o n g w i d o w h o o d i n Provence, except for a b r i e f itual-infested Naples or i n commissions that are associ­
p e r i o d after Robert's death i n 1343, w h e n she j o i n e d ated w i t h the A n g e v i n s , such as S i m o n e M a r t i n i ' s cha­
Sancha i n the convent o f Santa C r o c e i n Naples, a S p i r ­ pel at A s s i s i . 41
H i s observations are less v a l i d for the
i t u a l house f o u n d e d b y the queen. 1330s w h e n the bearded Francis returns elsewhere (as
T h e s t i g m a t i z a t i o n o f Saint Francis i n the G e t t y d i p ­ beards themselves come back i n style) and is n o t l i m i t e d
t y c h corresponds t o a t y p e favored i n N e a p o l i t a n S p i r ­ to S p i r i t u a l contexts. Nonetheless, i n N e a p o l i t a n p a i n t ­
i t u a l Franciscan circles and includes several iconographic ing, the beard remained a s y m b o l o f the Spirituals, w h o
i n n o v a t i o n s that o r i g i n a t e d i n that m i l i e u . I t is closely zealously conserved t h e i r i d e n t i t y b y means o f t h e i r ap­
related t o the m o s t radical o f all N e a p o l i t a n p a i n t i n g s o f pearance, especially t h e i r dress. Controversies about the

don, 1961); Manselli (supra, note 10); John R. H . Moorhead, A History pp. 361-403.
of the Franciscan Order from Its Origins to the Year 1517 (Oxford, 1968), 36. Vies occitanes, pp. 171—173, and Enquete, p. 40. O n Sancha's celi­
pp. 188-204, 307-338. bacy, see Caggese (supra, note 5).
33. Edith Pδsztor, Per la storia di San Luodovico dAngio (1274-1297), 37. Moorhead (supra, note 32), pp. 417—428, and Manselli (supra,
Studi storici no. 10 (Rome, 1955); Ferdinando Bologna, "Povertδ e note 10), pp. 113-254.
umilitδ: I I San Ludovico di Simone M a r t i n i , " Studi storici 10, no. 2 38. Vies occitanes, p. 197; Enquete, pp. 327, 395.
(1969), pp. 231-259, and Bologna, pp. 157-170. 39. Vies occitanes, pp. 97—99; Enquete, pp. 45—46.
34. Caggese (supra, note 5), pp. 641-642, 651-652. 40. Bologna, pp. 235-245, pi. X V I I I (color).
35. O n Philip, see J. M . Vidal, " U n ascete du sang royal: Phi­ 41. Luciano Bellosi, "La barba di San Francesco—nuove proposte
lippe de Majorque," Revue des questions historiques n.s. 44 (1910), per i l 'problema di Assisi'," Prospettiva 22 (1980), pp. 11—34, and idem,
88 Strehlke

Spirituals' ragged habits raged t h r o u g h o u t this p e r i o d . called femoralia by Bonaventure. 46

T h o u g h this u n d e r ­
A s B o l o g n a has n o t e d i n the context o f the M a s t e r o f garment was p u t o n after the miracle, i n the d i p t y c h the
the Franciscan Temperas, i n 1336 Benedict X I I ordered artist anticipates the change f r o m the s i m p l e bracis t o the
R o b e r t t o evict errant Franciscans f r o m Santa C h i a r a femoralia that was necessitated b y the stigmata. A l l
w h o s t i l l w o r e " s h o r t habits w i t h o u t f o r m or precise sources m e n t i o n that b l o o d c o n t i n u a l l y stained Francis'
color." 42
T h e M a s t e r o f the Franciscan Temperas is the habit and femoralia, and t h o u g h he never showed his
o n l y artist I k n o w o f w h o p a i n t e d Francis i n t r u l y heret­ w o u n d s , the friars w h o washed his b l o o d i e d clothes
ical dress. I n other N e a p o l i t a n depictions i n s p i r e d b y suspected w h a t had t r a n s p i r e d . 47
T h e u n d e r w e a r t h e n is
the Spirituals, i n c l u d i n g the same artist's altarpiece i n l i t e r a l l y a p r o o f o f the s t i g m a t i z a t i o n .
Ottana (Sardinia), Francis' habit conforms to the T h e sandals can also be explained i n terms o f w h a t
regulations of the order and the long-established happened after the s t i g m a t i z a t i o n . W h e n Francis first
visual t r a d i t i o n . 43
converted, he cast o f f his shoes and w e n t b a r e f o o t . 48

Francis is bearded i n the G e t t y picture, b u t his dress Therefore, i t w o u l d i n i t i a l l y seem a gross m i s u n d e r ­

does n o t p a r t f r o m the n o r m except i n t w o particulars, standing o f Franciscan i c o n o g r a p h y t o s h o w the lover o f
the u n d e r g a r m e n t that appears beneath his habit and his p o v e r t y i n the central p o i n t o f his m i s s i o n w e a r i n g san­
sandals. T h e f o r m e r is clearly visible at the sleeves and dals. B u t they also bear witness t o the miracle. A f t e r
i n the tear o n the saint's r i g h t side. T h o u g h n o t i n art, i n receiving the wounds, Francis never uncovered his
Franciscan literature the saint's undergarments figure hands and feet, and the intense p a i n prevented h i m
p r o m i n e n t l y . I n Francis' Testamentum, a d o c u m e n t sup­ f r o m s e t t i n g his feet d i r e c t l y o n the g r o u n d . T h e first
pressed b y the c h u r c h b u t cherished b y the Spirituals as biographer, Celano, describes the c o v e r i n g as w o o l e n
the saint's manifesto o f poverty, the first friars are de­ socks w i t h a piece o f s k i n placed d i r e c t l y over the
scribed as w e a r i n g habits c o n s i s t i n g o f a single patched w o u n d s t o ease the w o o l ' s roughness. 49
Bonaventure
t u n i c w i t h a c o r d and a t r o u s e r l i k e u n d e r g a r m e n t , or s i m p l y says his feet were calceatis, or c o v e r e d . 50
A reli­
bracis 44
T h e u n d e r g a r m e n t is m e n t i o n e d several t i m e s i n quary i n Assisi conserves this gear. T h e sandals are
accounts o f the s t i g m a t i z a t i o n and the events leading u p therefore also meant t o r e m i n d the v i e w e r o f the suffer­
t o i t . A c c o r d i n g t o the Actus beati Francisci et sociorum i n g Francis endured for the gift o f the stigmata.
eius (hereafter, Actus), an early f o u r t e e n t h - c e n t u r y Spir­ T h e a t t e n t i o n t o o d d details such as u n d e r w e a r and
i t u a l text, w h i l e fasting and m e d i t a t i n g o n M o u n t A l - sandals i m p l i e s that the picture's i c o n o g r a p h y depended
verna, Francis i n ecstasy saw G o d , w h o spoke t o h i m as o n a close rereading o f the available sources. I n the late
he h a d t o Moses. Francis replied " I a m all yours. . . . t h i r t e e n t h and early f o u r t e e n t h c e n t u r y the Spirituals
Y o u k n o w that I possess n o t h i n g b u t the habit, the cord, were actively reevaluating texts o f Francis' life. After
and the u n d e r g a r m e n t and even these three t h i n g s are Bonaventure's official b i o g r a p h y was f i n i s h e d i n 1266,
yours." 45
I n the Legenda maior, the saint's official b i o g r a ­ all earlier versions were supposed t o have been de­
phy, B o n a v e n t u r e describes a change i n Francis' u n d e r ­ stroyed; many, however, s t i l l circulated, and these ear­
wear after the s t i g m a t i z a t i o n . I n order t o conceal the lier, often eyewitness, accounts, i n c l u d i n g the w o r k s o f
p a i n f u l w o u n d i n his side Francis w o r e undergarments Celano, were cherished and reused i n several n e w an­
that reached u p t o his a r m p i t s ; these garments were thologies, a l l o f w h i c h displayed o v e r t l y Spiritualist

La pecora di Giotto (Turin, 1985), pp. 3—14, 32—33, n. 17, for an answer 46. "Proinde portabat ex tunc femoralia ita factam usque ad as-
to his critics. See Bologna's and Stubblebine's reservations about B e l - cellae pertingerent ad vulnus lateris contegendum." Bonaventure,
losi's theories: Ferdinando Bologna, "The C r o w n i n g Disc o f a Due- Legenda maior 5. Francisci assisiensis et eiusdem legenda minor (Quaracchi,
cento 'Crucifixion and Other Points Relevant to Duccio's Relation­ 1941), chap. 8, p. 8. O n the w o r d femoralia, see Octavianus a Rieden,
ship to Cimabue," Burlington Magazine 125 (1983), pp. 330—340, and " D e Sancti Francisci Assisiensis stigmatum susceptione: Disquistio
James H . Stubblebine, Assisi and the Rise of Vernacular Art (New York, historico-critica luce testimoniorum saeculi X I I I , " Collectana Fran-
1985), pp. 69—70. Francis is bearded i n Taddeo Gaddi's w o r k o f the ciscana 34 (1964), pp. 259-260, n. 68.
late 1320s and 1330s; A n d r e w Landis, Taddeo Gaddi Critical Reappraisal 47. "Fratres quoque, qui ilia lavabant vel tunicam excutiebant pro
and Catalogue Raisonne (Columbus, Oh., and London, 1972), figs. 3—1, tempore, quia inveniebant ea sanguine rubricata indubitanter per evi-
4 j _ l , 6c/3-13. dens signum incognitionem sacri vulneris pervenerunt." Bonaventure,
42. Bologna, p. 237. Legenda maior (supra, note 46), chap. 8, p. 8; and for other testimony,
43. Ibid., pis. V / 1 0 - 2 , VI/18, V I / 6 8 - 7 0 . see Octavianus a Rieden (supra, note 46), pp. 259—262.
44. "Tunica una, intus et foris repeciata, cum cingulo et bracis." 48. "Solvit protinus calceamenta de pedibus [Actus, chap. 7, p. 33]
See Kajetan Esser, ed., Die Opuscula des Hl Franzikus von Assisi: Neue baculum deponit e manibus et, tunica una contentus, pro corrigia
textkritische Edition (Grottaferrata, 1976), pp. 439-440. funiculum immutavit." Thomas de Celano, Vita prima S. Francisci
45. " D o m i n e , ego sum totus tuus, et n i h i l habeo nisi tunicam Assisiensis et eiusdem legenda ad usum chori (Quaracchi, 1926), chap. 9,
et cordam et femoralia, et ista tua similer sunt." Actus, chap. 9, p. 22.
pp. 57-58. The stigmatization i n Giuliano da Rimini's altarpiece, dated 1307, i n
 A Celibate Marriage 89

leanings. 51
T h e y f u l f i l l e d a need for a narrative and an­ veyed b y the presence o f a bear's den and t w o bears
ecdotal r e n d e r i n g o f his life i n contrast t o Bonaventure's c l i m b i n g about o n the r o c k s . 54

majestic b u t sparsely detailed v i s i o n ; thus, they f u n c ­ L i k e the w o l f , birds,also frequent Franciscan stories.
t i o n e d m u c h i n the same w a y that the A p o c r y p h a and T h e s e r m o n t o the birds i n Bevagna is perhaps the m o s t
The Golden Legend d i d for the lives o f C h r i s t and M a r y . famous episode, b u t t w o other incidents recounted b o t h
T h e m o s t i m p o r t a n t o f these anthologies was the Actus. b y Bonaventure and i n the Actus l i n k birds to A l v e r n a .
C o m p i l e d f r o m several sources at different times, i t was When Francis first a r r i v e d o n the m o u n t a i n , birds
d e f i n i t i v e l y p u t together circa 1327—1340, p r o b a b l y b y greeted h i m i n great numbers, and a female falcon,
the M a r c h i g i a n S p i r i t u a l Franciscan U g o l i n o d i M o n - w h o b u i l t a nest near his cell, w o k e the saint for m a t i n s
tegiorgio, w h o is k n o w n t o have been i n Naples i n w i t h her s i n g i n g . 55
T h e falcon's diligence is praised,
1331. 52
T h e text was a p o p u l a r success, and t o w a r d the and i n the diptych she is p i c t u r e d n u r t u r i n g her
end o f the c e n t u r y i t was rearranged and translated i n t o y o u n g , whereas the other birds gaze o n Francis and the
Italian as I fioretti and Le considerazioni delle sacre stim­ falcon's nest near the cavernous hermitage. Bonaventure
ulate. T h e Actus gives a detailed d e s c r i p t i o n o f Francis' allegorized the b i r d as a presage o f the seraphic v i s i o n
f o r t y - d a y fast o n A l v e r n a . I t adds episodes, such as G o d t o come. T h e M a s t e r o f the Franciscan Temperas treated
speaking t o Francis f r o m a b u r n i n g bush as he had done the subject s i m i l a r t o the h a n d l i n g o f i t i n the d i p t y c h ,
t o Moses, and conflates incidents that were separated i n t h o u g h w i t h a greater interest i n the naturalistic depic­
earlier w o r k s . t i o n o f species. 56
T h e d e p i c t i o n o f such a large n u m b e r
T h e Actus pays particular a t t e n t i o n t o Francis' a f f i n i t y o f birds is u n i q u e t o the G e t t y picture and the Master o f
w i t h nature, and t h o u g h h a r d l y an o r i g i n a l concept, i t is the Franciscan Temperas' s t i g m a t i z a t i o n ; i t represents a
a v i s i o n o f the saint that the Spirituals w i s h e d t o appro­ departure f r o m previous iconography.
priate for themselves. For instance, the w o l f o f G u b b i o T h e G e t t y s t i g m a t i z a t i o n departs f r o m several other
first appears i n the Actus, and the curious beast i n the p o i n t s o f t r a d i t i o n a l Franciscan iconography. I n the
G e t t y painting's f o r e g r o u n d , m o s t l i k e l y a w o l f , c o u l d Giottesque t r a d i t i o n — t h e fresco i n Assisi, the related
w e l l refer t o this i n c i d e n t or one o f the other w o l f sto­ altarpiece i n the L o u v r e , and the fresco i n the B a r d i
ries recounted b y earlier biographers. W h i l e s y m b o ­ chapel—as i n m o s t earlier representations, the craggy
l i z i n g Francis' great rapport w i t h the creatures o f the m o u n t a i n s i d e is o n l y sparsely vegetated and few signs
earth, the presence o f a w o l f also testifies t o the savage, o f a n i m a l life appear. 57
Francis c o m m u n e s alone w i t h
isolated spot o n the w i l d mountainside o f Alverna the seraph. E v e n i n the earliest representation o f the
w h e r e the s t i g m a t i z a t i o n t o o k place. T h e m o u n t a i n was scene b y B e r l i n g h i e r i , t w o b u i l d i n g s d o m i n a t e the l a n d ­
donated t o Francis and his followers b y a local n o b l e ­ scape, Francis' o w n cabin and the friary i n the vale
m a n as a spot for a hermitage. I n the Actus i t is related b e l o w w h e r e B r o t h e r Leo and other companions so­
that before g o i n g there h i m s e l f , Francis sent some friars j o u r n e d . A n element d i s t i n g u i s h i n g the G e t t y s t i g m a t i ­
t o scout the territory, and they had t o be accompanied z a t i o n is the d a r k g r o t t o o p e n i n g b e h i n d the saint,
by fifty soldiers w h o cleared i t o f w i l d beasts. 53
Sim­ w h i c h silhouettes his f o r m and lends i t great relief. T h e
ilarly, i n a m u c h earlier representation b y G u i d o da S i ­ g r o t t o takes the place o f Francis' cabin i n Giotto's B a r d i
ena, the u n t a m e d nature o f the m o u n t a i n s i d e is c o n - chapel fresco o f the m i d t o late 1320s, and is located

the Isabella Stewart Gardner Museum, Boston, also shows Saint Fran­ of the Sources for the Life of St. Francis (Chicago, 1983), pp. 1691—1693.
cis wearing sandals i n a departure from the Giottesque fresco i n the Stubblebine ([supra, note 41], pp. 80—87) claims that the text was not
upper church o f Assisi on which Giuliano's depiction depends. See available u n t i l the 1330s. According to some Franciscan scholars, parts
Philip Hendy, European and American Paintings in the Isabella Stewart o f i t were circulating i n the late dugento, and the pieces were inte­
Gardner Museum (Boston, 1974), pp. 110-112, i l l . grated i n either the early 1320s or 1330s. Moorhead (supra, note 51),
49. "Pedes laneis peduciis vestit, ne videri possint, pelle supra v u l - pp. 165—169; Fleming (supra, note 51), pp. 58—59; and Giorgio
neribus posita, quae asperitatem laneam mitigaret." Thomas de Ce­ Petrocchi, "Dagli 'Actus beati Francisci' al volgarizzamento dei
lano, Vita secunda S. Francisci Assisiensis (Quaracchi, 1927), chap. 98, Fioretti," Convivium 22 (1954), pp. 534-555, 666-667.
p. 136. 53. Actus, chap. 9, p. 19.
50. " E t pedibus ex tunc inuderet calceatis." Bonaventure, Legenda 54. James H . Stubblebine, Guido da Siena (Princeton, N.J., 1964),
maior (supra, note 46), chap. 8, p. 8. Also on the footwear, see Octa- figs. 4, 101, as well as 35, 61, 100.
vianus a Rieden (supra, note 46), pp. 225—226. 55. Bonaventure, Legenda maior (supra, note 46), chap. 8, p. 10;
51. O n the sources, see John R. H . Moorhead, The sources for Actus, chap. 9, pp. 24-26.
the Life of S. Francis of Assisi (Manchester, 1940), and John V. Flem­ 56. O n monastic bird symbolism, see John V. Fleming, From Bona­
ing, An Introduction to the Franciscan Literature of the Middle Ages venture to Bellini: An Essay in Franciscan Exegesis (Princeton, N.J.,
(Chicago, 1977). 1982), pp. 41—44, and Gregorio Penco, " I I simbolismo animalesco
52. For the bibliography on the Fioretti/Actus, see M a r i o n A . Habig, nella letteratura monastica," Studia Monastica 6 (1964), pp. 7—38.
ed., St. Francis of Assisi Writings and Early Biographies: English Omnibus 57. Giancarlo Vigorelli and E d i Bacceschi, eds., Lopera completa di
90 Strehlke

above the saint. I t also appears i n a few earlier, isolated Elzear's last confessor and a d m i r e d Delphine's under­
examples that p r o b a b l y neither G i o t t o n o r the G e t t y standing o f t h e o l o g y . 62
T h e relevant passage is f r o m his
artist k n e w . 58
A f t e r almost a c e n t u r y o f s t i g m a t i z a t i o n second s e r m o n and concerns the f o u r v i r t u e s i m p r i n t e d
images, the i n c l u s i o n o f a g r o t t o o n M o u n t A l v e r n a can o n Francis b y the seraph:
o n l y be explained i n terms o f a n e w w a y o f e n v i s i o n i n g
F o u r t h l y , he possessed the v i r t u e o f i n f l a m m a t o r y i n ­
the narrative and its locale.
s p i r a t i o n ; " w h o l l y therefore" as i n the Legenda, "as one
I n Celanos biography, rediscovered b y the Spirituals, m i g h t say a coal is i g n i t e d b y d i v i n e l o v e " he t o w h o m
the saint's a b i l i t y t o meditate u n d i s t u r b e d is described i n the s i g n appeared was i n f l a m e d a n d set o n fire. W h e n
the language o f the Canticle o f Canticles: " H e nests thus i t [ t h e seraph] i n f l a m e d the a b b o t [Francis] as he
h i m s e l f i n the clefts o f the r o c k , and inhabits the h o l l o w h a d prayed for, i t set over h i m a n d coaxed that m a n
places o f the w a l l s . " 59
A l v e r n a i t s e l f is a r o c k y and pre­ w i t h upraised h a n d o u t o f the cavern. A n d the blessed

c i p i t o u s place w i t h m a n y natural g r o t t o s perfect for s o l ­ Francis was n o t a c t i n g o u t o f his o w n accord, b u t b y

i t u d e and, according t o the Actus, was chosen for that d i v i n e d i s p o s i t i o n ; because his s p i r i t was exalted to
seraphic p e r f e c t i o n ; therefore, i t is f i t t i n g the saying o f
reason. Stubblebine recently observed that i n several
the p r o p h e t ( A g g e u s 2:4): " I shall raise thee up, my
pre-Actus, early f o u r t e e n t h - c e n t u r y S p i r i t u a l texts, the
servant, a n d I w i l l m a k e thee as a signet f o r I have
locus o f the s t i g m a t i z a t i o n is n o t d i r e c t l y outside o f
chosen thee, saith the L o r d o f H o s t s . " 63

Francis' cell b u t i n a m o r e s o l i t a r y and w i l d l o c a t i o n . I n

the Speculum perfectionis o f circa 1318 Francis is described T h e Getty Francis closely reproduces Franqois de M e y ­
as n o t w i l l i n g t o have a w e l l - b u i l t cell or house b u t ronnes' image o f Francis d r a w n f r o m the cave w i t h raised
w i s h i n g t o be sheltered beneath the r o c k s . 60
Giotto's arms and suggests a dependence o n the text itself. Since
r e n d i t i o n i n the B a r d i chapel is a g o o d example o f this Franqois was an i n t i m a t e o f the A n g e v i n c o u r t and a
new v i s i o n o f the event. The p r o m i n e n t dark and Spiritual, his ideas m o s t p r o b a b l y circulated i n Naples.
e m p t y cave above Francis adds t o the e m o t i o n a l and Meyronnes also linked the stigmatization to the
dramatic i m p a c t . T h e G e t t y artist is considerably less theme o f t r i u m p h . T h u s , as k i n g s have t h e i r victories
h i s t r i o n i c . Despite the changes based o n a n e w reading painted, he maintains the v i c t o r y o f C h r i s t was sculpted
o f the texts, he clings t o older p i c t o r i a l conventions; o n Francis d u r i n g the s t i g m a t i z a t i o n , and he compares
thus, even t h o u g h Francis prays i n f r o n t o f a barren the experience o f A l v e r n a t o the establishment o f the
cave, the older t r a d i t i o n o f i n c l u d i n g t w o hermitages is celestial c i t y o f the m i l i t a n t church placed o n a s o l i d
not abandoned. r o c k f o u n d a t i o n . T h e saint is further l i k e n e d t o the l i o n
T h e m a n n e r o f d e p i c t i n g the saint e m e r g i n g f r o m the that symbolizes Christ's t r i u m p h over the cross. 64
The
cave o n t o a n a r r o w p r o m o n t o r y , as i f t o greet the cave t h e n m i g h t be associated w i t h a lion's den i n the
seraph, is u n i q u e t o the G e t t y d i p t y c h . A l t h o u g h F r a n ­ figurative and the literal sense.
cis' posture w i t h his arms raised above his head had I n the sermons, M e y r o n n e s also develops the theme
been p r e v i o u s l y e m p l o y e d b y the M a s t e r o f F i g l i n e , 61
o f alter Christus, or Francis' parallelism t o C h r i s t . 65
The
the c o m b i n a t i o n o f the cave and pose can be traced t o fissure i n the r o c k is part o f this allegory. T h e m o u n ­
a specific l i t e r a r y source that w o u l d have been k n o w n tain's crags are a t t r i b u t e d t o eruptions that o c c u r r e d at
to Elzear and D e l p h i n e , a series o f sermons o n the s t i g ­ the t i m e o f Christ's C r u c i f i x i o n , and A l v e r n a is c o m ­
matization by the Provenqal S p i r i t u a l Franqois de pared t o Tabur w h e r e C h r i s t , l i k e Francis, experienced a
M e y r o n n e s . M e y r o n n e s was responsible for the Libellus transfiguration. 66
T h e s t o r y o f Alverna's peculiar l a n d ­
supplex w r i t t e n i n Elzear's h o n o r and, according t o b i ­ scape b e i n g f o r m e d at the t i m e o f the C r u c i f i x i o n be­
ographers, was a l o n g - t i m e i n t i m a t e ; he also served as came a theme o f Franciscan literature. I t was later i n c o r -

Giotto (Milan, 1977), figs. 38, 46, 138. 62. See "Trois sermons." O n his relationship to Elzear and D e l ­
58. Examples dating from the dugento are found i n Pistoia, Museo phine: Enquete, pp. 54-55, 155, 159, 403, 540; Vies occitanes, pp. 15, 20,
Civico, and Orte, Cathedral: Pietro Scarpellini, "Iconografia fran- 22, 29, 112, 120. O n Meyronnes himself, see Bartholomaeus Roth,
cescana nei secoli X I I I e X I V , " i n San Francesco d'Assisi storia e arte Franz von Meyronna, sein Leben, seine Werke, seine Lehre (Werl, 1936).
(Milan, 1982), pp. 97, 104. See also the examples o f Guido da Siena 63. "Quarto habuit virtutem inflammativam; 'totus enim,' ut
and his school (supra, note 54). habetur i n Legenda, 'sicut quidam carbo ignitus divini amoris' erat
59. " I n formainibus petrae nidificabat, et i n caverna maceriae hab- inflammatus et succensus, cuius signum apparuit, quando sic inflam-
itatio eius." Celano (supra, note 48), chap. 27, p. 71. mavit abbatem pro quo oravit, ut supra semtipsum poneret eum et
60. Stubblebine, (supra, note 41), p. 83; Habig (supra, note 52), quando manu protensa i l i u m hominem palpavit i n antro, quia talia
p. 1134. beatus Franciscus non habuit a natura propria, sed a dispensatione
61. Luciano Bellosi, Un pittore del trecento il Maestro di Figline, ex. divina; quia Spiritus eius fuit ad perfectionem seraphicam sublimatus,
cat. (Florence, Comune d i Figline Valdarno, 1980), pi. 2. ideo convenit et i l l u d prophetae Agg. 2, 24: 'Assumam te, serve meus,
 A Celibate Marriage 91

porated i n the Fioretti ( t h o u g h i t is absent f r o m the cases t r a i l i n g t o the g r o u n d , and the collars, p a r t i c u l a r l y
Actus) and B a r t h el m y o f Pisa's De conformitate vitae beati o f female dress, are w i d e r and l o w e r cut. C e c i l i a and
Francisci ad vitam Domini Iesu. 67
Valerian's costumes reflect earlier styles. I n another
Francis' s i m i l a r i t y t o Moses was another theme de­ A n g e v i n manuscript, also i l l u m i n a t e d by Cristoforo
veloped b y Franciscan theologians. Franqois de M e y - O r m i n i a , the B i b l e o f N i c c o l φ d'Alife, w h i c h can be
ronnes emphasizes that A l v e r n a is l i k e Sinai, b u t instead dated before January 20, 1343—because Robert is pres­
o f stone tablets o f the law, Francis received the l a w o f ent and Joanna is s h o w n as the hereditary princess n o t
love f r o m the hand o f the l i v i n g G o d . 6 8
I n the Actus i t is the queen—the dress is closer t o the type p i c t u r e d i n the
recounted that G o d spoke t o Francis i n his days o f c o n ­ d i p t y c h (fig. 6 ) . 7 3
B o t h m e n and w o m e n wear loose
t e m p l a t i o n before the s t i g m a t i z a t i o n , j u s t as he had spo­ tunics, the manicotti are shorter and w i d e r , and the neck­
k e n t o Moses. T h e analogy t o M o s e s ' b u r n i n g b u s h lines restrained. I f a n y t h i n g , C e c i l i a and Valerian are
m i g h t by s y m b o l i z e d i n the curious solitary b o w e d tree m o r e conservatively dressed; t h e i r collars are n o t as
i n the l o w e r r i g h t - h a n d corner o f the G e t t y picture. open or t h e i r sleeves as elegantly cut. T h o u g h i t w o u l d
F l e m i n g i n his analysis o f B e l l i n i ' s Saint Francis in the be f o o l i s h t o date a picture precisely o n costume alone,
Wilderness interpreted the p r o m i n e n t s w a y i n g laurel tree and, i n particular, this picture, where perceptions o f the
i n the same terms. H e cited a medieval Jewish i l l u m i n a ­ c l o t h i n g are distorted by the f i g u r a l poses, i t is reason­
t i o n o f Moses and the " b u r n i n g " bush i n w h i c h n o able t o suggest that the style o f the costumes is that o f
flames appear as an early precedent. 69
A stigmatization the thirties. I t closely parallels, for example, the c o n ­
by a D u c c i o f o l l o w e r i n C h r i s t C h u r c h , O x f o r d , i n ­ t e m p o r a r y dress depicted i n t r i p t y c h s by Bernardo D a d -
cludes a s i m i l a r emphatically bent tree. 70
These arcane d i and Taddeo Gaddi dating 1333 and 1334 respectively. 74

analogies were" part and parcel o f late medieval t h e o l o g y A s s i g n i n g the d i p t y c h a date i n the mid-thirties
and u n d o u b t e d l y affected visual s y m b o l i s m , as they means, o f course, that Elzear and D e l p h i n e are n o t re­
may have i n these instances. presented i n i t , n o t even i n the guise o f C e c i l i a and
Valerian, because the p a i n t i n g predates by about t h i r t y
T h e i n v e s t i g a t i o n o f iconography has demonstrated years Delphine's death i n 1360 and also predates Elzear's
that the d i p t y c h can be related t o Elzear and D e l p h i n e , canonization i n 1369. However, it may mean that
b u t h o w specific this c o n n e c t i o n m a y be depends o n D e l p h i n e was personally i n v o l v e d i n its creation and
the d a t i n g and a t t r i b u t i o n . Fortunately, Cecilia and may have even c o m m i s s i o n e d i t . I t is, therefore, sig­
Valerian's costumes p r o v i d e a valuable guide for dat­ nificant that the d i p t y c h can be related stylistically t o
i n g . T h e y record l u x u r i o u s dress o f the p e r i o d before w o r k s o f art produced i n Naples f r o m the late t w e n ­
the m i d d l e o f the c e n t u r y w h e n fashion changed. I n ties t o the early forties for the A n g e v i n circle t o w h i c h
the forties the l o n g , almost unisex, tunics the couple D e l p h i n e belonged.
wear w e n t o u t o f fashion. M e n started s p o r t i n g close- T h e a t t r i b u t i o n o f the G e t t y d i p t y c h has l o n g puzzled
f i t t i n g hose, and women's wear became decidedly m o r e art historians. Previously, Castelnuovo published i t as
revealing. 71
T h i s is i l l u s t r a t e d i n the m a n u s c r i p t o f the Venetian circa 1340 and close t o Paolo Veneziano; L a -
Statuti delVOrdine del Nodo, i l l u m i n a t e d i n 1354—1355 clotte and T h i e b a u t associated i t w i t h the Provencal
b y C r i s t o f o r o O r m i n i a , i n w h i c h Robert's successor, A v i g n o n school w i t h the designation t o an Italian artist
Joanna I , and her consort are depicted, as are many circa 1340-1350. 75

scenes o f c o u r t l y life (fig. 5 ) . 7 2

T w o features d i s t i n g u i s h T h e first a t t r i b u t i o n t o o k i n t o account the archaic
the cut o f later trecento fashions: the manicotti, or the elements o f the c o m p o s i t i o n , such as the g o l d striations
t r a i n o n the sleeves, are l o n g and attenuated, i n some o n the angel's costume and the schematic r e n d e r i n g o f

et ponam sicut signaculum, quia te elegi, dicit Dominus exercituum'." 68. "Trois sermons," p. 385.
See "Trois sermons," p. 383. 69. Fleming (supra, note 56), pp. 51—57, fig. 11.
64. Ibid., pp. 386-387, 395. 70. James H . Stubblebine, Duccio di Buoninsegna and His School
65. O n the theme o f alter Christus, see Stansilao da Campagnola, (Princeton, N.J., 1979), vol. 2, fig. 295.
L'angelo del sesto sigillo et V "Alter Christus": Genesi e suiluppo di due temi 71. Luciano Bellosi, Buffatmacco e il trionfo della morte (Turin, 1974),
francescani nei secoli XIII-XIV (Rome, 1971), and Henk van Os, "St. pp. 41-54.
Francis o f Assisi as a Second Christ i n Early Italian Painting," Simiolus 72. Bologna, pp. 305-311, pis. V I I / 4 1 - 7 .
1 (1974), pp. 115-132. 73. Ibid., pp. 276-278, pis. V I / 6 2 - 7 .
66. "Trois sermons," p. 394. 74. Landis (supra, note 41), figs. 20, 1—7.
67. For the Fioretti reference, see Habig (supra, note 52), p. 1438. De 75. See supra, note 2.
conformitate vitae beati Francisci ad vitam Domini Iesu appears i n Analecta
Francescana 5 (1912), p. 387.
92 Strehlke

the foliage and m o u n t a i n s i d e , w h i c h recall the b y z a n -

t i n i z i n g character o f early trecento Venetian art. These
characteristics as they appear i n the d i p t y c h , and specifi­
cally i n the s t i g m a t i z a t i o n panel, are, however, m o r e i n
k e e p i n g w i t h w h a t seems t o be an i n t e n t i o n a l l y conser­
vative t h r o w b a c k t o d u g e n t o Tuscan images o f the s t i g ­
m a t i z a t i o n b y B e r l i n g h i e r o B e r l i n g h i e r i and G u i d o da
Siena and his school. T h e choice o f an older f o r m u l a
d a t i n g t o the b e g i n n i n g o f Franciscan i m a g e r y was
p r o b a b l y m o t i v a t e d b y the S p i r i t u a l Franciscans' obses­
sion w i t h the order's p r i m i t i v e , s i m p l e b e g i n n i n g s .
G i v e n its provenance f r o m the Sabran family, the d i p ­
t y c h was p r o b a b l y i n Provence f r o m its earliest history.
W h e t h e r i t was actually executed there is another ques­
t i o n ; a l t h o u g h few w o r k s survive for c o m p a r i s o n , n o
other p a i n t i n g f r o m the A v i g n o n school can be i d e n t i ­
fied as b y the same hand. T h i s fact i n i t s e l f does n o t
t o t a l l y d i s c o u n t a Provencal manufacture. M a n y , i f n o t
all, o f the p r i n c i p a l artists active i n Provence, and
largely at A v i g n o n for the papal court, came f r o m o u t ­
side the r e g i o n . T h e i r patronage was almost exclusively
ecclesiastical. Stylistically, before 1350 the school was
e n t i r e l y Italian, and nearly t o t a l l y Sienese, i n o r i e n t a ­
t i o n . S i m o n e M a r t i n i , active i n A v i g n o n f r o m 1340/41,
was, o f course, from Siena, and artists l i k e M a t t e o
G i o v a n e t t i w o r k e d i n a recognizably Sienese style.
T h e G e t t y d i p t y c h is somewhat dependent o n Sienese
Figure 5. C r i s t o f o r o O r m i n i a (Italian, active m i d - f o u r ­
p r o t o t y p e s . C e c i l i a and Valerian, w i t h t h e i r l o n g , at­ teenth c e n t u r y ) . Knights Paying Homage to
tenuated noses, pursed lips, and oversize hands, reflect Lodovico di Taranto f r o m Statuti delVOrdine del
S i m o n e M a r t i n i ' s types. T h e y echo several figures f r o m Nodo, 1354—1355. Illumination on vellum.
his early p e r i o d : the Saint M a r t i n b e i n g invested as a Paris, B i b l i o t h e q u e N a t i o n a l e ms. 4274.

k n i g h t i n Assisi, the y o u t h f u l k n e e l i n g p a t r o n saints o f

Siena i n the frescoed Maestä, as w e l l as some o f the p a i n t i n g and sculpture o w e d m u c h to the e n l i g h t e n e d
figures i n the altarpiece dedicated t o Saint L o u i s o f p o l i c y o f K i n g Robert, w h o c o m m i s s i o n e d outside art­
Toulouse, t h e n i n San L o r e n z o M a g g i o r e , Naples. E v e n ists, such as C a v a l l i n i , G i o t t o , S i m o n e M a r t i n i , and
an archaic detail l i k e the g o l d striations o n the angel's T i n o d i C a m a i n o , for i m p o r t a n t projects.
robe can be f o u n d i n the panel o f the angel G a b r i e l f r o m F r o m this p e r i o d o n l y a few names o f p u r e l y local
S i m o n e s Orsini p o l y p t y c h i n the m u s e u m at A n t w e r p . 7 6
painters are k n o w n , and even fewer artistic personalities
T h e Simonesque elements o f the d i p t y c h are derivative, can be constructed f r o m the s u r v i v i n g w o r k s o f art. A l l
however, and do n o t constitute a t o t a l a s s i m i l a t i o n o f the local painters bear the stylistic i m p r i n t o f the v a r i ­
the artist's style. ous regional influences that abounded i n the c i t y : R o ­
T h e h i s t o r y o f early trecento art i n Naples is s i m i l a r m a n , Florentine, and Sienese. T h e N e a p o l i t a n school
to that o f A v i g n o n , and indeed, as has been p r e v i o u s l y d i d n o t produce a consistent and recognizable style i n
discussed, the t w o cities enjoyed close ties, A v i g n o n the same w a y that, for example, Sienese art is u n d o u b t ­
being, i n fact, a feudal dependency o f the A n g e v i n s . I n edly Sienese. Stylistically, N e a p o l i t a n p a i n t i n g was i n -
Naples as i n A v i g n o n , artistic and c u l t u r a l life was cohesive and eclectic. W h a t the artists shared was t h e i r
organized a r o u n d the court. T h e former's school o f i n v o l v e m e n t i n an A n g e v i n - i n s p i r e d c u l t u r a l policy.

76. Gianfranco Contini and Maria Cristina Gozzoli, eds., Lopera com- the queen between 1331 and 1332. See Bologna, pp. 211—212, fig.
pleta di Simone Martini (Milan, 1970), figs. I—III, V - V I , X X X I I , L V I . V—25. Other Neapolitan artists like the Master o f the Franciscan Tem­
77. For example, Saint Louis of Toulouse with King Robert and Queen peras worked for patrons from Sardinia and Prague. A tabernacle by
Sancha by the Neapolitan painter the Master o f Giovanni Barrile was this artist, probably produced for Robert o f Anjou, now i n the M o r a ­
most likely sent to the convent o f Sainte Claire i n A i x as a gift from vian Gallery i n B r n o may have been i n Czechoslovakia from its ear-
 A Celibate Marriage 93

Such c o n d i t i o n s make a t t r i b u t i o n o f any u n d o c u m e n t e d the M a s t e r o f the Franciscan Temperas proves i l l u s t r a ­

w o r k o f art t o an eclectic school o f p a i n t i n g l i k e that o f tive. T h e t w o painters are stylistically, as w e l l as i c o n -
Naples or A v i g n o n p r o b l e m a t i c ; this s i t u a t i o n is further ographically, closely a p p r o x i m a t e . 78
I n addition to ob­
c o m p l i c a t e d w i t h an object as u n i q u e as the G e t t y d i p ­ v i o u s p o i n t s o f c o m p a r i s o n , such as t h e i r interest i n
tych. Few private p a i n t i n g s , especially examples with d e p i c t i n g nature, the p h y s i o g n o m y o f the representa­
such an i d e n t i f i a b l y personal iconography, survive. A l ­ tions o f Saint Francis and the s i m i l a r i t i e s o f C e c i l i a and
t h o u g h i t m i g h t be argued that g i v e n the Sabran c o n ­ Valerian i n the d i p t y c h to R o b e r t and Sancha, w h o ap­
n e c t i o n , the d i p t y c h c o u l d have been p r o d u c e d i n either pear as donors i n the C r u c i f i x i o n f r o m the Master o f
Naples or A v i g n o n , the closest visual s i m i l a r i t i e s are t o the Franciscan Temperas' series (fig. 7), attest t o the t w o
be f o u n d i n Naples. I t is i m p o r t a n t t o bear i n m i n d the artists' c o m m o n approach t o c o n c e i v i n g the h u m a n fig­
fact that N e a p o l i t a n artists d i d w o r k outside o f Naples, ure. T h e G e t t y painter, however, affects a gentle c o u r t l y
and there is also evidence that p a i n t i n g s manufactured manner that differentiates his w o r k f r o m the sharp
i n Naples were sent t o Provence. 77
expressive q u a l i t y o f the oeuvre o f the Master o f the
A c o m p a r i s o n w i t h the cycle o f canvases p r o b a b l y Franciscan Temperas.
executed before 1336 for the convent o f Santa C h i a r a b y T h e architectural s e t t i n g o f the C e c i l i a and Valerian

liest history. See Olga Pujmanovδ i n Italske Goticke a Renesancni obrazy 78. I n a book that came out i n late 1986, after the present article
v ceskoslovenskych Sbirkdch, ex. cat (Prague, 1987), no. 53, pp. 116—118, was prepared, Pierluigi Leone de Castris published the Getty diptych
pi. IV, fig. 53. Sienese, Florentine, and Ligurian masters active i n as by the Master o f the Franciscan Temperas i n an addendum, ac­
Naples also worked i n Provence making the artistic connections be­ knowledging the advice o f Enrico Castelnuovo to w h o m I had already
tween the t w o regions even closer. i n the summer o f 1986 personally suggested the attribution. Leone
94 Strehlke

Figure 7. M a s t e r o f t h e Franciscan Temperas (Italian,

active circa 1330—1355). The Crucifixion with
King Robert and Queen Sancha of Naples as Do­
nors, before 1336. T e m p e r a o n canvas. P r i v a t e
collection. Photo: Courtesy U g o Bozzo E d i -
t o r e s.a.s., R o m e .

scene a n d the landscape o f the s t i g m a t i z a t i o n recall Figure 8. P i e t r o Cavallini (Italian, active 1273—1308).
other N e a p o l i t a n p a i n t i n g s . T h e landscape—archaizing Noli me tangere (detail), circa 1308. Fresco. N a ­
elements o f w h i c h have been noted—can be compared ples, San D o m e n i c o . P h o t o : C o u r t e s y U g o
B o z z i E d i t o r e s.a.s., R o m e .
t o earlier examples created by Cavallini and docu­
m e n t e d i n Naples i n 1308; these appear i n the frescoes o f
the Noli me längere a n d Mary Magdalene Receiving Com­ r o o f and the a t t e m p t at d e p i c t i n g perspective seen f r o m
munion i n San D o m e n i c o (fig. 8 ) . T h e G e t t y artist has below, w h i c h w o r k s so w e l l i n a c c o m m o d a t i n g the a n ­
adapted t h e j a g g e d r o c k f o r m a t i o n s o f these frescoes, gel's descent, are closer, however, t o the w o r k o f a n ­
a l t h o u g h he makes t h e m m u c h m o r e u n d u l a t i n g , as other u n k n o w n N e a p o l i t a n artist, the M a s t e r o f the
w i t h the r i d g e that rises b e h i n d the g r o t t o . H e also Saint E l i z a b e t h Stories (figs. 9a—b). T h i s painter, a
i m i t a t e s Cavallini's style o f d e p i c t i n g foliage i n w h i c h close, t h o u g h s l i g h t l y later, f o l l o w e r o f C a v a l l i n i , e x ­
b r o a d areas o f d a r k vegetation are h i g h l i g h t e d w i t h p e r i m e n t e d w i t h architectural arrangements a n d narra­
l i g h t - c o l o r e d leaves. L i k e the G e t t y artist a n d the M a s ­
79
tive settings i n a fresco cycle i n Santa M a r i a D o n ­
ter o f the Franciscan Temperas, C a v a l l i n i d e l i g h t e d i n naregina, w h i c h depicts the legends o f saints Agnes a n d
the p a i n t i n g o f naturalistic details such as foliage a n d Elisabeth o f H u n g a r y a n d is dated v a r i o u s l y t o the late
birds i n his San D o m e n i c o frescoes. twenties o r m i d - t h i r t i e s . 81
A n i l l u m i n a t i o n depicting
A r c h i t e c t u r a l l y , the s m a l l b o x l i k e e n v i r o n m e n t o f the the marriage o f M a u r i z i o a n d Constanza (fig. 10) f r o m
G e t t y C e c i l i a scene recalls the s i m p l e settings o f the the second v o l u m e o f the Speculum historiale o f V i n c e n t
altarpiece o f circa 1340 b y the M a s t e r o f the Franciscan de Beauvais ( c o m m i s s i o n e d i n 1320 b y F i l i p p o de Haye,
Temperas i n O t t a n a . 80
T h e secondary structures o n the abbot o f the abbey o f Cava de T i r r e n i ) is v e r y close i n

de Castris, Arte di corte nella Napoli angioma (Florence, 1986), p. 459, 81. Ibid., pp. 135-138, pis. 111/48-52, 54-55, and George Kaftal,
fig. 10 on p. 428. Iconography of the Saints in Central and Southern Italy (Florence, 1965),
79. O n Cavallini, see Bologna, pp. 115—146, p i . X I I (color), figs. 22—26, 430—445. Recognizing its Cavallinesque characteristics,
figs. I I I / 2 0 - 9 . Leone de Castris dates this cycle i n the twenties and proposes sev­
80. Bologna, pis. VI/18-35, pis. X X I - I I I (color). eral groups o f artists for the scenes' design, which I believe to be
 A Celibate Marriage 95

Figure 9b. M a s t e r o f the Saint E l i z a b e t h Stories (Italian,

active second quarter o f the f o u r t e e n t h cen­
t u r y ) . Scenes from the Life of Saint Elisabeth of
Hungary, 1320s. Fresco. Naples, Santa M a r i a
Donnaregina.

Figure 9a. M a s t e r o f the Saint E l i s a b e t h Stories (Ital­

i a n , active second quarter o f the f o u r t e e n t h
c e n t u r y ) . Saint Agnes Led to a House of Pros­
titution, 1320s. Fresco. Naples, Santa M a r i a
Donnaregina. Photo: Courtesy Alinari/Art
Resource, N e w Y o r k .

style t o the frescoes and m a y w e l l be b y the same artist

or one w h o w o r k e d i n Cavallini's N e a p o l i t a n cantiere. 82

T h e same contained structure seen i n the frescoes and

G e t t y d i p t y c h , i n w h i c h the side walls recede at i n -
c o n g r u e n t angles, is also f o u n d here.
T h o u g h the architecture o f the frescoes far surpasses
that o f the d i p t y c h i n spatial c o m p l e x i t y and decoration,
there are definite s i m i l a r i t i e s . Details l i k e the con­
s t r u c t i o n o f the tiles o n the roofs o f the b u i l d i n g s i n the
Figure 10. Cavallinesque M i n i a t u r e Painter. Marriage of
s t i g m a t i z a t i o n and i n the frescoes are the same; the ar­
Maurizio and Constanza f r o m V i n c e n t de
chitectural d e t a i l i n g o f the d i p t y c h is, however, m u c h
Beauvais, Speculum historiale, circa 1320. I l ­
simpler and lacks C o s m a t i w o r k or c o m p l i c a t e d m o l d ­ lumination on vellum. Cava dei Tirreni,
ings. A l s o , the varied, colored stone f r a m i n g o f the A b b a z i a ms. 26, f o l . 123r. P h o t o : Courtesy
chapel d o o r and rose w i n d o w i n the s t i g m a t i z a t i o n is Biblioteca del M o n u m e n t o Nazionale, Badia

r e m i n i s c e n t o f m o r e n o r t h Italian, t h a n N e a p o l i t a n , ar- d i Cava.

stylistically coherent and unified. Leone de Castris (supra, note 78),

pp. 386-393.
82. Mario Rotili, La miniatura nella badia di Cava. I : Lo scrittorio
i corali miniati per Vabbazia (Cava dei Tirreni, 1976), pp. 57—68,
pi. L X V I I a .
96 Strehlke

Figure 11. M a s t e r o f the Saint E l i s a b e t h Stories ( I t a l i a n , active second quarter o f the

fourteenth c e n t u r y ) . The Apparition of Saint Agnes to Constance (detail), 1320s.
Fresco. Naples, Santa M a r i a D o n n a r e g i n a . Photo: Courtesy Alinari/Art
Resource, N e w Y o r k .

chitecture and attests t o the m a n y influences acting depends o n a s e r m o n b y Franqois de M e y r o n n e s , the

upon Neapolitan painters. The figure style in the first scholar t o study and w r i t e about Elzear and one
frescoes and the d i p t y c h is also close. Despite dif­ close t o the N e a p o l i t a n c o u r t and S p i r i t u a l circles. A s i t
ferences i n scale and the frescoes' damaged state, the reflects D e l p h i n e and Elzear's ideals o f v i r g i n i t y and
h i n t o f deep-shadowed m o d e l i n g a l o n g the j a w l i n e o f Franciscan poverty, and i n the C e c i l i a and Valerian
figures, the r o u n d e d facial type, and the t i n y eyeballs scene is i d e n t i f i e d w i t h t h e i r o w n m a r r i e d life, D e l p h i n e
are treated so alike i n the Speculum historiale, the Santa may have commissioned i t herself I t is difficult,
M a r i a D o n n a r e g i n a frescoes, and the d i p t y c h that they however, t o reconcile her v o w o f poverty, sale o f f a m i l y
m a y be presumed t o have evolved f r o m the same artistic property, and the d e s c r i p t i o n o f her dress as "crude,
m i l i e u . A c o m p a r i s o n o f the flying figure o f the Saint d i r t y , uncared for rags" w i t h the c o m m i s s i o n i n g o f such
Agnes i n the scene o f her a p p a r i t i o n t o Constance f r o m a luxury item. 8 3
T h o u g h s l i g h t l y fanatical and certainly
the fresco cycle w i t h the Getty's c r o w n i n g angel is par­ sincere i n her r e n u n c i a t i o n o f w o r l d l y w e a l t h , D e l p h i n e
t i c u l a r l y t e l l i n g (fig. 11). was closely associated w i t h the c o u r t and an i n t i m a t e o f
Incidentally, the subject matter o f the Santa M a r i a Sancha. T h e queen shared Delphine's views b u t also
D o n n a r e g i n a frescoes w o u l d have had great appeal at assiduously p a t r o n i z e d the arts for the cause o f h o l y
the A n g e v i n court. T h e saints were b o t h aristocratic, poverty. D e l p h i n e m a y therefore have been able t o j u s ­
and Elisabeth was an A n g e v i n ancestor. T h e scenes c e l ­ t i f y o w n i n g such a portable w o r k o f art. Since i t can be
ebrate t h e i r d e v o t i o n t o p o v e r t y and v i r g i n i t y , themes so closely connected t o Delphine's life, i f i t was n o t
o b v i o u s l y i n v o g u e i n Naples, n o t o n l y w i t h e x t r a o r d i ­ ordered b y her, i t had t o have been created at the behest
n a r y courtiers l i k e Elzear and D e l p h i n e , b u t also w i t h o f someone close t o her and t o Elzear, possibly his
Q u e e n Sancha and her circle. b r o t h e r and heir, G u i l l a u m e . 84
Certainly, i t is rare i n
I n v e s t i g a t i o n o f the d i p t y c h therefore leads t o the the trecento that a s m a l l private w o r k o f art can be ap­
c o n c l u s i o n that i t was made by a N e a p o l i t a n artist, close preciated b o t h for i t s e l f and for the remarkable couple
t o an artist l i k e the M a s t e r o f the Saint Elizabeth w h o i n s p i r e d its manufacture.
Stories, i n the 1330s. I t is also a h i g h l y personal w o r k o f Philadelphia M u s e u m o f A r t
art. A n e w and careful reading o f Franciscan texts i n ­
83. "Pannis grossis, vilibus et neglectis." Enquete, p. 45.
spired the d e p i c t i o n o f the s t i g m a t i z a t i o n , w h i c h i n part
84. De La Chesnaye-Desbois and Badier (supra, note 5), cols. 13—14.
The Noblest of Livestock
Peter Sutton

Gerard ter B o r c h is best r e m e m b e r e d as a p o r t r a i t i s t and sections o f b r i c k o n the left-hand w a l l . T h e author

i n m i n i a t u r e and the p r e e m i n e n t h i g h - l i f e painter o f his o f the m o s t recent m o n o g r a p h o n ter B o r c h , S. J. G u d -
age. H i s genre scenes depict a society at once elegant laugsson, has correctly observed the resemblance i n
and exquisite—the confidences o f h i g h b o r n women, technique t o the artist's so-called "Paternal Admonition,"
sidelong glances shared i n c o u r t s h i p δ la mode, or the datable n o t later than 1655 (fig. 2), a w o r k w h i c h e m ­
gallantries o f officers. Occasionally, ter B o r c h also rep­ ploys the same male m o d e l i n a different narrative c o n ­
resented the noisier recreations o f the conscripted. t e x t . T h u s the p a i n t i n g w o u l d seem t o have been ex­
2

M a n y t o o w i l l recall his domestic scenes—still images ecuted at the v e r y b e g i n n i n g o f ter Borch's mature
o f w o m e n absorbed i n the preparation o f a meal or the career, a p e r i o d f r o m w h i c h he was t o emerge as the
care o f c h i l d r e n . Less w e l l k n o w n are the artist's images m o s t i n f l u e n t i a l genre painter o f the latter h a l f o f the
o f the w o r k i n g classes and r u r a l life or his a n i m a l p a i n t ­ seventeenth century.
ings. T w o splendid examples o f the latter are The Horse Ter B o r c h was p r i m a r i l y a figure painter b u t had de­
Stall (fig. 1) and The Cow Shed (fig. 18), b o t h recently picted horses i n his earliest w o r k s . B o r n i n Z w o l l e t o a
acquired b y the G e t t y M u s e u m . w e l l - t o - d o family, he first studied w i t h his father, w h o
I n The Horse Stall, 1
a dappled gray horse feeds at a encouraged h i m t o d r a w even as a c h i l d . A p a i n t i n g o f a
manger i n a stable w i t h a hayrack overhead. B e h i n d the rider v i e w e d f r o m the rear (fig. 3) employs a theme
horse a m a n rubs the a n i m a l d o w n , w h i l e at the r i g h t a and c o m p o s i t i o n that ter B o r c h first addressed as an
w o m a n appears at a door. T h e tack and horse blanket e x t r a o r d i n a r i l y precocious seven-year-old i n a draw­
hang f r o m a post i n the r i g h t f o r e g r o u n d ; a p i t c h f o r k , i n g dated 1625 ( A m s t e r d a m , R i j k s p r e n t e n k a b i n e t ) . A l ­
b r o o m , p a i l , and other barnyard utensils complete the t h o u g h treated by earlier artists, the m o t i f o f a figure i n
scene. W i t h the horse arranged parallel t o the picture lost profile, or seen f r o m b e h i n d , was t o become a v i r ­
plane, the c o m p o s i t i o n has an almost r e l i e f l i k e quality. tual t r a d e m a r k φ f t e r Borch's art; "The Paternal Admoni­
Gentle d a y l i g h t i l l u m i n a t i o n and subtle effects o f at­ tion" (fig. 2) is o n l y the m o s t famous o f his several
mosphere c o m p l e m e n t the scene's quiet m o o d . T h e p a l ­ images e m p l o y i n g this t a n t a l i z i n g device.
ette o f w a r m b r o w n s and grays is enlivened b y color I n 1634 ter B o r c h left his native Z w o l l e t o m o v e t o
accents—the red o f the woman's s k i r t , the man's cap, H a a r l e m , a far m o r e i m p o r t a n t artistic center, where he

Ir H i l Bos, Anthony Dent, Walter Liedtke, O t t o Naumann, Jan de Most Eminent Dutch, Flemish, and French Painters (London, 1833), vol.
Vries, Franklin Loew, Clifford S. Ackley, and M y r o n Laskin are 4, no. 21; G. Gφthe, Wänas Collection (1895), no. 69; Charles Blanc,
gratefully acknowledged for advising i n the preparation o f this article. Histoire des peintres de toutes les ecoles: Ecole hollandaise (Paris, 1863), vol.
Abbreviations 1, p. 16; W. M a r t i n , "Aanwinsten van het Mauritshuis," Bulletin van
Bartsch: A d a m von Bartsch, The Illustrated Bartsch, ed. den Nederlandschen Oudheidkundigen Bond 1, ser. 2 (1909), p. 239; O l a f
Walter L. Strauss (New York, 1978-). Granberg, Inventaire general des tresors d'art en Suede (Stockholm, 1912),
Gudlaugsson: S. J. G u d l a u g s s o n , Gerard ter Borch (The no. 2, i l l . ; Hofstede de Groot, vol. 5, no. 464; Eduard Plietzsch,
Hague, 1959-1960), 2 vols. Gerard ter Borch (Vienna, 1944), no. 33, i l l . ; Gudlaugsson, vol. 1, p. 96,
Hague/M٧nster: Mauritshuis, The Hague, and Landesmuseum, i l l . p. 266, vol. 2, no. 109, pp. 115-116; H a g u e / M ٧ n s t e r , no. 31, i l l . ;
M٧nster, Gerard ter Borch, ex. cat. (The Hague Horst Gerson "Gerard ter Borch," Kunstchronik 27 (1974), p. 375; B.
and M٧nster, 1974). Haak, The Golden Age (New York, 1984), p. 398, pi. 859; Philadelphia
Hofstede de Groot: C. Hofstede de Groot, A Catalogue Raisonne of Museum o f A r t , Gemδldegalerie, Staatliche Museen Preussischer
the Works of the Most Eminent Dutch Painters of Kulturbesitz, West Berlin, and Royal Academy, London, Masters of
the Seventeenth Century: Based on the Work of Seventeenth-Century Dutch Genre Painting, ex. cat. (Philadelphia, 1984),
John Smith (London, 1913), vol. 5, no. 464. p. 143, n. 1; Eric Young, " O l d Master Paintings i n the Collection
1. O i l on panel. H : 45.3 cm (17 /i "); W : 53.5 cm (21Vi6 ). Signed
13
6
w
o f the Fellowship o f Friends at Renaissance, California," Apollo 121,
on the reverse o f the panel w i t h the monogram GTB, ligated i n the no. 280 (June 1985), pp. 375-376, pi. X I (color).
artist's usual fashion. Accession number 86.PB.631. The literature is as Exhibition: Gerard Ter Borch, Mauritshuis, The Hague, and Landes­
follows: Francois Basan, Tableaux du cabinet de M. Poullain (Paris, museum, M٧nster, 1974, no. 31.
98 Sutton

Figure t G e r a r d ter B o r c h ( D u t c h , 1617-1681). The Horse Stall, circa 1652-1654. O i l o n panel. H : 45.3 c m (17 /i "); W : 53.5 c m
13
6

(21Vi6"). M a l i b u , T h e J. Paul G e t t y M u s e u m 86.PB.631.

 The Noblest of Livestock 99

Figure 2. G e r a r d ter B o r c h ( D u t c h , 1617-1681). "The

Paternal Admonition," circa 1654—1655. O i l o n
canvas. H : 70 c m (27 /i ");
9
6 W : 60 c m (237s").
West B e r l i n , Staatliche M u s e e n Preussischer
K u l t u r b e s i t z no. 7 9 1 .
Figure 3. G e r a r d ter B o r c h ( D u t c h , 1617-1681). Rider
Viewed from the Rear, circa 1634. O i l o n panel.
studied with one o f the city's leading landscapists, H: 54.8 cm (21 /i6");
9
W: 41.1 cm (16 /i6").
3

Pieter de Molyn (1595—1661). The influence of de Boston, Museum of Fine Arts, Juliana
C h e n e y E d w a r d s C o l l e c t i o n , acc. no. 61.660.
M o l y n and other H a a r l e m circle artists, especially Isack
Photo: Courtesy Museum of Fine Arts,
van Ostade (1621—1649), is detected in The Peasant Boston.
Horse Cart (fig. 4), datable t o the m i d 1640s. W h i l e this
w o r k is s t i l l conceived e n t i r e l y w i t h i n the c o n v e n t i o n i n t e r n a t i o n a l Baroque t r a d i t i o n o f equestrian p o r t r a i ­
o f the local peasant p a i n t i n g t r a d i t i o n , The Horse Stall t u r e . I n b o t h cases the noble subject is v i e w e d o n horse­
3

incorporates aspects o f the n e w and elegantly sim­ back w i t h the steed t u r n e d i n p r o f i l e and r i s i n g o n its
p l i f i e d h i g h - g e n r e style that ter B o r c h developed after h i n d legs i n the levade. O n e o f the m o s t d i f f i c u l t p o s i ­
circa 1650. tions i n the art o f e q u i t a t i o n , this pose was n o t o n l y a
Ter Borch's career prospered d u r i n g the latter h a l f o f test o f the rider's s k i l l i n c o n t r o l l i n g his m o u n t b u t was
the 1640s, and he was c o m m i s s i o n e d t o p a i n t equestrian also considered t o be an attribute o f certain c o m m a n d
portraits. H i s p a i n t i n g s o f Duke Henri de Longueville of and leadership. B o t h p a i n t i n g s are notable for d e p i c t i n g
circa 1646/47 (fig. 5; f o r m e r l y i n the c o l l e c t i o n o f the foreign n o b i l i t y . A l t h o u g h the t r a d i t i o n o f the ruiter-
New-York H i s t o r i c a l Society) and o f Archduke Karl portret was a l o n g and venerable one i n the Nether­
Ludwig von der Pfalz o f 1649 ( f o r m e r l y i n the T h y s s e n - lands, the modest c o u r t i n T h e Hague, u n l i k e its g r a n ­
4

B o r n e m i s z a c o l l e c t i o n , Lugano) closely c o n f o r m t o the der counterparts elsewhere in absolutist Europe,

3. See respectively Gudlaugsson, vol. 2, nos. 50, 65. O n the Ba­ Glorious Horsemen: Equestrian Art in Europe 1500-1800, (Springfield,
roque equestrian portrait, see D. J. K o k , Wahrheit und Dichtung in den Mass., 1981).
Reiter-und Pferdegemälden und Zeichnungen berühmter holländischer Maler 4. For a good introduction to equestrian portraiture i n the
(Ph.D. diss., Universitδt W ٧ r z b u r g , 1923); H . L٧tzeler, " A u f Netherlands, see Fries Museum, Leeuwarden, Noordbrabants M u ­
Ikonologie des Pferdes i n der barocken Kunst," i n Festschrift für Karl seum, 's-Hertogenbosch, and Provinciaal Museum van Drenthe,
Lohmeyer (Saarbr٧cken, 1954), pp. 118—124; U . Keller, Reitermonumente Assen, In het zadel: Het Nederlands ruiterportret van 1550 tot 1900
absotutischer Fürsten (Munich and Zurich, 1971); Museum o f Fine Arts, ('s-Hertogenbosch, 1980), w i t h bibliography
Springfield, Mass., and J. B. Speed A r t Museum, Louisville, K y ,
100 Sutton

i n c l u d e d n o elaborate r i d i n g school or extensive stables.

W h i l e C h r i s p i j n v a n de Passe m i g h t produce the en­
graved i l l u s t r a t i o n s for A n t o i n e de Pluvinel's Le maneige
royal (Paris, 1623)—the m o s t famous b o o k o n horse­
m a n s h i p o f its d a y — v i r t u a l l y all the early literature
o n e q u i t a t i o n and dressage was b y Italian, French, or
E n g l i s h authors. 5

When ter Borch's Horse Stall (fig. 1) was sold i n

A m s t e r d a m i n 1771, i t was said t o p o r t r a y the artist and
his w i f e b u t was w r o n g l y attributed t o the painter
Gabriel M e t s u . 6
G u d l a u g s s o n n o t e d the resemblance o f
the w o m a n i n the d o o r w a y t o the sitter i n an u n i d e n t i ­
fied p o r t r a i t o f circa 1654 b y ter B o r c h i n the J. H a g e
Foundation (Nivaa, D e n m a r k ) ; the same m o d e l was
also e v i d e n t l y used i n several o f the artist's genre scenes
Figure 4. G e r a r d ter Borch (Dutch, 1617-1681). The
from this p e r i o d . 7
W h i l e G u d l a u g s s o n left the pos­
Peasant Horse Cart, circa 1645. O i l o n panel.
s i b i l i t y o p e n that the w o m a n c o u l d be ter Borch's w i f e ,
H : 28 c m (11"); W : 38 c m (14 /i "). F o r m e r l y
15
6

A m s t e r d a m , w i t h the dealer W . Paech. Geertruid Matthyss (1612—1672 or before), The Horse

Stall is clearly a genre scene, w i t h the i m p l i c i t a n o n y m ­
i t y o f that p a i n t i n g type. O b v i o u s l y , the p a i n t i n g is also
to be d i s t i n g u i s h e d f r o m other genres o f p a i n t i n g i n ­
v o l v i n g horses, such as depictions o f e q u i t a t i o n , battle
scenes, and a n a t o m y studies.
Before t u r n i n g t o the w o r k ' s precedents i n the genre
p a i n t i n g t r a d i t i o n , however, w e s h o u l d n o t e its r e l a t i o n ­
ship t o t w o other discrete equestrian p i c t o r i a l types,
namely the d e p i c t i o n o f special breeds and types o f
horses and i n d i v i d u a l horse portraits. T h e f o r t y engrav­
ings executed circa 1576—1579 by Adriaen Collaert,
Hendrick Goltzius, Philips Galle, and Hieronymus
Wiericx after the Flemish artist Jan van der Straet
(Johannes Stradanus; 1523—1605) for the Equile Ioannis
Austriaci Caroli V. Imp. F. ( T h e royal stables o f D o n Juan
o f A u s t r i a ) (fig. 6) depict horses o f m a n y types and
regions—Spanish, Turkish, Danish, Tuscan, Campa-
n i a n , and so f o r t h (see f i g . 7 ) . Later p r i n t m a k e r s
8
per­
petuated this t r a d i t i o n b u t i n the seventeenth century's
m o r e naturalistic i d i o m . A series o f eight p r i n t s o f c o m ­
m o n draft horses b y Pieter v a n Laer (1599 or later—1642)
attests t o the seventeenth century's s p i r i t o f i n q u i r y and

5. I n addition to the writings o f the classical author Xenophon,

which were published i n Italian (Ii modo del cavalcare, 1580), see Leon
Battista Alberti, De equo animanto (Basel, 1556); Federigo Grisone, Gli
Figure 5. G e r a r d ter B o r c h ( D u t c h , 1617-1681). Portrait ordini di cavalcare (Naples, 1550); Cesare Fiaschi, Trattato dell'imbrigliare,
of Duke Henri de Longueville, circa 1646/47. O i l manggiare et ferrare cavalli (Bologna, 1556); Alessandro Massari, Com-
o n canvas. H : 49 c m ( 1 9 / i " ) W : 41 c m (16V ").
5 pendio dell'heroica arte di cavallieria (1600); Solomon La Broue, Preceptes
6 ; 8

principaux que les bons cavalerises doivent exactement observer en leurs ecoles
F o r m e r l y N e w Y o r k , N e w - Y o r k H i s t o r i c a l So­
(1593); J. Tacquet, Philippica, ou haras de chevaux (Antwerp, 1614); G. de
c i e t y n o . B-104 (cat. 1915).
La Bistrate, Le par fait cavalier (Paris, 1616); Delcampe, Lart de monter a
cheval, 2nd ed. (Paris 1633/34); T. Blundeville, A New Booke Contain­
ing the Art of Rydinge and Breakinge Greate Horses (London, 1560); and
W. Cavendish, Duke o f Newcastle, La methode nouvelle et invention
extraordinaire de dresser les chevaux (Antwerp, 1658).
 The Noblest of Livestock 101

Figure 6. A d r i a e n C o l b e r t ( D u t c h , circa 1560-1618). T i - Figure 7. P h i l i p s G a l l e ( D u t c h , 1537-1612), after Jo-

tle page f o r Equile loannis Austriaci Caroli V. hannes Stradanus (Jan v a n der Straet). Turcus,
Imp. E, circa 1576-1579. E n g r a v i n g . H : 20 c m circa 1578. E n g r a v i n g . H : 20.4 c m (87i6"); W :
(7 Vs"); W : 25.7 c m (lOVs"). 26.2 c m (10 /i ").
5
6

factual o b s e r v a t i o n ; o f n o special breed or distinction,

these animals are s i m p l y depicted i n all t h e i r n a t u r a l
aspects and a c t i v i t i e s — s t a n d i n g , d r i n k i n g , g r a z i n g , r u n ­
n i n g , pissing, even d y i n g (fig. 8 ) . 9
However, still an­
o t h e r series o f five etchings o f breeds o f horses dated
1652 by the famous animal painter Paulus Potter
(1625—1654) suggests t h a t even the m o s t factually exact
o f these w o r k s m i g h t c a r r y an allegorical d i m e n s i o n . 1 0

A recent i n t e r p r e t a t i o n o f the series has proposed that

they e m b o d y the five progressive " A g e s " o f l i f e . 11

A p a i n t i n g dated 1603 i n the R i j k s m u s e u m (fig. 9) b y

Jacques de G h e y n I I portrays a specific Spanish s t a l l i o n
captured from Mendoza by Lodewijk Gunther of
Nassau and offered t o P r i n s M a u r i t s after the B a t t l e o f
Flanders. 12
L e d b y a g r o o m i n t o a stable, the horse is
depicted nearly life size. Paulus Potter's Dappled Gray
Horse dated 1653 (fig. 10) is also depicted o n a v e r y large Figure 8. Pieter v a n Laer ( D u t c h , 1599 o r later—1642).
scale and is p r o b a b l y a horse p o r t r a i t . B o t h o f these Dead Horses, before 1642. E t c h i n g . H : 8.4 c m
p a i n t i n g s are vastly larger t h a n the ter B o r c h , yet all ( 3 / i " ) ; W : 9.9 c m (3 /s").
5
6
7

6. Sale (as Metsu), Amsterdam, August 14, 1771, lot 3, to N y m a n , 8. See Bartsch, vol. 3, nos. 290-293, pp. 312-325.
for Fl 300; Prince de Conti, Paris (sale, Paris, A p r i l 8-June 6, 1777, lot 9. Bartsch, vol. 1, nos. 9-14, pp. 9-11.
832, to Lannoy, for Fr 400; M . Poullain, Receveur general des do- 10. Bartsch, vol 1, pp. 42-46.
maines du r o i , Paris (sale, Paris, March 15—21, 1780, lot 41 ( w i t h an 11. J. Verbeek, "Paulus Potter (1625—1654), paarden: Ets," Openbaar
engraved reproduction by M m e Marguerite Ponce), to [Langlier], for kunstbezit 6 (1962), pp. 8a—b. However, Clifford S. Ackley (Printmak-
Fr 2,400; Count G. A . Sparre, Sweden; by descent to Count G. ing in the Age of Rembrandt, ex. cat. [Boston, Museum o f Fine Arts,
Wachtmeister, Wanas, Sweden, 1980; [Edward Speelman, London, 1980], p. 211) rightly questions Verbeek's further assertion that the
1981]; Fellowship o f Friends, Renaissance, California, 1981-1986. landscapes i n these prints allude to the cycle o f the seasons. A m y L.
7. Gudlaugsson, vol. 2, no. 108; cf. also the Reading Lesson, Paris, Walsh, "Imagery and Style i n the Paintings o f Paulus Potter," (Ph.D.
Louvre no. M . L 1006; Galant Conversation, Schwerin, Gemδldegalerie, Diss., Columbia University, 1985), p. 168, n. 34, also doubts Verbeek's
Staatliches Museum no. 242; Lady at Her Toilette, Dresden, theory
Gemδldegalerie, Staatliche Kunstsammlungen no. 1830 (respectively, 12. I . Q. van Regteren Altena, Jacques de Gheyn: Three Generations
Gudlaugsson, vol. 2, nos. 98, 112, 113). (The Hague, 1983), no. 15, pi. 2.
102 Sutton

Figure 9. Jacques de G h e y n I I ( D u t c h , 1565—1629). Figure 10. Paulus Potter ( D u t c h , 1625-1654). Dappled

Spanish Stallion, 1603. O i l o n canvas. H : 228 Gray Horse, 1653. O i l o n canvas. H : 155 c m
c m ( 8 9 / / ) ; W : 269 c m
3
(105 /i ").
1 5
6 Amsterdam, (61"); W : 199 c m ( 7 8 W ) . H a m b u r g e r K u n s t ­
Rijksmuseum no. A4255. Photo: Courtesy halle n o . 3 3 1 . P h o t o : C o u r t e s y Hamburger
Rijksmuseum, Asterdam. Kunsthalle.

three w o r k s , as w e l l as the m a j o r i t y o f p r i n t s i l l u s t r a t i n g B o y m a n s - v a n B e u n i n g e n no. 1889) also p a i n t e d stable

horse types, share the practice o f d e p i c t i n g the horse i n scenes w i t h dappled grays i n these a n d f o l l o w i n g years.
profile. T h i s ancient c o n v e n t i o n enabled the artist t o I n d e p i c t i n g an iron-gray, dappled horse, k n o w n as a
give the fullest possible p i c t o r i a l account o f the a n i m a l schimmel o r appelschimmel i n D u t c h , ter B o r c h s t o o d
i n a single i m a g e . 13
T h u s i t was favored n o t o n l y for w i t h i n a popular tradition. A l t h o u g h D u t c h hippology
horse portraits a n d generic i l l u s t r a t i o n s o f horses b u t is s t i l l a l i m i t e d field,
15
the native G e l d e r l a n d breed
also f o r genre scenes, such as H e n d r i c k Avercamp's today often appears w i t h this color coat a n d t r a d i ­
early seventeenth-century pen d r a w i n g o f a simple t i o n a l l y has been used b o t h f o r r i d i n g a n d l i g h t f a r m
peasant s t a n d i n g b e h i n d his draft a n i m a l (fig. 11) o r a w o r k . T h e m o d e r n Friesian breed, o n the other hand, is
p a i n t i n g , p r o b a b l y f r o m the 1640s, b y Pieter Cornelisz. always black, b u t i t t o o appeared i n l i g h t e r colors i n
Verbeeck (circa 1610—1654) d e p i c t i n g a m o r e elegant r i d ­ former times. I n the shape o f its c r o u p a n d head, ter
i n g horse (fig. 12). U n b u r d e n e d o f its saddle, which Borch's horse also shares features w i t h horses o f o r i e n t a l
appears l y i n g o n the g r o u n d at the r i g h t , the latter horse blood. 16
Systematic breeding o f horses was n o t y e t an
is tethered before a darkened w a l l that enhances its established practice w h e n this w o r k was painted. T h e
l i g h t - c o l o r e d coat. T h e Verbeeck is preserved i n the Stettens o f Friesland, for example, o n l y defined b y l a w
B u t o t c o l l e c t i o n , w h i c h o w n s an analogous, though the m i n i m u m h e i g h t o f a stud i n 1663. I t seems likely,
17

somewhat later, painting by Dirck Stoop (circa therefore, that ter Borch's horse is o f m i x e d b l o o d . Its
1610—1686) o f another gray horse standing s i l h o u e t t e d stature is d i f f i c u l t t o ascertain since the m a n b e h i n d i t
i n a d a r k g r o t t o (fig. 13). 14
A e l b e r t C u y p , his close f o l ­ bends over slightly, b u t its w i t h e r s are perhaps 1.5 m e ­
l o w e r A b r a h a m v a n Calraet (see fig. 14), a n d A d r i a e n ters h i g h ; thus, i t is closer i n size t o a p o n y — w h a t at
van de Velde (see The Shoeing-Forge, 1658; o i l o n panel; this t i m e the E n g l i s h , f o r r i d i n g purposes, called a
H : 28 c m [11"], W : 38 c m [ 1 4 / i " ] ; R o t t e r d a m , M u s e u m
15
6 pad—than a full-size horse. T h e h e i g h t o f the rack a n d

13. The profile motif, which also appears i n sixteenth-century Ger­ and Drawings from the Collection ofF.C. Butot (London, 1983), nos. 14
man model books for animals (see infra, note 44), had appeared i n and 13, respectively
prints at least as early as Albrecht D٧rer's The Small Horse engraving 15. See W. G. A . van Leeuwen, Geschiedenis van de Nederlandse
o f 1505 (Hollstein, vol. 7, no. 93, p. 85). However, the suggestion paardenfokkerij (Ph.D. diss., University o f Utrecht, 1922).
under no. 35a i n the H a g u e / M ٧ n s t e r exhibition catalogue that D ٧ r e r s 16. I am grateful to I r H i l Bos o f the Zootechnical Department o f
print was a direct source for the ter Borch ignores many intermediary the University o f Utrecht for these observations.
images. 17. See Jan de Vries, The Dutch Rural Economy in the Golden Age
14. See Laurens K . B o l and George S. Keyes, Netherlandish Paintings (New Haven and London, 1974), p. 143.
 The Noblest of Livestock 103

Figure 11. H e n d r i c k Avercamp (Dutch, 1585-1634).

Peasant beside a Horse, circa 1605—1610. Pen and
w a s h d r a w i n g . H : 8.1 c m ( 3 7 i " ) ; W : 10 c m
6

(4"). M u n i c h , Staatliche Graphische Samm­

l u n g i n v . no. 1359.

Figure 12. Pieter Cornelisz. Verbeeck (Dutch, circa

1610-1654). A Gray Horse, circa 1640s. O i l o n
panel. H : 38.5 c m (15 /i "); W : 31 c m (12 /i ").
3
6
3
6

F. C. B u t o t c o l l e c t i o n no. 14. P h o t o : C o u r ­
tesy F. C. B u t o t .

Figure 14. A b r a h a m v a n Calraet ( D u t c h , 1642-1722).

Stable Interior with Two Dapple Grays, circa
Figure 13. D i r c k Stoop ( D u t c h , circa 1610-1686). A 1675-1700. O i l o n panel. H : 31.4 c m ( 1 2 W ) ;
Gray Horse in a Grotto, circa 1650—1660. O i l W : 40 c m (15 A"). R o t t e r d a m , M u s e u m B o y -
3

o n panel. H : 52.5 c m (20 /i "); W : 44 c m

11
6
mans-van B e u n i n g e n i n v . no. 1395. P h o t o :
(177i6"). F. C . B u t o t c o l l e c t i o n no. 13. P h o t o : Courtesy M u s e u m Boymans-van Beuningen,
C o u r t e s y F. C. B u t o t . Rotterdam.
104 Sutton

the hairs have been p u l l e d o u t t o a desired l e n g t h ) , its

coat brushed, a n d its hooves w e l l t r i m m e d a n d shod.
T h e m a n w h o curries the horse i n ter Borch's p a i n t ­
ing has been assumed t o be a g r o o m o r ostler. H e has
been called a palfrenier i n the P o u l l a i n sale (1780), a
g r o o m b y S m i t h (1833) a n d b y Hofstede de G r o o t
(1913), a n d a Stallknecht b y Gudlaugsson (1960). W h i l e
the l i v e r y w o r n b y servants i n ter Borch's genre scenes
is often, at least i n part, i m a g i n a r y , 18
n o professional
equerry w o u l d wear footgear as unsuitable as backless
slippers i n a stable. To j u d g e f r o m other genre p a i n t i n g s
o f the p e r i o d , the s h o r t - b r i m m e d r e d cap a n d three-
q u a r t e r - l e n g t h trousers that the m a n wears c o u l d i n fact
be w o r n b y middle-class gentlemen o r even scholars. 19

T h e woman's pearl earring a n d g o l d chain also p o i n t t o

a h i g h e r social station t h a n the servant class. T h e w e l l -
b u i l t stall a n d the fact that the stable apparently opens
d i r e c t l y o n t o the house (note the woman's entrance)
suggest a moderately w e l l - t o - d o household, possibly
s i m i l a r t o the enlarged farmhouse that appears i n the
b a c k g r o u n d o f the Potter (fig. 10). For those burghers
who, t h o u g h prosperous, c o u l d n o t afford the fashion­
able indulgence o f a full-scale v i l l a o n the Vecht o r
A m s t e l , a converted farmhouse m i g h t serve as a v e r y
comfortable c o u n t r y home.
T h e o w n e r s h i p o f a horse i n the D u t c h m a r i t i m e
Figure 15. A t t r i b u t e d to Lambert Doomer (Dutch, provinces i n the mid-seventeenth c e n t u r y was some­
1624-1700). Horse Stall, circa 1645-1650. O i l t h i n g o f a p r i v i l e g e . M a n y farms h a d o n l y one horse,
on panel. H : 27 c m ( l O W ) ; W : 21.5 c m and i n the cities, coach o w n e r s h i p , w h i c h was taxed,
(8V2"). T h e H a g u e , M u s e u m B r e d i u s i n v . n o . was less c o m m o n than elsewhere i n Europe. T h e rela­
212-1946.
t i v e l y m i n o r role that arable agriculture r e q u i r i n g draft
animals played i n the Netherlands, coupled w i t h the
manger also suggest that the stable m i g h t have been extensive use o f canals for t r a n s p o r t a t i o n , made the
b u i l t f o r heavier, larger horses. A l t h o u g h i n apparent horse a less than central player i n the w o r k a d a y w o r l d o f
g o o d health, ter Borch's horse is smaller a n d slighter i n H o l l a n d . Moreover, k e e p i n g even a c o m m o n horse was
b u i l d t h a n the b i g t r o o p horses encountered i n battle expensive. Estimates for the eighteenth c e n t u r y sug­
scenes depicted b y P h i l i p s W o u w e r m a n s . A t this t i m e gest, f o r example, that the feeding and maintenance o f a
the size o f an army's chargers was s t i l l a crucial l o g i s t i c a l horse o f the type used t o p u l l barges (trekschuiten) cost
factor i n warfare. B i g horses were bred, i m p o r t e d , a n d nearly 300 guilders per year, an a m o u n t r o u g h l y equal
reserved f o r the cavalry, w h i l e smaller animals were to the annual earnings o f a s k i l l e d w o r k e r . 2 0
T h e abun­
t u r n e d over for c i v i l use i n t r a n s p o r t a t i o n o r i n draft a n d dant hayrack and t i d y stable enjoyed b y ter Borch's
pack o n t h e f a r m . O b v i o u s l y , ter Borch's l i t t l e horse is w e l l - f e d steed clearly contrast w i t h the s u r r o u n d i n g s o f
w e l l cared f o r — i t s mane a n d t a i l have been p u l l e d (i.e., L a m b e r t D o o m e r ' s w o r k i n g - c l a s s nag (fig. 15).

18. See, for example, the page's attire i n Lady at Her Toilet, Detroit 23. See Nicolaus Taurellus, Emblemata/Physico-ZEthica (Nuremberg,
Institute o f Arts no. 65.10; Gudlauggson, vol. 2, no. 165. 1602), no. 6, " U T LENIS C I C U R A T M A N U S " ; and Diego de Soavedra
19. Compare, for example, the costumes i n Cornelis de Man's Fajardo, Idea/de un Principe Politico/Christiano (Munich, 1640), no. 38,
Geographers (Hamburg, Kunsthalle no. 239) and The Goldweigher " C O N HALAGO I CON RIGOR"; see A . Henkel and A . Schφne, Emblemata
(Montreal, private collection; see Masters of Seventeenth-Century Dutch (Stuttgart, 1967), cols. 503-504.
Genre Painting [supra, note 1], no. 69). 24. See R. Hindringer, " D e r Schimmel als Heiligenattribuut,"
20. Private communication from Professor Jan de Vries, University Oberdeutsches Zeitschrift für Volkskunde 5 (1931), pp. 9ff.
of California, Berkeley. 25. O i l o n panel. H : 47.7 c m (18 A"); W : 50.2 c m (19 //). Signed
3 3

21. See Hofstede de Groot, no. 464. w i t h a monogram. Accession number 83.PB.232. The literature is as
22. H a g u e / M ٧ n s t e r , no. 31, p. 124. follows: W. M a r t i n , "Aanwinsten van het Mauritshuis," Bulletin van
 The Noblest of Livestock 105

Figure 16. P h i l i p s Wouwermans (Dutch, 1619-1668). Figure 17. C o r n e l i s Visscher ( D u t c h , 1619—1662), after
Horse Stable, circa 1645—1650. O i l o n panel. Pieter v a n Laer. Horse Stable, circa 1640. E n ­
H : 37 c m (14 /i "); W : 49.5 c m ( 1 9 / / ) . F r a n k ­
9
6
1
g r a v i n g . H : 29.5 c m (UVs"); W : 39 c m ( 1 5 W ) .
furt am Main, Stδdelsches Kunstinstitut
no. 313.

T h u s , w h i l e Hofstede de G r o o t m i g h t d i s t i n g u i s h " N o n faciunt m e l i o r e m e q u u m aurei f r e n i . " T h i s phrase

ter Borch's p a i n t i n g and his a p p r o x i m a t e l y c o n t e m p o ­ expresses the n o t i o n that a g o l d e n harness cannot make
rary d e p i c t i o n o f a modest Stonegrinder's Family in a a horse nobler than he is by nature. T h e catalogue thus
Courtyard (West B e r l i n , G e m δ l d e g a l e r i e , Staatliche M u ­ concluded that ter Borch's horse, whose natural sheen is
seen Preussischer K u l t u r b e s i t z no. 793) 21
f r o m the mas­ enhanced b y b r u s h i n g , is "a sign o f n o b i l i t y and beauty,
ter's m o r e socially elevated, h i g h - l i f e subjects, The Horse [and] an e x h o r t a t i o n t o m o d e s t y . " 22
This interpretation
Stall also differs f r o m the g u a r d r o o m and peasant p a i n t ­ ignores o b v i o u s discrepancies between the i m a g e and
ing traditions o f d e p i c t i n g stables and barns. Earlier the s y m b o l ; t o name b u t one, the harness h a n g i n g f r o m
practitioners o f the peasant p a i n t i n g t y p e — H e r m a n and the post is steel n o t g o l d . Some emblems f r o m this
C o r n e l i s Saftleven, the Ostades, G o v e r t C a m p h u y s e n , p e r i o d l i k e n the s t r o k i n g or g r o o m i n g o f a horse t o the
Pieter de B l o o t , and E g b e r t van der Poel—all placed m i t i g a t e d c o n t r o l required i n the exercise o f p o w e r . 23
It
m o r e emphasis o n i n t e r i o r space and underscored the seems u n l i k e l y , however, that ter Borch's l o v e l y scene o f
figures' connections w i t h the r u r a l peasantry. G u d l a u g s - equine d o m e s t i c i t y encodes a h e c t o r i n g m o r a l lesson or
son r i g h t l y n o t e d m o r e c o m p o s i t i o n a l analogies with some recondite allegory o f g o o d government. We also
the contemporaneous stable scenes o f P h i l i p s W o u w e r ­ probably need n o t delve i n t o the schimmeVs historic role
mans (fig. 16). C o r n e l i s Visscher's earlier p r i n t s after i n hagiography t o discover ter Borch's p u r p o s e . 24

van Laer's stable scenes also reveal f o r m a l parallels and The Horse Stall is m o r e p r o f i t a b l y considered i n the
s i m i l a r m o t i f s (fig. 17). larger context o f ter Borch's art and specifically i n rela­
I n i n t e r p r e t i n g The Horse Stall, the authors o f the t i o n to The Cow Shed (fig. 18), also recently acquired b y
catalogue of the 1974 ter Borch exhibition cited the J. Paul G e t t y M u s e u m . 2 5
E d u a r d Plietzsch was the
H e i n r i c h Hovel's bestiary, Neuwer wunderbarlicher Thier­ first t o hypothesize that these t w o p a i n t i n g s were c o m ­
garten (Frankfurt, 1601), p. 134, w h i c h quotes Seneca: p a n i o n pieces. H i s t h e o r y w o n Gudlaugsson's support

den Nederlandschen Oudheidkundigen Bond 1, ser. 2 (1909), p. 239; [Galitzin], Saint Petersburg); Dr. Paul van Delaroff, Saint Petersburg,
Hofstede de Groot, vol. 5, no. 463; Plietzsch (supra, note 1), no. 32, 1908; [Dr. A . K . K . W. Erasmus, Aerdenhout]; Frau Bertha Krupp
pp. 13-14, 52, fig. 32; Gudlaugsson, vol. 1, pp. 75-76, vol. 2, no. 74, p. von Bohlen und Halbach, Essen, by 1953; Dr. A . Krupp von Bohlen
94; The J. Paul Getty Museum, "Acquisitions/1983," The J Paul Getty und Halbach, Essen; Waldtraut Thomas (ne von Bohlen und Halbach);
Museum Journal 12 (1984), p. 311; B u r t o n B. Fredericksen, "Recent sale, Christie's, London, December 11, 1981, lot 119 (property o f t w o
Acquisitions o f Paintings: The J. Paul Getty Museum," Burlington sisters), withdrawn; [Edward Speelman, Ltd., London, 1983].
Magazine 127, no. 985 (1985), p. 265. Exhibitions: Mauritshuis, The Hague, 1908-1912 (on loan); Villa
Provenance: Samuel van H٧ls, The Hague (sale, The Hague, Sep­ H ٧ g e l , Essen, 1953, no. 14; Aus der Gemäldesammlung der Familie
tember 3, 1737, lot 87, to W. Lormier, The Hague); W. Lormier (sale, Krupp, Villa H ٧ g e l , Essen, 1965, no. 7; Gerard Ter Borch, Maurits­
The Hague, November 10, 1756, lot 298, to Prince "Galensin" huis, The Hague, and Landesmuseum M ٧ n s t e r , 1974, no. 18.
106 Sutton

Figure 18. Gerard ter Borch (Dutch, 1617-1681). The Co, Sheä, area 1652-1654. O ٢ on panel. H : 47.7 cm (183//); W : 5 0 . 2 cm
(19 //). Malibu, The J. Paul Getty Museum 83.PB.232.
3
 The Noblest of Livestock 107

despite the fact that the w o r k s have different p r o v e ­

nances and seem t o have been painted at different t i m e s ;
Gudlaugsson believed that The Cow Shed, o n stylistic
grounds, s h o u l d predate The Horse Stall by several
years, d a t i n g " s h o r t l y after 1650." T h e fact, however,
that the t w o panel supports are complete (the o r i g i n a l
b e v e l i n g o n the reverse is intact) b u t differ i n t h e i r d i ­
mensions b y a p p r o x i m a t e l y three centimeters, as w e l l as
i n make u p (the g r a i n runs vertically i n The Cow Shed,
h o r i z o n t a l l y i n The Horse Stall), v i r t u a l l y eliminates the
p o s s i b i l i t y that they were designed as pendants. T h o u g h
n o t p r o p e r l y speaking c o m p a n i o n pieces, they n o n e t h e ­
less c o m p l e m e n t one another i n theme and design. I n
b o t h p a i n t i n g s an a n i m a l i n p r o f i l e is tended b y a figure
i n a shadowed i n t e r i o r . I n The Cow Shed the m i l k m a i d
squats t o m i l k one c o w as a second stands s t o l i d l y t o
one side. B a r n y a r d utensils again complete the scene—a
t r o u g h , w a t e r i n g tub, m i l k i n g c u s h i o n , fodder sieve,
chamber p o t , w o o d e n bucket, ax, and c h o p p i n g b l o c k .
The Horse Stall m i g h t evoke a m o r e socially elevated
setting, b u t its tone is the same. A s t i l l and subdued
m o o d prevails i n The Cow Shed, " n o other s o u n d than
the spattering o f the m i l k and the heavy b r e a t h i n g o f
the beasts." 26

Ter Borch's healthy cows r e m i n d us o f the advances

that were made i n a n i m a l h u s b a n d r y at this t i m e i n the
Figure 19. H e n d r i c k H o n d i u s ( D u t c h , 1573-1650). Alle­
Netherlands. T h e D u t c h c o n t r o l o f the B a l t i c g r a i n gorical Print on Dutch Prosperity, 1644. E t c h i n g .
trade freed the country's farmers f r o m the b u r d e n o f H: 20.6 cm (87s"); W: 15.7 cm (6 /i ").
3
6

feeding t h e i r cities' b u r g e o n i n g populations, enabling Amsterdam, Rijksmuseum A14229. Photo:

Courtesy Rijksmuseum, Amsterdam.
t h e m t o t u r n t o m o r e profitable pursuits, such as i n d u s ­
trial and h o r t i c u l t u r a l crops, cattle breeding, and d a i r y
f a r m i n g . I m p r o v e d drainage and systematic f e r t i l i z a t i o n
o f pasturage, as w e l l as better fodder, such as o i l cakes
(pressed p u l p o f rape and cole seed), c o n t r i b u t e d t o the
increased w e i g h t and size o f D u t c h cattle. T h e milk
p r o d u c t i o n o f cows i n the provinces o f H o l l a n d and
Friesland was r e n o w n e d , easily exceeding the y i e l d o f
E n g l i s h and G e r m a n c o w s . 27
L i k e m a n y foreigners be­
fore h i m , Czar Peter the Great purchased D u t c h cattle
for b r e e d i n g purposes i n 1725. T h e D u t c h themselves
d i d n o t hesitate t o boast about the c o m m e r c i a l value o f
t h e i r cattle. 28

Q u i t e naturally, they associated cows w i t h prosperity.

I n the visual arts as w e l l as i n literature, this l o w l y
a n i m a l became a s y m b o l o f fecundity, indeed o f Hol-

26. Gudlaugsson, vol. 1, p. 75. Figure 20. E n g l i s h school. The Milk Cow: Satire on the
27. O n livestock husbandry and the m i l k production o f Dutch Exploitation of the Netherlands by the Prince of
cows, see G. J. Hengeveld, Het rundvee (Haarlem, 1865—1870), 2 vols., Orange, circa 1585. O i l o h panel. H : 52 c m
and de Vries (supra, note 17), pp. 143—144, w i t h additional literature.
(207i6"); W: 67 cm (26W). Amsterdam,
28. See, for example, Kaerle Stevens and Jan Libaut, De veltbouw
R i j k s m u s e u m no. A 2 6 8 4 .
(Amsterdam, 1622), and Wouter van Gouthoeven, D'oude chronijcke
end Historien van Holland (The Hague, 1636).
108 Sutton

Figure 21. Jan v a n de Velde ( D u t c h , circa 1593-1641). Figure 22. C o r n e l i s B l o e m a e r t ( D u t c h , 1603-1684), af-
The White Cow, 1622. E t c h i n g a n d e n g r a v i n g . ter A b r a h a m B l o e m a e r t . Terra ( E a r t h ) . E t c h -
H: 17.1 c m (6 //);
3
W: 22.7 cm (8 /i ").
15
6 i n g . H : 9.5 c m ( 3 W ) ; W : 14.9 c m (5 / ").
7
8

A m s t e r d a m R i j k s m u s e u m FK409. Amsterdam, Rijksmuseum. Photo: Courtesy

Rijksmuseum, Amsterdam.

lands welvaren, the w e l l b e i n g o f the Dutch nation i t ­ p o e t and p l a y w r i g h t S a m u e l C o s t e r presented a play o n

self. 29
So t h o r o u g h l y had these associations entered the the peace treaty i n w h i c h , as he described the a c t i o n , the
p o p u l a r i m a g i n a t i o n t h a t one o f a series o f five p o l i t i c a l " R u l i n g States o f H o l l a n d , l i k e the h u n d r e d eyed Ar­
p r i n t s o f 1644 by H e n d r i c k H o n d i u s , w h i c h depicts a gus" w a t c h i n g over the c o w Io, m u s t sleep n o m o r e b u t
p a i r o f large, s t u r d y cows g r a z i n g beside a r i v e r before a forever play the w a t c h f u l g u a r d i a n o f " t h e cow (that is
l u s h landscape (fig. 19), carries the i n s c r i p t i o n i n D u t c h : her own agreeable Fatherland)." 30
Even outside the
Ghy Heeren wachters wel neerstelyck toesiet, Dat Ons gerooft c o u n t r y , the p o l i t i c a l association o f the cow with the
werd' de Hollandse koe niet ( w a t c h m e n be v i g i l a n t t h a t the D u t c h n a t i o n s p r o s p e r i t y was c o d i f i e d as early as the
D u t c h cow is n o t stolen) as an a d m o n i t i o n against a late s i x t e e n t h century. A n a n o n y m o u s E n g l i s h p a i n t i n g
hasty and u n p r o f i t a b l e peace treaty w i t h Spain. When o f circa 1585 satirized the c o u n t r y ' s e x p l o i t a t i o n by the
this treaty was f i n a l l y c o n c l u d e d at M ٧ n s t e r i n 1648, the p r i n c e o f O r a n g e w i t h a b r u t a l i z e d m i l k c o w (fig. 2 0 ) . 31

29. The first to discuss the political symbolism o f the Dutch cow cussion o f the cow's political associations, see A . Walsh (supra, note
was H . van de Waal, Drie eeuwen vaderlandsche geschied-uitbeelding 11), p. 343ff, and Chong (supra, note 29), no. 21, n. 9.
1500-1800 (The Hague, 1952), vol. 1, pp. 21-22. For a whole range o f 32. Van der Kellen, no. 409, dedicated to Jodocus (Joos) Vergraft.
different meanings and associations for the cow, see Alison Kettering The Latin verses (as translated by Irene de Groot i n Landscape Etchings
"The Batavian Arcadia: Pastoral Themes i n 17th Century Dutch A r t " by the Dutch Masters of the Seventeenth Century [Amsterdam, 1979],
(Ph.D. diss., University o f California, Berkeley, 1979); Joneath Spicer, p. 69) read: "The night is hardly gone before this industrious country­
" 'De koe voor d'aerde statt': The Origins o f the Dutch Cattle Piece," man leaves for t o w n w i t h goats and a cow. . . . The heavy w o r k is
i n Essays in Northern European Art Presented to Egbert Haverkamp- light for h i m as long as he comes home later loaded down w i t h the
Begemann on His Sixtieth Birthday (Doornspijk, 1983); A . Walsh (supra, money he has earned." The group o f animals and peasant couple are
note 11); and Alan Chong i n Rijksmuseum, Amsterdam, Masters based on a drawing by W i l l e m Buytewech (Cambridge, Fitzwilliam
of Seventeenth Century Dutch Landscape Painting (Amsterdam, 1987), Museum).
no. 21. 33. See Spicer (supra, note 29), pp. 251—256; and A . Walsh (supra,
30. See van de Waal (supra, note 29), vol. 1, p. 22, n. 2: "Samuel note 11), p. 249ff
Coster, Verklaringh van de ses eerste vertoningen, gedaen binnen 34. Het schilder-boeck (Haarlem, 1604), fig. 125.
Amsterdam . . . 5 Junij 1648." 35. A . Walsh (supra, note 11), p. 239. I n her excellent study o f
31. The Rijksmuseum's painting is inscribed " N o t longe time since Potter's art as it relates to Dutch attitudes toward country life, Walsh
I sawe a cowe/ did Flaunders represente/ upon whose backe Kinge relates these notions to neo-stoicism and seventeenth-century Dutch
Phillip rode/ as being malecontnt./ The Queene o f England giving literature, including arcadian poetry and the tradition o f hofdichten
hay/ wheareon the cow did feede/ as one that was her greatest helpe/ (country house poems).
i n her distresse and neede. / The Prince o f Orange m i l k t the cow and 36. Bartsch, vol. 7, no. 158. This w o r k has been interpreted erot-
made his purse the payle. / The cow did shyt i n monsieurs hand/ while ically by Leo W u y t ("Lucas van Leyden's Melkmeid, een proeve tot
hie did hold her tayle." See also Jan Tengnagel's, Allegory of the Nether­ ikonologische interpretatie," De gulden passer 52—53 [1974—1975],
lands (Delft, Stedelijk Museum " H e t Prinsenhof" ). For further dis- pp. 441-453), and J. P. Filedt K o k (in Lucas van Leyden [1489 of
 The Noblest of Livestock 109

B y v i r t u e o f its associations w i t h f e r t i l i t y and i n rec­

o g n i t i o n o f the cattle drives that were h e l d i n the
spring, the c o w was also a vernal s y m b o l i n a series o f
landscape etchings o f the seasons b y Jan van de Velde or
G i l l i s van Scheyndel after W i l l e m B u y t e w e c h (see Ver:
Franken-van der K e l l e n , no. 518). A s an e m b l e m o f
r u r a l b o u n t y (see f i g . 2 1 ) , 32
the c o w also embodied
Earth in print series by among others Cornelis
Bloemaert, after A b r a h a m B l o e m a e r t (fig. 22), o n the
Four E l e m e n t s . 33
Affirming these ideas, van M a n d e r
stated i n his Wtbeeldinghen der figueren: " D e K o e v o o r
d'aerde [ s t a t t ] " (the c o w represents the e a r t h ) . 34
More
general was the Dutchmen's sense o f the contented c o w
as a metaphor o f freedom, security, and the t r a n q u i l i t y
o f l i v i n g life i n accord w i t h n a t u r e . 35

T h e ample h i s t o r y o f b o v i n e i m a g e r y can be traced at

Figure 23. A e l b e r t C u y p ( D u t c h , 1620-1692). Cow Shed,
least as far back as Lucas van Leyden's e n g r a v i n g o f 1510 circa 1645—1650. O i l o n panel. H : 77 cm
called The Milkmaid. 36
A n o t h e r m i l e s t o n e i n this t r a d i ­ ( 3 0 / i 6 " ) ; W : 107 c m (42V "). S t o c k h o l m , N a ­
5
8

t i o n is Rubens' Dairy Farm at Laeken (London, Buck­ t i o n a l m u s e u m no. N M 4441.

i n g h a m Palace, H . M . T h e Queen's C o l l e c t i o n ) o f circa

1620, w h i c h again alludes t o the earth's f e r t i l i t y w i t h a livestock, n o less positive i n its fashion, than S a l o m o n
scene o f cattle and m i l k m a i d s . 3 7
I m m e d i a t e l y preceding van Ruysdael's several p a i n t i n g s o f the excited spectacle
ter Borch's p a i n t i n g i n date and a n t i c i p a t i n g aspects o f o f the famous V a l k e n b u r g horse f a i r . 40

its c o m p o s i t i o n is A e l b e r t C u y p ' s early Cow Shed o f T h e fact, however, that ter B o r c h selected these sub­
circa 1645—1650 (fig. 2 3 ) . 38
S t i l l another predecessor is jects for his t w o m o s t exceptional and a m b i t i o u s a n i m a l
Paulus Potter's famous Young Bull o f 1647 (The Hague, p a i n t i n g s is probably n o t f o r t u i t o u s . B e y o n d a c k n o w l ­
41

M a u r i t s h u i s i n v . no. 136). T h o u g h v e r y different i n e d g i n g the creatures' natural barnyard complementarity,

conception, Potter's huge canvas, the related " p o r t r a i t s " the p a i n t i n g s may t e l l us s o m e t h i n g about ter Borch's
o f prize steers and b u l l s , 39
and C u y p ' s m a n y landscapes concept o f the artist. T h e n i n t h chapter o f K a r e l van
with fat cows grazing p l a c i d l y i n the sun express Mander's Den grondt der edel vry schilder-const (The f o u n ­
the Dutchman's p r i d e i n his a n i m a l husbandry n o less d a t i o n o f the noble art o f p a i n t i n g ) i n Het schilder-boeck
clearly than ter Borch's Cow Shed. B y the same t o k e n , (Haarlem, 1604) is t i t l e d " V a n beesten/dieren/en v o g h -
The Horse Stall offers a c o m f o r t i n g i m a g e o f D u t c h els" ( O f beasts/animals/and b i r d s ) . 42
H e begins this

1494-1533]—grafiek, ex. cat. [Amsterdam, Rijksprentenkabinet, 1978], Lakenhal no. 823, dated 1633), 138A (Prague, N δ r o d n i Galeri no. 494,
pp. 31—32, fig. 21). The basis o f these erotic interpretations are the dated 1643), and 136 (dated 1643). See also Adriaen van de Vennes
connotations o f the verb melken (to m i l k ) which i n the sixteenth Prince Maurits and Frederik Hendrik Visiting the Horse Fair at Valkenburg,
century could also mean "to lure" (lokken). I n the absence, however, dated 1618, Amsterdam, Rijksmuseum no. A674. O n the horse market
o f Lucas' hulking farm boy or any other companion for ter Borch's at Valkenburg, see E. Pelinck, " D e paardenmaarkt te Valkenburg."
earnest and purposeful milkmaid, there scarcely seems reason to as­ Leids jaarboekje 50 (1958), p. 83ff; and Annette Hoogendoorn, i n
sign sexual connotations to her work. Kunsthistorische mededelingen (1947), vol. 2, pp. 38—40. Pieter Wouwer-
37. See Spicer's interpretation o f the w o r k as an "allegory o f mans' depiction o f the horse market i n Delft, circa 1670, is i n the
Earth's fecundity" (supra, note 29, p. 254). Stedelijk Museum " H e t Prinsenhof," Delft.
38. See Stephen Reiss, Aelbert Cuyp (Boston, 1975), no. 65, p. 100, 41. Analogous images o f cows and horses often appear together i n
i l l . , and compare also no. 66. The stable scenes o f Cornelis Beelt (circa print series by, among others, Pieter van Laer and Paulus Potter, but
1630—1702) also resemble these works. pendant paintings are only k n o w n from sales references and are hence
39. See the anonymous Portrait of a Prize Steer, 1564, Amsterdams unverified. See, for example, sale, Gaillard de Gagney, Paris, May 29,
Historisch Museum inv. no. A3016, and Portrait of a White Bull, by a 1762, lots 20 and 21 (Hofstede de Groot [Potter], nos. 29 and 317).
follower o f Paulus Potter, D u b l i n , National Gallery o f Ireland ( H o - Smith's claim ([supra, note 1], vol. 5 [Potter], under no. 87) that the
man Potterton, Dutch Seventeenth and Eighteenth Century Paintings Horse Stable o f 1647 by Potter i n the Philadelphia Museum o f A r t
in the National Gallery of Ireland [Dublin, 1986], no. 56, pp. 116-118, (no. E'24-3-17) is the pendant o f the painting o f Cattle and Sheep in
fig. 127). For a discussion o f the tradition, see the entry on Potter's a Stormy Landscape, London, National Gallery no. 2583, has no basis;
Young Bull by Ben Broos i n the catalogue o f an exhibition held at the the works differ i n design and early history. A . Walsh concluded that
Grand Palais, Paris, De Rembrandt ä Vermeer: Les peintres hollandais Potter never painted pendants (supra, note 11), p. 276.
au Mauritshuis de La Haye, ex. cat. (The Hague, 1986). 42. See, for a translation into modern Dutch and for commentary,
40. See Wolfgang Stechow, Salomon van Ruysdael, 2nd ed. (Berlin, Hessel Miedema, Karel van Mander: Den grondt der edel vry schilder-
1975), nos. 136A (dated 1626), 137 (Leiden, Stedelijk Museum de const (Utrecht, 1973) vol. 1, pp. 218-235; vol. 2, pp. 558-569.
110 Sutton

section o f his didactic p o e m for artists b y assuring his snort and w h i n n y . A c c o r d i n g to van M a n d e r , the classi­
readers that a great " a l l a r o u n d " (universael) painter cal artist's success was based o n exhaustive research,
m u s t master a n i m a l subjects, as w e l l as (and here w e even to the p o i n t o f u s i n g horse cadavers (chap. 9, 28).
infer f r o m the larger context o f the leerdicht) the p a i n t ­ T u r n i n g to cattle, the author again stresses the need
i n g o f landscape, discussed i n the previous chapter, and for careful observation, e n u m e r a t i n g physical attributes
drapery, w h i c h is taken u p i n the f o l l o w i n g section. For (bearing, expression, coloring, and details like the
van M a n d e r , a n i m a l p a i n t i n g is a discrete p a i n t i n g t y p e l e n g t h o f horns and shape o f ears) that serve t o dis­
and discipline, albeit one at the service o f the p a i n t i n g t i n g u i s h a c o w f r o m a b u l l or ox. O n c e more, classical
o f the h u m a n figure, t r a d i t i o n a l l y the artist's noblest precedents are cited, i n c l u d i n g Pausias' a b i l i t y t o p a i n t
calling. T h e t w o animals that he recommends for artis­ cattle n o t o n l y i n p r o f i l e b u t also foreshortened (chap. 9,
tic study, and t o w h i c h he devotes v i r t u a l l y his entire 37—38); the celebrated Farnese b u l l ; and the case o f the
chapter, are n o t exotic or i c o n o g r a p h i c a l l y charged crea­ great M y r o n ' s masterpiece, a statue o f a c o w i n the m a r ­
tures, such as the l i o n or the elephant, b u t the p r e e m i ­ ketplace at Athens. Van M a n d e r even offers his o w n
nent tamme heesten (domestic animals), the horse and the translation o f a dozen o f the t h i r t y - s i x epigrams fa­
cow. 43
W i t h his c u s t o m a r y appeal t o classical prece­ m o u s l y devoted t o this statue and preserved i n the
dents, v a n M a n d e r refers t o famous horses o f a n t i q u i t y Anthologia Graeca. B u t his u l t i m a t e purpose i n a l l this
t o praise the animal's n o b i l i t y , bravery, and loyalty display o f e r u d i t i o n is s i m p l y t o c o n f i r m "datter n i e t
(chap. 9, 4—5). H e alludes to systems for d r a w i n g horses beter en is, als alle d i n g h e n nae t'leven te schilderen"
f r o m a series o f circles and to artists w h o make careful (that there is n o t h i n g better t h a n to p a i n t all t h i n g s
measurements o f animals, b u t he has l i t t l e s y m p a t h y for f r o m life [chap. 9, 47]).
those w h o rely t o o m u c h o n the caliper and measuring S t i l l the m o s t i m p o r t a n t and i n f l u e n t i a l art treatise i n
stick (chap. 9, 8—9). 44
Rejecting any rules for ideal D u t c h d u r i n g ter Borch's l i f e t i m e , van Mander's Schil-
equestrian p r o p o r t i o n s , van M a n d e r exhorts y o u n g art­ der-boeck c o u l d scarcely have escaped the painter's atten­
ists t o study the o u t w a r d physical appearance o f horses, t i o n . T h o u g h n o t van Mander's ideal h i s t o r y painter, ter
t h e i r movements, types, c o l o r a t i o n ( i n c l u d i n g schoon ap­ B o r c h was a devoted painter o f the h u m a n figure. B y
pelgrau), and the w a y i n w h i c h the l i g h t plays o n t h e i r p a i n t i n g a pair o f domestic animals, he departed f r o m
coats (chap. 9, 10—17). I n stressing the need t o observe his c u s t o m a r y genre themes and portraits, b u t i n so
even such details as a horse's lather and spit, van M a n d e r d o i n g , he f u l f i l l e d van Mander's prescriptions for the
digresses o n the p o s s i b i l i t y o f p r o f i t i n g f r o m accidental " a l l a r o u n d " artist by p a i n t i n g precisely those subjects
effects i n art (chap. 9, 17—23). To illustrate h o w effective i n the v e r y naturalistic style r e c o m m e n d e d b y the t h e o ­
classical painters were i n achieving the goal o f the i l l u ­ rist. H o w e v e r , the real t r i u m p h o f ter Borch's p a i n t i n g s
sion o f reality, he recounts Pliny's tale o f Apelles, the is the complete absence o f any appearance o f theoretical
greatest painter o f antiquity, t u r n i n g the j u d g m e n t o f or m e t h o d o l o g i c a l i l l u s t r a t i o n . A s i n the greatest o f the
his p a i n t i n g o f a horse and the w o r k o f a jealous r i v a l painter's domestic genre scenes, his a n i m a l c o m p a n i o n s
over t o the animals themselves (chap. 9, 24—25). W h e n are subjects at once c o m m o n and m o n u m e n t a l , m o m e n ­
b r o u g h t before actual horses, the rival's w o r k elicited n o tary and timeless, conceived w i t h a c o m p e l l i n g s i m ­
response, b u t A p e l l e s ' p a i n t i n g made the live steeds p l i c i t y and t r u t h t o life.

M u s e u m o f Fine A r t s
Boston

43. Van Mander, Grondt, chapter 9, verse 3: " A e n tamme Beesten brave horses).
moghen w y aenveerden/ Onderwysich begin te desen Stonden/ Eerst 44. Miedema (supra, note 42), vol. 2, p. 561, suggests that the
aen t'edelste der Vee/ groot van weerden/ Dats aen de behulpsaem traditional formulae for designing the forms o f horses from circles
moedighe Peerden" (We begin this instruction w i t h domestic animals. descends from German model books by Heinrich Lautensack (1564)
First, the noblest o f livestock, highly valued [animals], the obliging, and Sebald Beham (1582).
The Blessed Bernard Tolomei Interceding for the Cessation
of the Plague in Siena: A Rediscovered Painting by
Giuseppe Maria Crespi
John T. Spike

D u r i n g the plague o f 1348, k n o w n to h i s t o r y as the g r a v i t y o f expression unequaled i n eighteenth-century

Black D e a t h , the Blessed B e r n a r d T o l o m e i , w h o had art p r i o r t o Goya.
f o u n d e d a congregation o f B e n e d i c t i n e m o n k s at M o n t e T h e G e t t y M u s e u m ' s recent acquisition exemplifies
O l i v e t o , forsook the sanctuary o f his monastery and the drama, immediacy, and technical bravura o f Crespi's
r e t u r n e d t o his native Siena t o offer whatever r e l i e f he art. T h e w o r k is a major rediscovery for his oeuvre as
could. A t first i t seemed that the courageous Olivetans w e l l . I propose t o i d e n t i f y this Blessed Bernard Tolomei
in t h e i r w h i t e habits w o u l d be m i r a c u l o u s l y spared w i t h a p a i n t i n g that, n o t w i t h s t a n d i n g its small d i m e n ­
f r o m the pestilence that raged all about t h e m . Soon sions, was repeatedly singled o u t for praise by Crespi's
e n o u g h , however, this hope o f i m m u n i t y was p r o v e d eighteenth-century biographers b u t remained untraced
to be vain; one o f the first m o n k s to give up his life for t w o centuries.
was t h e i r venerated abbot, B e r n a r d T o l o m e i , w h o was T h e c o m b i n e d testimonies o f Crespi's contempo­
later beatified. 1
raries i n f o r m us that i n about 1735 the artist executed a
T h e heroic, i f tragic, last days i n B e r n a r d Tolomei's c o m m i s s i o n for an O l i v e t a n abbot i n Florence. T h e as­
l i f e t i m e o f g o o d w o r k s are the subject o f a p a i n t i n g signment was for a pair o f O l i v e t a n subjects: The Blessed
recently acquired b y the J. Paul G e t t y M u s e u m , The Bernard Tolomei Interceding for the Cessation of the Plague
Blessed Bernard Tolomei Interceding for the Cessation of the in Siena and a pendant o f Saint Francesca Romana Placing
Plague in Siena by Giuseppe M a r i a Crespi (fig. I ) . 2
Nick­ the Infant Christ in the Arms of Her Confessor. P r i o r to the
named 77 Spagnuolo because o f his sober " S p a n i s h " style reappearance o f the G e t t y M u s e u m ' s Blessed Bernard
of dress, the Bolognese C r e s p i (1665—1747) was one Tolomei o n copper, its c o m p o s i t i o n had already been
o f the m o s t independent and creative personalities i n k n o w n t h r o u g h the existence o f several w o r k s h o p can­
eighteenth-century Italian p a i n t i n g . A l o n e a m o n g his
3
vases, none o f which c o u l d c l a i m t o be autograph
contemporaries, C r e s p i c o u l d i n t e r p r e t the pathos i n a w o r k s f r o m Crespi's o w n b r u s h (fig. 2 ) . T h e m o s t i n ­
4

story such as that o f B e r n a r d T o l o m e i w i t h a d e p t h and teresting o f these w o r k s h o p variants is a canvas i n the

1. B o r n Giovanni di M i n o Tolomei i n Siena i n 1272, Bernard Marchese Gino Capponi, Florence, 1767; sale, H o t e l Drouot, Paris,
Tolomei (his monastic name) and two other Sienese nobles, Patrizio February 7, 1945, lot 383; private collection, Switzerland; [Piero
Patrizi and A m b r o g i o Piccolomini (one o f w h o m may be indicated as Corsini, N e w York, 1985-1986].
Tolomei's companion i n Crespi's painting), founded a monastery at EXHIBITIONS: Esposizione de' quadri, cloister o f the SS. Annunziata,
Monte Oliveto under the rule o f Saint Benedict. As the Benedictine July 1767, no. 5; Giuseppe Maria Crespi and the Emergence of Genre
rule does not prescribe the color o f the monastic dress, the Olivetans Painting in Italy, K i m b e l l A r t Museum, Fort Worth, September-
and the Camaldolesi wear white habits; the all-black habits o f the December, 1986.
Vallombrosiani Benedictines are perhaps the most familiar. The best 3. The t w o principal works on Crespi are: M i r a Pajes Merriman,
available biography o f Bernard Tolomei is i n the Bibliotheca sanctorum Giuseppe Maria Crespi (Milan, 1980), a catalogue raisonne o f the paint­
(Rome, 1969), vol. 12, s.v. ings, and John T. Spike, Giuseppe Maria Crespi and the Emergence of
Bernard is frequently styled as Saint Bernard Tolomei, which is Genre Painting in Italy, ex. cat. (Fort Worth, K i m b e l l A r t Museum,
inaccurate as he has not been canonized by the Roman Catholic 1986). The present picture was exhibited at Forth Worth hors catalogue,
church. His recognition as beato, or blessed, was already well estab­ but was first published and illustrated i n this catalogue (p. 37, n. 89,
lished by tradition when i n 1644 his cult was formally recognized by p. 162, fig. 26.2).
papal decree. In 1680 Rome established his feast day as August 21 and 4. For these workshop canvases see M e r r i m a n (supra, note 3),
approved the texts for the Office and Mass for this observance. nos. 138—141. M e r r i m a n leaves open the possibility o f Crespi's par­
2. O i l on copper. H : 42.7 cm (16 /i "); W: 66.6 cm (26 V / ) .
13
6
ticipation i n some or all o f these works, contrary to my o w n view.
86.PC.463. Pierre Rosenberg ("La Femme δ la puce de G. M . Crespi," La revue du
PROVENANCE: Abbot Corsi, Florence (original commission), circa 1735; Louvre, 1971, p. 14, n. 3) has w r i t t e n that the version i n the Musee des
 112 Spike

Figure 1. Giuseppe M a r i a C r e s p i (Italian, 1665—1747). The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena,
circa 1735. O i l on copper. H : 42.7 c m ( 1 6 / i O ; W : 66.6 c m (26V4"). M a l i b u , T h e J. Paul Getty M u s e u m 86.PC.463.
,3

A k a d e m i e der b i l d e n d e n Kunste, V i e n n a (about w h i c h I accounts, there emerges a detailed d e s c r i p t i o n o f the

shall have m o r e to say) (fig. 3). S i m i l a r l y , studio ver­ subject, size, and copper support o f The Blessed Bernard
sions o f his c o m p o s i t i o n o f Saint France sea Romana are Tolomei that Crespi painted for the O l i v e t a n abbot i n
k n o w n (fig. 4), and one hopes that the m i s s i n g o r i g i ­ Florence. T h e G e t t y M u s e u m ' s picture accords i n every
nal—separated f r o m its pendant at an u n k n o w n date— respect w i t h these particulars and, n o less i m p o r t a n t for
w i l l come t o l i g h t some day. 5
this i d e n t i f i c a t i o n , exhibits the master's hand i n f u l l
Four references, d a t i n g b e t w e e n 1739 and 1775, make measure. I n r e v i e w i n g the l i t e r a r y evidence, however,
m e n t i o n o f Crespi's p a i n t i n g o f The Blessed Bernard an i n t e r e s t i n g p o i n t arises apart f r o m the issue o f i d e n t i ­
Tolomei. ( T h e Saint Francesca Romana is cited i n o n l y the fication. T h e sources t e n d t o give subtly different read­
t w o Bolognese publications, the 1739 and 1769 b i o g r a ­ ings o f Crespi's picture w h i l e u n d e r s c o r i n g b o t h the
phies o f C r e s p i w r i t t e n b y G i a m p i e t r o Z a n o t t i and rarity o f the subject and the o r i g i n a l i t y w i t h which
L u i g i Crespi, respectively.) F r o m these c o n t e m p o r a r y Crespi has i n t e r p r e t e d i t .

B e a u x - A r t s , N i m e s , is o n l y w o r k s h o p q u a l i t y . M e r r i m a n i n d i s c u s s ­ the p h o t o g r a p h , this identification merits some consideration, al­

i n g t h e N i m e s p a i n t i n g (no. 138) n o t e s t h e references b y Z a n o t t i a n d t h o u g h t h e p a i n t i n g is a p p a r e n t l y h a n d l e d w i t h c o n s i d e r a b l y s m o o t h e r
L u i g i C r e s p i t o a w o r k c o m m i s s i o n e d b y " t h e O l i v e t a n fathers i n t o u c h t h a n t h a t e v i n c e d i n t h e G e t t y M u s e u m Blessed Bernard Tolomei.
F l o r e n c e . " R e g a r d i n g its subject, she c o m m e n t s , " W h a t p r o b a b l y is A s t u d i o v e r s i o n o f t h e Saint Francesca Romana, attributed by M e r r i ­
r e p r e s e n t e d is t h e b r i n g i n g o f t h e E u c h a r i s t t o b o t h t h e p l a g u e v i c t i m s m a n t o L u i g i C r e s p i , appeared at C h r i s t i e ' s , L o n d o n , F e b r u a r y 20,
a n d St. B e r n a r d T o l o m e i , w h o is p r o m i n e n t l y placed at t h e i r side i n a 1986, l o t 62.
k n e e l i n g p o s i t i o n . " A d i f f e r e n t v i e w is p r o p o s e d i n t h e p r e s e n t a r t i c l e . F o r t h e l i f e o f S a i n t Francesca R o m a n a , see t h e a r t i c l e i n t h e Bibli-
5. M e r r i m a n (supra, n o t e 3 ) , n o . 115, p u b l i s h e s t h e p h o t o g r a p h o f otheca Sanctorum ( R o m e , 1964), v o l . 5, s.v. T h i s source cites D o n a t o
an u n t r a c e d p a i n t i n g , r e p o r t e d l y o n copper, w h i c h i n h e r o p i n i o n is C r e t i ' s altarpiece, n o w i n t h e S a n t u a r i o d e l C r o c e f i s s o d e i B i a n c h i i n
t h e Saint Francesca Romana pendant cited by Z a n o t t i . To j u d g e from L u c c a b u t p a i n t e d circa 1732 f o r t h e O l i v e t a n c h u r c h o f S. P o n z i a n o i n
 The Blessed Bernard Tolomei 113

Figure 2. Attributed to the Workshop of Giuseppe Figure 3. Attributed to the Workshop o f Giuseppe Maria
M a r i a C r e s p i . Bernard Tolomei Visiting Victims C r e s p i . Bernard Tolomei Visiting Victims of the
of the Plague, circa 1735. O i l on canvas. H : Plague, circa 1735. O i l on canvas. H : 77.5 c m
44.2 c m (17W); W : 67.7 c m (26 /s"). 5
Nimes, (30V "); W : 96.5 c m (37 /i "). V i e n n a , G e m a l -
2
15
6

Musee des B e a u x - A r t s . Photo: C o u r t e s y M u - degalerie der Akademie der bildenden Kiinste.

sees d A r t et d'Histoire de N i m e s . Inv. N r . 1375. Photo: C o u r t e s y A k a d e m i e der
bildenden kiinste, V i e n n a .

T h e most authoritative account o f Crespi's life and

career is that published i n 1739 by G i a m p i e t r o Z a n o t t i , a
painter and the perennial secretary o f the Accademia
C l e m e n t i n a i n B o l o g n a . A l i f e l o n g friend o f Crespi,
Z a n o t t i was able to d r a w u p o n the artist's active assis­
tance i n c o m p i l i n g his biography. Z a n o t t i was the first
w r i t e r to refer to a small p a i n t i n g o f the Blessed B e r ­
nard T o l o m e i , w h i c h he specifies as a recent w o r k . T h e
date o f the picture can be fixed b e t w e e n 1732 and 1736
since i t is s i m i l a r l y cited as a recent w o r k i n a late draft
o f ^ a n b t t i ' s manuscript, w h i c h was c o m p l e t e d some­
t i m e b e t w e e n those years. Z a n o t t i provides careful de­
6

scriptions o f the unusual subjects o f The Blessed Bernard

Tolomei and of Saint Francesca Romana.
Figure 4. Attributed to Giuseppe M a r i a C r e s p i (Italian,
H e recently painted a small picture w i t h many figures:
1665—1747). Saint Francesca Romana Placing the
it is the liberation o f Siena from the plague through
Infant Christ in the Arms of Her Confessor, circa
the intercession o f the Blessed Bernard Tolomei; then
1735. O i l on copper. Present location un­
[he made] another w o r k as a companion to this one, known. Photo: Courtesy M i r a Pajes Merriman.
in w h i c h there is Saint Francesca R o m a n a w h o at

the same c i t y , as t h e o n l y k n o w n r e p r e s e n t a t i o n o f Saint Francesca 6. T h i s i n f o r m a t i o n was k i n d l y p r o v i d e d m e b y Professor Merri­

Romana Placing the Infant Christ in the Arms of Her Confessor. Crespi's m a n . A b o u t Z a n o t t i ' s late d r a f t f o r his Storia delVAccademia Clemen­
s u b s e q u e n t t r e a t m e n t o f t h i s rare subject is n o t f o r m a l l y i n d e b t e d t o tina ( B o l o g n a , B i b l i o t e c a C o m u n a l e M S . B 2 8 5 ) , M e r r i m a n (supra,
C r e t i ' s , b u t C r e s p i u n d o u b t e d l y k n e w his colleague's p a i n t i n g , since n o t e 3 ) , p. 255, has w r i t t e n , " [ I t ] is d a t e d after 1732 a n d is p r o b a b l y
he h i m s e l f c o n t r i b u t e d t w o altarpieces t o t h e same L u c c h e s e c h u r c h at closer t o 1735." Z a n o t t i (Storia delVAccademia Clementina [Bologna,
t h i s v e r y t i m e (see M e r r i m a n [supra, n o t e 3 ] , n o . 6 6 ) . A s a pair, 1739], v o l . 2, pp. 6 1 , 64) is q u i t e clear o n t h e p o i n t t h a t Crespi's
Crespi's Saint Francesca Romana and Blessed Bernard Tolomei rep­ commissions f o r t h e O l i v e t a n s i n F l o r e n c e p o s t d a t e his w o r k s f o r
resent i c o n o g r a p h i c s o l u t i o n s that were essentially unprecedented, the O l i v e t a n church i n Lucca, which can be d a t e d from 1732 or
and the choice presumably reflected the interests o f his patron, s h o r t l y thereafter.
the A b b o t C o r s i .
114 Spike

nighttime places the infant Jesus in the arms of her pittura, scultura, e architettura..., c o m p l e t e d i n 1775. T h i s
confessor. These two pictures were commissioned by reference supplies all the m i s s i n g connectives i n the
the Olivetan fathers in Florence, to whom they were provenance and is the o n l y early source that specifies the
greatly pleasing. 7

copper support o f the p a i n t i n g and its size (a braccio, or

arm l e n g t h , r o u g h l y t w o feet l o n g ) . I t also provides s t i l l
T h i r t y years later, Crespi's son and p u p i l L u i g i u n ­
a t h i r d suggestion for the painting's subject matter.
d e r t o o k t o expand u p o n Z a n o t t i ' s biography. A l t h o u g h
L u i g i Crespi (1708—1779) was less i n f o r m e d o n his Not of less excellence than every one of his perfect
father's early career, i t is w o r t h bearing i n m i n d that works was a painting on copper of about a braccio in
he and his brothers, Ferdinando (b. 1709) and A n t o n i o breadth, that he made for a Padre Olivetan Abbot, rep­
(b. 1712), were his father's p r i n c i p a l assistants d u r i n g resenting the Blessed Bernard Tolomei administering
the 1730s, the t i m e that this c o m m i s s i o n was executed. the Eucharist to the plague stricken. This beautiful
work of his can be seen at present in Florence in the
Presumably some o f the studio versions o f these t w o
palace of Marchese Capponi on the via Larga. 10

O l i v e t a n subjects were painted by one or other o f

Crespi's three sons. L u i g i Crespi had n o dispute w i t h Three o f the four early sources give a title for Crespi's
Z a n o t t i ' s descriptions o f these t w o paintings, saying picture describing B e r n a r d T o l o m e i a m o n g the v i c t i m s
o n l y : " T h e Padre Abate C o r s i , O l i v e t a n i n Florence, o f the plague b u t cannot quite agree as t o the event that
o w n e d t w o small pictures [quadretti] by h i m . " A s scant 8
is actually depicted. T h e p r i m a r y source, o f course, is
as this notice seems, i t helps t o clarify the circumstances the p a i n t i n g itself. T h e central action is the c o n f r o n t a ­
o f the c o m m i s s i o n and its subsequent history. L u i g i t i o n between a procession that enters f r o m the left o f
Crespi i n f o r m s us that the assignment for these p a i n t ­ the picture and, at r i g h t , t w o m o n k s i n w h i t e O l i v e t a n
ings o f the Blessed B e r n a r d T o l o m e i and o f Saint habits w h o are seen i n the m i d s t o f a c r o w d o f g r i e v ­
Francesca Romana was n o t received f r o m an O l i v e t a n i n g , d y i n g people. A t center, i n the distance, an angel
church or monastery, as one m i g h t have construed f r o m is seen ascending to Heaven. T h e procession is led
Z a n o t t i , b u t rather f r o m an O l i v e t a n abbot o f the noble by an acolyte w h o carries a b e l l and a l o n g candle. H e
C o r s i f a m i l y o f Florence. Indeed, the i n t i m a t e scale o f is f o l l o w e d by a m a n w h o has w r a p p e d his cloak
these pictures, t h e i r h o r i z o n t a l format, and their execu­ a r o u n d himself, covering his arms. B e h i n d this figure,
t i o n o n copper suggest that these w o r k s were i n t e n d e d a r o u n d canopy is h e l d aloft. T h i s canopy has the ap­
for private c o n t e m p l a t i o n and n o t for public display. pearance o f a baldachin, w h i c h m i g h t have been used to
L u i g i Crespi was e v i d e n t l y aware, moreover, that by cover the H o s t or perhaps a sacred relic i n an open-air
1769 the w o r k s were n o longer i n the possession o f the procession. I t is notable, t h o u g h , that Crespi has n o t
Abate C o r s i . included i n his picture any image o f a monstrance c o n ­
L u i g i Crespi's accuracy o n these points can be ver­ t a i n i n g the H o s t , b u t the question remains open as to
ified f r o m t w o Florentine sources. I n 1767, t w o years w h e t h e r such is carried by the m a n whose hands are
before the p u b l i c a t i o n o f Crespi's biography, a quadretto h i d d e n by his cloak.
by Crespi ( " l o Spagnolo d i B o l o g n a " ) representing The O n e o f the t w o Olivetans kneels i n prayer before this
Blessed Bernard Tolomei Assisting the Victims of the Plague s o l e m n procession; the more p r o m i n e n t m o n k is B e r ­
was one o f f i f t y - n i n e paintings and sculptures that the nard T o l o m e i , w h o holds one o f his attributes, a c r u ­
Marchese G i n o C a p p o n i lent f r o m his private collection cifix, 11
i n his r i g h t hand, and gestures t o w a r d the p o p u ­
to a p u b l i c e x h i b i t i o n organized i n the cloister o f SS. lace w i t h his left. C o n t r a r y to the report o f 1775, the
A n n u n z i a t a i n Florence. T h a t the Crespi lent by the
9
p a i n t i n g clearly does n o t represent the O l i v e t a n abbot
Marchese C a p p o n i was the same as that executed some a d m i n i s t e r i n g C o m m u n i o n to the plague stricken. T h a t
t h i r t y years before for the A b b o t C o r s i is c o n f i r m e d i n Bernard T o l o m e i is "assisting" the people o f Siena (as
the last k n o w n reference to this Blessed Bernard Tolomei. described i n the 1767 C a p p o n i e x h i b i t i o n catalogue) is
T h i s is a helpful footnote inserted i n the o t h e r w i s e sec­ undeniable, b u t this is t o o general a d e s c r i p t i o n for the
o n d h a n d b i o g r a p h y o f Crespi i n c l u d e d i n a Florentine event represented i n Crespi's p a i n t i n g .
d i c t i o n a r y o f painters, Serie degli uomini i piu illustri nella T h e r e m a i n i n g possibility, w h i c h was o r i g i n a l l y sug-

7. Z a n o t t i (supra, n o t e 6 ) , v o l . 2, p. 64. 10. " N o n d i m i n o r eccellenza riesci d i q u a l u n q u e p i u p e r f e t t a sua

8. L u i g i C r e s p i , Vite de' pittori bolognesi non descritte nella «Felsina u n q u a d r o i n r a m e d i larghezza circa u n b r a c c i o , che e g l i fece p e r u n P.
pittrice» ( R o m e , 1769), p. 216. A b a t e O l i v e t a n o , rappresentante i l B e a t o B e r n a r d o T o l o m e i , che c o m -
9. F. B o r r o n i S a l v a d o r i , " L e e s p o s i z i o n i d ' a r t e a F i r e n z e d a l 1674 al u n i c a g l i appestati. Q u e s t o suo b e l l a v o r o vedesi al presente i n F i r e n z e
1767," Mitteilungen des Kunsthistorischen Institutes in Florenz 18 (1974), n e l palazzo d e l M a r c h e s e C a p p o n i d i v i a L a r g a . " T h i s passage is
pp. 78, 141. q u o t e d f r o m t h e Serie degli uomini i piu illustri nella pittura, scultura, e
 The Blessed Bernard Tolomei 115

Figure 5. D o m e n i c o M a r i a C a n u t i (1626—1684). Bernard Figure 6. C a r l o C i g n a n i (Italian, 1628—1719). Pope Saint

Tolomei Assisting the Plague Stricken, circa Gregory the Great Interceding for the Cessa­
1660s. O i l o n canvas. H : 266 c m ( 1 0 4 7 / ) ; W : tion of the Plague in Rome, circa 1660s. Fresco.
174 c m ( 6 8 / / ) . Padua, M u s e o C i v i c o . P h o t o :
1
B o l o g n a , m o n a s t e r y o f S. M i c h e l e i n Bosco.
C o u r t e s y M u s e o C i v i c o , Padua. P h o t o : C o u r t e s y M i n i s t e r o per i B e n i C u l -
turali e A m b i e n t a l i d i Bologna.

gested b y Z a n o t t i , is that C r e s p i has portrayed the w h o was Crespi's master t w e n t y years later, painted a
Blessed B e r n a r d T o l o m e i i n the act o f i n t e r c e d i n g for large altarpiece o f B e r n a r d T o l o m e i b r i n g i n g some sup­
the cessation o f the plague. A p r e l i m i n a r y search, b y n o plies t o the plague stricken ( i n other w o r d s , "assisting"
means exhaustive, has failed t o uncover any other p a i n t ­ t h e m ) for an O l i v e t a n c h u r c h i n Padua, b u t Canuti's
ings o f this subject. O n e s h o u l d note at this j u n c t u r e interpretation was entirely different f r o m that i n Crespi's
that the i c o n o g r a p h y o f B e r n a r d T o l o m e i is n o t e x t e n ­ l i t t l e picture (fig. 5 ) . 1 2

sive, appearing almost exclusively i n altarpieces and I believe that Z a n o t t i ' s i n t e r p r e t a t i o n o f Crespi's p i c ­
decorations executed for O l i v e t a n churches and i n s t i t u ­ ture was correct, and that I have located the source for
tions. I t is o f course consistent w i t h this pattern o f pa­ Crespi's i m a g e r y i n a w o r k w e l l k n o w n t o h i m and,
tronage that the G e t t y M u s e u m p a i n t i n g was c o m m i s ­ indeed, v e r y close t o home. I refer t o one o f the cele­
sioned b y an O l i v e t a n abbot, and i t is n o t s u r p r i s i n g brated medallions that C a r l o C i g n a n i p a i n t e d i n fresco
that early c o m m e n t a t o r s were unsure o f Crespi's exact during the 1660s i n the O l i v e t a n monastery o f S.
subject. I n the 1660s D o m e n i c o M a r i a C a n u t i (1626—1684), M i c h e l e i n Bosco, B o l o g n a . 13
T h e leading painter i n

architettura... (Florence, 1775), vol. 12, p. 143, n. 1. Olivetan monks ascending a ladder to heaven.
11. Domenico Maria Canuti portrayed h i m w i t h a crucifix i n an 12. See R. Roli, Pittura bolognese 1650-1800: Dal Cignani ai Gandolfi
altarpiece, The Blessed Bernard Tolomei in Prayer, o f the 1670s for (Bologna, 1977), s.v. "Canuti."
the Roman church o f S. Francesca Romana. I n Crespi's picture, the 13. For photographs o f all four frescoes, see C. C. Malvasia, Le
ladder seen against the city wall i n the distance is another attribute pitture di Bologna (1686), reprint, ed. A . Emiliani (Bologna, 1969), figs.
o f Bernard Tolomei, alluding to the abbot's famous vision o f 327/11. For Cignani, see Roli (supra, note 12), s.v.
116 Spike

B o l o g n a d u r i n g the latter h a l f o f the century, C i g n a n i i f its purpose were to b r i n g the Eucharist t o the plague
(1628—1719) was called u p o n t o p a i n t f o u r apparitions o f stricken.
the A r c h a n g e l M i c h a e l i n circular c o m p o s i t i o n s sur­ A c o r r e l a t i o n t o the i c o n o g r a p h y o f Saint Charles
r o u n d e d b y elaborate cartouches. O n e o f these frescoes B o r r o m e o is perhaps i l l u s t r a t i v e here. F o l l o w i n g his
depicts B e r n a r d Tolomei's famous v i s i o n o f the A r c h ­ c a n o n i z a t i o n i n 1610, the role o f Saint Charles B o r ­
angel M i c h a e l , b u t this subject was n o t p e r t i n e n t t o r o m e o as intercessor for the r e l i e f o f the plague o f
Crespi's plague scene. D i r e c t l y t o the p o i n t , however, 1575—1576 v e r y soon came t o the fore o f his d e v o t i o n a l
was Cignani's fresco o f Pope Saint Gregory the Great In­ iconography. I n an altarpiece o f circa 1615 (Verona, S.
terceding for the Cessation of the Plague in Rome (fig. 6). C a r l o ) , Pietro B e r n a r d i represented the saint d i r e c t i n g
T h i s c o m p o s i t i o n contains, i n m i r r o r image, the essen­ his prayers t o an angel w h o holds o u t a s k u l l , e m b l e m
t i a l elements o f Crespi's picture. T h e f o r e g r o u n d is o f the plague's devastation.
f i l l e d w i t h plague v i c t i m s ; at left, Pope G r e g o r y (circa Crespi's p a i n t i n g o f the Blessed B e r n a r d T o l o m e i
540—604) addresses a taper-bearing procession o f p e n i ­ thus i n t r o d u c e d a n o v e l theme i n t o the i c o n o g r a p h y o f
tents, w h i c h enters f r o m the r i g h t - h a n d side. I n the the Blessed B e r n a r d T o l o m e i , that o f d i v i n e intercessor.
center, the A r c h a n g e l M i c h a e l , the object o f Gregory's A t the center o f Crespi's c o m p o s i t i o n , the A r c h a n g e l
intercession, replaces his r e t r i b u t i v e s w o r d o f pestilence departs, s i g n a l i n g that t h r o u g h B e r n a r d Tolomei's i n t e r ­
and ascends t o Heaven, his deadly w o r k completed. v e n t i o n , the plague w i l l n o w recede. T h u s , C r e s p i (and
Since i t is k n o w n that G r e g o r y the Great tirelessly presumably the A b b o t C o r s i , his patron) has d e l i b e r ­
organized p e n i t e n t i a l processions as part o f his efforts t o ately d r a w n a parallel t o one o f the m o s t saintly actions
relieve a s i x t h - c e n t u r y plague i n R o m e , 14
w e can assume o f Saint Charles B o r r o m e o , w h o exposed h i m s e l f t o
that this is the k i n d o f procession that C i g n a n i and terrible dangers during the plague of 1575—1576.
Crespi, f o l l o w i n g the former's example seventy years Crespi's i n t e r p r e t a t i o n thereby constitutes an emphatic
later, have represented. I n the studio version o f Crespi's c l a i m for the sanctity o f the O l i v e t a n founder, whose
c o m p o s i t i o n i n V i e n n a (fig. 3), the b e l l - t o l l i n g acolyte candidacy for c a n o n i z a t i o n was debated at various t i m e s
is replaced b y a fearsome skeleton—an e m b l e m o f death d u r i n g the m i d - e i g h t e e n t h century.
that c o u l d n o t seemingly be substituted i n a procession
N e w York

14. J. N . D. Kelly, The Oxford Dictionary of Popes (Oxford, 1986),

p. 66.
A Roman Masterpiece by Hubert Robert: A Hermit
Praying in the Ruins of a Roman Temple
Victor Carlson

T h e J. Paul G e t t y M u s e u m has recently acquired a b u r n i n g i n f r o n t o f the i m a g e o f the V i r g i n directs at­

masterful painting by Hubert Robert (1733—1808), t e n t i o n t o the i m p e n d i n g theft. B e h i n d the fragment o f
w h i c h constitutes a significant a d d i t i o n t o the M u ­ stone w a l l i n the m i d g r o u n d , a faint i l l u m i n a t i o n sug­
seum's g r o w i n g c o l l e c t i o n o f w o r k s o f art f r o m the l a t ­ gests l i g h t c o m i n g t h r o u g h the far end o f the temple,
ter h a l f o f the eighteenth c e n t u r y (fig. 1). T h e canvas is a r e i n f o r c i n g the i m p r e s s i o n o f the m o n u m e n t ' s vast and
f u l l y characteristic example o f Robert's fascination w i t h l o f t y dimensions. To convey these l i g h t i n g effects i n a
the ruins o f ancient Rome—a subject matter that has c o n v i n c i n g manner, Robert w o r k e d w i t h a fluid, rapid
always been s y n o n y m o u s w i t h the artist's r e p u t a t i o n . application o f paint, creating a r i c h and l i v e l y p i c t o r i a l
T h e M u s e u m ' s o i l shows a h e r m i t at prayer i n the ruins surface executed w i t h consummate assurance. A variety
o f a R o m a n temple, k n e e l i n g at the foot o f a stone altar o f brushstrokes and densities o f p a i n t define the g a m u t
u p o n w h i c h are placed a crucifix, books, an open Bible, o f atmospheric effects, f r o m the d u s k y recesses o f the
an hourglass, a s k u l l , and a rosary. A b s o r b e d i n his t e m p l e t o the b r i g h t l y l i t sky outside. H i g h l i g h t s were
devotions, he is o b l i v i o u s to three y o u n g girls e n t e r i n g added w i t h flicks or t i n y dabs o f the b r u s h p r o d u c i n g
the temple at the far r i g h t . O n e o f t h e m is about t o the s c i n t i l l a t i n g play o f l i g h t over forms, w h i c h is one
make o f f w i t h some flowers f r o m a vase that is placed o f the w o r k ' s m o s t attractive features.
on a fragment o f antique sculpture used as an altar. On one level Robert painted a c h a r m i n g , i f somewhat
A b o v e this i m p r o v i s e d altar hangs a picture o f the frivolous, drama i n w h i c h the i n t e n s i t y o f the hermit's
M a d o n n a and C h i l d . I n the m i d g r o u n d a f o u r t h g i r l o n religious a b s o r p t i o n is contrasted w i t h the v i o l a t i o n o f
a ladder leans over a l o w w a l l and, u s i n g a l o n g reed, his sanctuary b y the y o u n g girls a t t e m p t i n g to steal the
attempts t o distract the h e r m i t f r o m his prayers and V i r g i n ' s floral t r i b u t e . To the eighteenth-century viewer,
alert h i m to the t r i o stealing the floral offering. The however, the dilapidated c o n d i t i o n o f the t e m p l e surely
l o f t y barrel vault o f the abandoned temple wherein w o u l d have conveyed a m o r a l i z i n g lesson as w e l l , re­
these actions occur spans a v e r y deep space. D o u b l e c a l l i n g the transience o f the p o w e r and v a n i t y that o r i g ­
rows o f c o l u m n s w i t h C o r i n t h i a n capitals support the i n a l l y caused such an i m p o s i n g structure t o be b u i l t .
vault, b u t the m o n u m e n t ' s neglected c o n d i t i o n belies its T h i s i n t e r p r e t a t i o n is reinforced b y the hourglass and
o r i g i n a l grandeur and i m p o r t a n c e . 1
s k u l l o n the altar, c o n v e n t i o n a l allusions t o the t e m ­
Robert disposed his lighting effects with unac­ p o r a l i t y o f m a n and his endeavors. To understand m o r e
customed thoughtfulness t o enhance the i m p a c t o f this f u l l y the significance o f Robert's w o r k , the p a i n t i n g
scene. A shaft o f s u n l i g h t penetrates the d i m i n t e r i o r o f m u s t be placed i n the larger context o f his art and his
the temple, s t r e a m i n g t h r o u g h the c o l u m n s and the c o n t r i b u t i o n t o the development o f French p a i n t i n g
open d o o r at the r i g h t t o i l l u m i n a t e the figure o f the d u r i n g the latter h a l f o f the eighteenth century.
k n e e l i n g h e r m i t ; at the same t i m e , a s m a l l o i l l a m p Because the figures i n Robert's canvas act o u t a dra-

1. O i l on canvas. H : 58 cm (22 /i "); W : 70.5 cm (27 A"). Signed:

13
6
3
1933, no. 2 (catalogue by C. Sterling).
ROBERT'/FECIT7FIO...NT'/PORT...176-. Malibu, TheJ. Paul Getty BIBLIOGRAPHY: Pierre de Nolhac, Hubert Robert 1733-1808 (Paris, 1910),
Museum 86. PA.605. p. 98; G. Isarlo, "Hubert Robert," Connaissance des arts, no. 18 (August
PROVENANCE: Louis Francois de Bourbon, prince de Conti, 1777 (sale, 15, 1953), p. 28; H . Burda, Die Ruine in den Bildern Hubert Roberts
Paris, A p r i l 8—June 6, 1777, lot 752); Desmarets; Prince Pyotr (Munich, 1967), p. 80, n. 359, fig. 94; M . Beau, La collection des dessins
Ivanovitch Tufialkin, Paris, 1845 (sale, Paris, May 2—3, 1845, lot 65); d'Hubert Robert au Musee de Valence (Lyons, 1968), no. 76, n.p.; Andre
private collection, Paris, 1892 (sale, Galerie Sedelmeyer, Paris, March Corboz, Peinture militante et architecture revolutionnaire: A propos du
25, 1892, lot 53); Georges Berger, Paris; Georges Wildenstein, Paris, theme du tunnel chez Hubert Robert (Basel and Stuttgart, 1978), p. 16,
by 1933. fig. 13; J. de Cayeux [Cailleux], Les Hubert Robert de la collection
118 Carlson

Figure 1. H u b e r t R o b e r t (French, 1733—1808). A Hermit Praying in the Ruins of a Roman Temple, circa 1760. O i l o n canvas. H :
58 c m ( 2 2 / / ) ; W : 70.5 c m ( 2 7 / " ) . M a l i b u , T h e J. Paul G e t t y M u s e u m 86.PA.605.
3 3
4

m a t i c s i t u a t i o n , i t is t e m p t i n g t o l o o k for a l i t e r a r y eighteenth century. On occasion these stories did

source t o e x p l a i n t h e i r actions. A l t h o u g h i t has n o t been p r o v i d e subject matter for p a i n t i n g s by artists such as
possible t o d e t e r m i n e that the artist i n t e n d e d t o i l l u s ­ Francois B o u c h e r . 2

trate the w o r k o f a specific author, the s i t u a t i o n repre­ W h e t h e r or n o t Robert based the G e t t y p a i n t i n g o n a

sented recalls i n a general w a y the Contes et nouvelles en specific l i t e r a r y w o r k , he arranged the figures t o create
vers (1664—1674) o f Jean de La Fontaine, w h o s e stories an allegory c o n t r a s t i n g v i r t u e w i t h vice o r d u t y w i t h
often i n v o l v e d the clergy i n r i d i c u l o u s or salacious pleasure, a m o r a l theme that recurs i n each o f the artists
situations. The Contes et nouvelles en vers were still variants o f this c o m p o s i t i o n . Robert's l i g h t h e a r t e d treat­
frequently read at this t i m e , as evidenced b y the n u m e r ­ m e n t o f the scene is n o t necessarily a reflection o f his
ous re-editions that appeared d u r i n g the m i d d l e o f the lack o f r e l i g i o u s faith; o u r k n o w l e d g e o f the painter's

2. See the artist's Frere Luce, 1742 (Moscow, Pushkin Museum ing, done over a highly finished chalk drawing, recently on the Paris
2765); The Metropolitan Museum o f A r t , N e w York, The Detroit art market. The watercolor is probably a later addition, just as the
Institute o f Arts, and Reunion des Musees Nationaux, Paris, Frangois very mechanical, uninflected chalk study suggests that the entire w o r k
Boucher, 1703-1770, ex. cat. (New York, 1986), no. 45, i l l . is likely a copy by another hand ( H : 41 cm [ 1 6 / i " ] ; W : 30 cm [ U / i " ] ;
3
6
1 3
6

3. The figures o f the Getty painting occur i n other canvases or sale, Nouveau Drouot, Paris, June 18, 1986, lot 221, i l l . ) . Closely
drawings by or attributed to Robert; all works cited are vertical i n related to this drawing is another watercolor o f identical composition,
format. The five personages are found i n a pen and watercolor draw- but i n reverse and o f larger dimensions, dated 1786 ( H : 53 cm [20 /s"]; 7
 A Roman Masterpiece 119

Figure 2. H u b e r t R o b e r t (French, 1733-1808). The Her­ Figure 3. H u b e r t Robert (French, 1733-1808). The
mit in the Colosseum, 1790. O i l o n canvas. H : 57 Temptation of the Hermit, circa 1787. O i l o n
cm (22 /i6")
7
; W: 49 cm (19 //).
1
Formerly canvas. H : 59.7 c m ( 2 3 V " ) W : 50.2 c m ( 1 9 W ) .
2 ;

Lucerne, Galerie Fischer; present location Present l o c a t i o n u n k n o w n . P h o t o : Courtesy

unknown. F o n d a t i o n W i l d e n s t e i n , Paris.

private t h o u g h t s is t o o slight t o support such an as­ m a n , consequently he m u s t have studied i n advance the
sumption. In this connection, it may be noted, m o s t effective d i s p o s i t i o n o f the figures t o relate the
however, that the g l o w i n g reports t o Paris o f Robert's dramatic i n c i d e n t . Technical e x a m i n a t i o n by the M u ­
progress as a student i n R o m e — w h e r e the G e t t y canvas seum's conservation staff has lent further credence t o
was p a i n t e d — w o u l d surely have been m o d i f i e d had he this assumption b y establishing that no significant
been derelict i n o b s e r v i n g religious obligations. Such changes were made d u r i n g the e x e c u t i o n o f the w o r k .
infractions were considered serious matters, which These figures occur i n several other d r a w i n g s and p a i n t ­
c o u l d c o m p r o m i s e a student's standing at the academy; ings b y or a t t r i b u t e d t o R o b e r t and an aquatint b y J. B .
o n the other hand, the mere observance o f such f o r m s M o r r e t (figs. 2—4). Each o f the related w o r k s , however,
cannot be considered evidence o f personal beliefs. differs substantially f r o m the present canvas either i n
T h e r e are n o preparatory d r a w i n g s k n o w n for the the s e t t i n g or the n u m b e r o f figures e m p l o y e d . C h r o n o ­
G e t t y p a i n t i n g . I t is v e r y probable, however, that the l o g i c a l l y the G e t t y p a i n t i n g is the earliest use o f this
artist had studies for the figures at hand, as they are subject matter, w h i c h R o b e r t referred t o occasionally
painted w i t h an uncharacteristic a t t e n t i o n t o detail and u n t i l 1790, the date o f the last k n o w n representation. 3

gesture. R o b e r t was never a confident figure draughts- T h e present canvas is signed and dated, a l t h o u g h the

W: 37 cm [ 1 4 / i 6 " ] ; sale Galerie Charpentier, Paris, December 2, 1958,

9
changes i n the background details, which are also derived from the
lot 114, illus.). This watercolor is very similar to an o i l signed and interior o f the Colosseum (Collection o f Count Leonardo Vitetti; see
dated 1790, the major difference being that the background o f the Marguerite Beau, La collection des dessins d'Hubert Robert au Musee de
painting is loosely based on the interior o f the Colosseum ( H : 57 cm Valence [Lyon, 1968], no. 12, fig. 12b).
[ 2 2 / i 6 " ] ; W : 49 cm [1974"]; sale, Galerie Fischer, Lucerne, August
7
Also related i n a general way to the subject o f the Getty w o r k is an
18—20, 1931, lot 295, i l l . ) . Another painting is k n o w n , the composi­ undated color aquatint by J. B. Morret (active circa 1790—1820), i n ­
tion i n reverse to the 1790 version, w i t h only three figures and many scribed Tandis que cet Hermite est en priere, deux jeunes files viennent lui
120 Carlson

o n either side b y a l o n g range o f c o l u m n s . A device

placed i n the center o f the m i d g r o u n d — t h e c r u m b l i n g
stone w a l l b e h i n d the h e r m i t i n the G e t t y p a i n t i n g ,
some l a u n d r y stretched o u t t o d r y i n the d r a w i n g —
arrests the m o v e m e n t o f the viewer's eye, d i r e c t i n g at­
t e n t i o n t o the figure groups. A t the left i n b o t h w o r k s , a
c o l u m n runs nearly the f u l l h e i g h t o f the c o m p o s i t i o n .
T h i s device seems t o suggest that R o b e r t was n o t e n ­
tirely comfortable with the horizontal format and
needed some element t o compress the space and thereby
emphasize the i m p o r t a n c e o f the f i g u r e g r o u p . De­
spite this, the figures r e m a i n d o m i n a t e d b y the dra­
m a t i c architectural s e t t i n g w i t h its exaggeratedly deep,
t u n n e l - l i k e space. These parallels are so essential to
the o r g a n i z a t i o n o f the p a i n t i n g and the d r a w i n g that
they cannot be explained satisfactorily as s i m p l y u n r e ­
lated coincidences.
T h e r e is n o precise source for the r u i n e d R o m a n
temple seen i n the G e t t y p a i n t i n g . Such examples o f
i m p e r i a l R o m a n architecture as were k n o w n i n the m i d -
eighteenth c e n t u r y c o u l d n o t i n themselves account for
the structure s h o w n here. A t this t i m e even the m o s t as­
siduous student o f Rome's past w o u l d have had o n l y
a fragmentary sense o f ancient architectural styles and
c o n s t r u c t i o n practices. Excavations o n a sufficient scale
Figure 4. J. B . M o r r e t (French, active circa 1790-1820).
t o reveal f u l l y this a c c o m p l i s h m e n t were yet t o be u n ­
Tandis que cet Hermite est en priere deux jeunes
filles viennent lui derober les fleurs qui sont devant dertaken, a l t h o u g h m o n u m e n t s such as the C o l o s s e u m
sa Madone, circa 1790. A q u a t i n t . H : 36.7 c m and the Pantheon were then, as they s t i l l are, i m p o s i n g
(147i "); W : 29.8 c m ( U W ) . N e w Y o r k , Paul
6 examples o f Rome's architectural heritage. Robert's c o n ­
M c C a r r o n . P h o t o : C o u r t e s y Paul M c C a r r o n . temporaries often created their own evocations of
Rome's lost grandeur, at t i m e s based m o r e o n i m a g i n a ­
last d i g i t o f the date, 176—, is n o w illegible. N o n e t h e ­ t i o n than archaeology. For example, i t is e n t i r e l y possi­
less, i t can be proposed that this w o r k was executed i n ble that R o b e r t k n e w Piranesi's 1743 e n g r a v i n g Vestibolo
R o m e about 1760, b y c o m p a r i s o n t o a d r a w i n g i n the d antico tempio, a fanciful evocation o f an i m m e n s e and
}

L o u v r e signed and dated f r o m that year (fig. 5 ) . 4

The impressive barrel-vaulted structure w i t h an exaggerated
Paris red chalk d r a w i n g shows a g r o u p o f laundresses at perspective leading the eye far back i n t o space (fig. 6 ) . 5

w o r k a m i d the r u i n s o f an antique R o m a n temple. T h e Consequently, Robert's v i s i o n o f i m p e r i a l R o m e as seen

general arrangement o f the architectural s e t t i n g is s t r i k ­ i n w o r k s such as the G e t t y p a i n t i n g is perhaps best
i n g l y s i m i l a r t o the G e t t y canvas. B o t h c o m p o s i t i o n s explained as an a m a l g a m o f such archaeological data as
are d o m i n a t e d b y a steeply raked barrel vault, supported was then available, filtered t h r o u g h the impression

derober les fleurs qui sont devant sa Madone ( H : 36.7 cm [ 1 4 / i 6 ] ; W : 29.8

7 w
may be identical to the works cited above: Pierre de Nolhac, Hubert
cm [11 A"]; Roger Portalis and H e n r i Beraldi, Les Graveurs du dix-
3
Robert, 1733-1808 (Paris, 1910), pp. 95-96, 121; Claude Gabillot, Hubert
huitieme siede [Paris, 1881], vol. 1, s.v. "Descourtis," no. 7, p. 747). The Robert et son temps (Paris, 1895), no. 243, p. 251.
print is based on a painting at one time w i t h Cailleux, Paris ( H : 46 cm 4. Red chalk over black chalk. H : 52 cm (207/'); W : 63.8 cm
[18Vs"]; W : 49 cm [ l W ] ; Galerie Cailleux, Paris, Autour de neo- (25 Vs"). Signed: H ROBERT I/1760/D. ROMAE. Paris, Musee du
classicisme, ex. cat. [Paris, 1973], no. 44, p. 45). The same gallery also Louvre, Cabinet des Dessins R.F. 14791; see Marie-Catherine Sahut,
had a Robert red chalk drawing w i t h only three figures, showing t w o Les dossiers du Departement des Peintures: Le Louvre d'Hubert Robert, ex.
girls making o f f w i t h something taken from a cupboard ( H : 27.3 cm cat. (Musee du Louvre, Paris, 1979), p. 23, fig. 48.
[10 //]; W : 19.2 cm [77i6 ]; ibid., no. 44, p. 45, i l l . ) . The figure group
3 w
5. Andrew Robison, Piranesi, Early Architectural Fantasies: A Cata­
i n the undated drawing occurs w i t h only m i n o r changes i n a painting logue Raisonne of the Etchings (Washington, D.C., National Gallery o f
The Temptation of the Hermit, circa 1787 ( H : 59.7 cm [23V/]; W : 50.2 cm A r t and Chicago and London, The University o f Chicago Press,
[1974"]; present location u n k n o w n , formerly w i t h Wildenstein, Paris). 1986), no. 11, i l l .
Three other paintings are mentioned i n the literature, some o f which
 A Roman Masterpiece 121

Figure 5. H u b e r t R o b e r t (French, 1733-1808). Galerie, 1760. R e d c h a l k over black chalk.

H : 52 c m ( 2 0 7 " ) ; W : 63.8 c m (25V "). Paris, M u s e e d u L o u v r e , C a b i n e t
2 8 des
Dessins R.F. 14791.

Figure 6. G i a m b a t t i s t a Piranesi (Italian, 1720—1778). Vestibolo d'antico tempio from Prima parte di
architetture..., 1743. E n g r a v i n g . H : 25.7 c m (107s"); W : 35.6 c m (14"). Santa M o n i c a , T h e
G e t t y C e n t e r f o r the H i s t o r y o f A r t a n d the H u m a n i t i e s , L i b r a r y 401R M U Z .
122 Carlson

made o n the artist b y the i m p o s i n g m o n u m e n t s o f i n t r o d u c t i o n o f Neoclassicism as an alternative t o the

Rome's m o r e recent past. 6
A l s o i n f l u e n t i a l were the Rococo style. T h e y are n o t , however, the earliest ex­
w h o l l y fanciful conceits o f c o n t e m p o r a r y artists such as pressions o f dissatisfaction w i t h c u r r e n t taste. A t Paris 8

Piranesi or Robert's c o m p a t r i o t s Clerisseau and Challe, the designers o f decorative arts, rather t h a n the painters,
each o f w h o m used the vestiges o f Rome's imperial led the v a n g u a r d o f those i n s p i r e d b y classical sources.
heritage t o evoke the magnificence o f that vanished c i v ­ A l t h o u g h n o w o r k s b y R o b e r t f r o m his early years o f
ilization, t h e n k n o w n o n l y t h r o u g h some scant b u t study i n the French capital have been identified, i t is
p o w e r f u l l y m o v i n g remains. conceivable that he was aware o f this o p p o s i t i o n t o the
T h e decade o f the 1760s was the crucial, f o r m a t i v e p o p u l a r i t y o f the Rococo; his first recorded teacher,
phase o f the artist's early career, a p e r i o d d i v i d e d be­ R e n e - M i c h e l Slodtz, called M i c h e l - A n g e Slodtz, was a
t w e e n R o m e and later Paris. L i k e m a n y French artists, sculptor w h o s e w o r k s at times evidence a k n o w l e d g e o f
R o b e r t received m u c h o f his t r a i n i n g at the A c a d e m i e classical models.
de France δ Rome, t h e n housed i n the Palazzo M a n c i n i Robert's e n t r y i n t o the A c a d e m i e de France d i d n o t
o n the C o r s o rather t h a n its present l o c a t i o n i n the V i l l a f o l l o w the usual course, as he never c o m p e t e d for the
M e d i c i . N o r m a l l y a d m i s s i o n t o the A c a d e m i e was l i m ­ P r i x de Rome. Instead, his place at the A c a d e m i e was
i t e d t o P r i x de R o m e w i n n e r s , w h o before leaving for secured at the request o f a collector and patron,
R o m e first spent some t i m e perfecting t h e i r skills at the Etienne-Francois de C h o i s e u l , c o m t e de Stainville and
Ecole Royale des Eleves Proteges. I n t h e i r 1777 essay o n later the due de C h o i s e u l . T h r o u g h a d r o i t l y applied
the Academie, Denis D i d e r o t and Jean d ' A l e m b e r t pressure, i n 1754 R o b e r t was a l l o w e d t o live at the A c a ­
discuss the importance o f study i n Rome for the demie as an independent student w h o s e expenses were
y o u n g artist. paid i n i t i a l l y b y C h o i s e u l . Such c i r c u m v e n t i o n s o f n o r ­
m a l procedure were m o s t exceptional, and Charles
Y o u n g F r e n c h m e n w h o i n t e n d e d t o s t u d y the fine arts
N a t o i r e , t h e n director o f the school, was insistent that
h a d t o g o t o R o m e a n d r e m a i n there f o r a f a i r l y l o n g
the artist c o n f o r m t o the same regulations and courses
time. This is where the works of artists like
o f study as the other students. Choiseul's confidence i n
Michelangelo, Vignola, D o m e n i c h i n o , Raphael, and
his protege was c o n f i r m e d b y Robert's studious be­
those o f the ancient Greeks g i v e silent lessons m u c h
s u p e r i o r t o those that c o u l d be g i v e n b y o u r greatest
havior, his r a p i d progress, and the impressive q u a l i t y o f
m o d e r n masters. . . . F o r artists, I t a l y is t r u l y a classical his w o r k . T h u s w h e n a place became vacant as a regular
w o r l d . E v e r y t h i n g there attracts the painter's eye, e v ­ member, or pensionnaire, at the Academie, it was
e r y t h i n g teaches h i m , e v e r y t h i n g arouses his a t t e n t i o n . awarded t o h i m o n Natoire's s t r o n g r e c o m m e n d a t i o n .
A s i d e f r o m m o d e r n statues, w h a t a great n u m b e r o f T h e French student r e m a i n e d at the Palazzo M a n c i n i
ancient ones are c o n t a i n e d w i t h i n the w a l l s o f m a g n i f i ­ u n t i l the e n d o f O c t o b e r 1763, w h e n his t e r m expired.
cent R o m e ; these ancient statues b y the exact p r o p o r ­
However, other means o f support enabled Robert to
t i o n a n d the elegant v a r i e t y o f t h e i r f o r m s served as
stay i n R o m e u n t i l J u l y 24, 1765, w h e n he left to r e t u r n
m o d e l s f o r the artists o f recent p e r i o d s a n d m u s t serve
t o France. D u r i n g these years t w o Italian artists played
9

as m o d e l s f o r those o f a l l centuries! 7

dominant roles i n the f o r m a t i o n o f Robert's style.

It is possible that before l e a v i n g for Italy i n 1754 A m o n g f e l l o w artists, the single m o s t decisive contact
R o b e r t h a d some k n o w l e d g e o f and enthusiasm for the Robert made i n R o m e was his friendship w i t h G i o v a n n i
classical past. I n France at the t i m e a reaction had b e g u n Paolo P a n i n i , w h o gave lessons i n perspective at the
t o w h a t some critics described as the o v e r w r o u g h t o r n a ­ Academie. T h e Italian's decoratively arranged c o m p o s i ­
m e n t a t i o n and fantasy o f the rocaille. T w o articles b y tions o f antique and modern Roman monuments
Charles-Nicolas C o c h i n , w r i t t e n 1754—1755, together p r o v i d e d a m o d e l that R o b e r t adopted and m o d i f i e d as
w i t h his d e s c r i p t i o n o f the M a r q u i s de M a r i g n y ' s v o y ­ his o w n , u s i n g i t for the rest o f his life. Perhaps the
age t o Italy (1749—1751)—undertaken w i t h the author i n m o s t t e l l i n g evidence o f Robert's a d m i r a t i o n for his
attendance—are o f t e n considered t u r n i n g p o i n t s for the teacher is the c o l l e c t i o n o f m o r e t h a n t w e n t y - f i v e P a n i n i

6. The Getty's painting is reproduced by Andre Corboz i n Peinture are certainly illuminating for Robert's w o r k from the 1770s onward;
militante et architecture revolutionnaire: A propos du theme du tunnel chez however, there is no clear evidence that as a student i n Rome the artist
Hubert Robert (Basel and Stuttgart, 1978), p. 16, fig. 13. This important was aware o f such trends. I am indebted to Christopher Riopelle,
study traces many parallels between the architectural backgrounds o f Assistant Curator o f Paintings, The J. Paul Getty Museum, for b r i n g ­
Robert's paintings and current advanced architectural theory and prac­ ing the Corboz article to m y attention.
tice i n France, which advocated a severe columnar architecture based 7. Denis Diderot and Jean d'Alembert, Encyclopedie (Paris, 1777),
on antique prototypes for use i n public buildings. Corboz's arguments pp. 238—239 (my translation).
 A Roman Masterpiece 123

oils that were part o f the French artist's estate. Robert k n o w n activities and contacts a m o n g the antiquarians at
also k n e w Piranesi, w h o s e p r i n t m a k i n g w o r k s h o p o n Rome, b u t they do serve t o indicate some o f the attrac­
the C o r s o was d i r e c t l y across f r o m the Academie. T h e tions that i m p e l l e d h i m to r e m a i n there after his t e r m at
i m p r i n t made o n Robert b y Piranesi's grandiloquent the A c a d e m i e expired.
and megalomanic visions o f R o m e is m o r e d i f f i c u l t t o W i t h i n a year after his arrival i n Paris, Robert was
assess because Robert never w o r k e d i n an o v e r t l y P i - received as a m e m b e r o f the A c a d e m i e Royale de P e i n -
ranesian manner, a l t h o u g h certain d r a w i n g s m a y w e l l ture et de Sculpture o n J u l y 26, 1766. H i s reception
owe s o m e t h i n g t o the Italian artist's w o n d e r f u l l y evoca­ piece, an i m a g i n a r y v i e w o f the Porto d i Ripetta at
tive and rapidly executed i n k studies. To be sure, Rome, was w a r m l y praised b y D i d e r o t w h e n i t was
Robert's contacts at R o m e extended b e y o n d these t w o e x h i b i t e d at the Paris salon the f o l l o w i n g year ( a l t h o u g h
artists, b u t t h e i r example was pervasive and inescapable. n o t w i t h o u t some reservations, p a r t i c u l a r l y c o n c e r n i n g
T h e archaeological c l i m a t e at R o m e d u r i n g the 1750s the artist's figures). N o t w i t h s t a n d i n g these m i n o r cav­
and 1760s was p a r t i c u l a r l y s t i m u l a t i n g , n o t least because ils, Robert's p a i n t i n g i n s p i r e d Diderot's often cited anal­
excavations u n d e r t a k e n at P o m p e i i i n 1738 and H e r - ysis o f his o w n fascination w i t h ruins, an enthusiastic
c u l a n e u m i n 1748 b r o u g h t t o l i g h t s t a r t l i n g traces o f an o u t p o u r i n g that v i v i d l y captures the period's d e l i g h t i n
unsuspected c i v i l i z a t i o n o f great accomplishment. A s this subject matter.
k n o w l e d g e o f these discoveries spread across Europe,
T h e ideas aroused w i t h i n m e b y r u i n s are lofty. E v e r y ­
R o m e became m o r e than ever an antiquarians mecca.
t h i n g vanishes, e v e r y t h i n g perishes, e v e r y t h i n g passes
A m o n g the notable archaeological publications issued
away, the w o r l d alone remains, t i m e alone continues.
d u r i n g Robert's student years i n R o m e was Piranesi's
H o w o l d this w o r l d is! I w a l k b e t w e e n t w o eternities.
Delia magnificenza ed architettura de' Romani (1762), a d i a ­ W h e r e v e r I t u r n m y eyes, the objects that s u r r o u n d m e
tribe c h a m p i o n i n g the s u p e r i o r i t y o f Etruscan and R o ­ f o r e t e l l an e n d a n d h e l p m e resign m y s e l f t o the one
m a n architecture over that o f Greece. Robert m u s t have that awaits me. W h a t is m y ephemeral existence c o m ­
been aware o f this treatise since he is k n o w n t o have pared t o that o f this r o c k e r o d i n g away, o f this vale
been i n contact w i t h its author at this t i m e . T h e Ger­ g r o w i n g deeper, o f this forest s t a g g e r i n g w i t h age, o f
man philosopher and archaeologist Johann Joachim these masses h a n g i n g above m y head a n d shaking? I see

Winckelmann was also i n Rome writing his An­ the m a r b l e o f t o m b s c r u m b l i n g i n t o dust, a n d I d o n o t

merkungen über die Baukunst der Alten (1762) w i t h its de­ w a n t t o die! A n d I a m r e l u c t a n t t o give a mere tissue o f
fibres a n d flesh t o a general l a w that affects even bronze!
s c r i p t i o n o f the temples at Paestum and his m o r e fa­
A t o r r e n t sweeps n a t i o n s p e l l - m e l l d o w n i n t o the same
mous account o f Greek art Geschichte der Kunst des
abyss, a n d I , I alone c l a i m t o be able t o stop o n the edge
Altertums (1764). E v e n t h o u g h there is n o evidence that
a n d t o w i t h s t a n d the c u r r e n t g u s h i n g b y me! 11

Robert ever read the G e r m a n treatises, t h e i r p u b l i c a t i o n

signals the c l i m a t e o f i n q u i r y and speculation that was T h e generally favorable support o f this m o s t i n f l u e n t i a l
o c c u r r i n g t h r o u g h o u t Rome. critic effectively set the stage for Robert's succeeding
It remains unclear t o w h a t extent the students at the decades o f success and favorable acclaim, even i f f r o m
A c a d e m i e de France k n e w the f l o o d o f i n t e r n a t i o n a l t i m e t o t i m e D i d e r o t was sharply critical o f the artist's
visitors t o the city, a l t h o u g h i t is hard t o believe that the tendency t o be overly facile and careless i n the execu­
sociable F r e n c h m a n w o u l d have r e m a i n e d a l o o f f r o m t i o n o f his paintings.
t h e m . C e r t a i n l y R o b e r t saw at first h a n d the recovery o f W h e n Robert left R o m e i n 1765, he was i n f u l l c o m ­
Rome's classical past, n o t o n l y the m o n u m e n t s i n the m a n d o f a subject matter and style that he w o u l d use
c i t y and the s u r r o u n d i n g c o u n t r y s i d e , b u t remains as w i t h o u t radical m o d i f i c a t i o n for the remainder o f his
far afield as Naples ( w i t h side trips to P o m p e i i , H e r - career. T h e attraction o f his v i e w s o f Rome's past was
culaneum, and Pozzuoli) and Florence; the latter voyage never d r y l y archaeological; D i d e r o t n o t e d this i n his
was made quite l i k e l y i n the c o m p a n y o f Piranesi. 10
r e v i e w o f the Paris Salon o f 1767, praising the verve and
These b r i e f remarks do n o t f u l l y describe the artist's spirit w i t h w h i c h the artist painted or d r e w his scenes

8. For a discussion o f this subject, see Svend Eriksen, Early Neo- 10. Villa Medici Rome, Palais des Etats de Bourgogne Dijon, and
Classicism in France (London, 1974), pp. 29—51. See pp. 34—36 for a Hotel de Sully Paris, Piranese et les Francais (Rome, 1976), p. 305.
discussion o f Cochin's texts. 11. Denis Diderot, "Le Salon de 1767," i n Diderot: Salons, ed. Jean
9. For a summary o f Robert's years i n Rome, see Gabillot (supra, Seznec and Jean Adhemar (Oxford, 1975), vol. 3, pp. 228—229 (my
note 3), pp. 70—91, and Victor Carlson, Hubert Robert: Drawings and translation).
Watercolors, ex. cat. (Washington, D.C., National Gallery o f A r t ,
1978), pp. 20-21.
124 Carlson

o f R o m a n ruins, qualities that the critic a d m i r e d be­ for the critic p a r t i c u l a r l y appealing facets o f the artist's
cause they left r o o m for the play o f the viewer's i m a g ­ genius. These are precisely the o u t s t a n d i n g charac­
i n a t i o n . T h e grandeur and magnificence o f the artist's teristics o f the G e t t y p a i n t i n g , w h i c h D i d e r o t surely
c o n c e p t i o n o f r u i n s (to b o r r o w D i d e r o t ' s adjectives), w o u l d have described as one o f Robert's m o s t attrac­
expressed t h r o u g h a v i v i d and assured technique, were tive canvases.

Los Angeles C o u n t y M u s e u m o f A r t
 W h a t the Greeks were, was a reality, n o t a p r o m i s e .
—Shelley

True Illusions: Early Photographs of Athens

Andrew Szegedy-Maszak

O n e o f the m o s t i m p o r t a n t features o f the i n t e l l e c t u a l Getty's r i c h assortment o f n i n e t e e n t h - c e n t u r y v i e w s o f

life o f the m i d - n i n e t e e n t h c e n t u r y was an upsurge o f Greek antiquities: the F r e n c h - b o r n c o m m e r c i a l p h o ­
interest i n ancient Greece. A l t h o u g h there have recently tographer Felix B o n f i l s 3
and the A m e r i c a n d i p l o m a t ,
been t w o v e r y g o o d b o o k s o n the influence o f Greek author, and photographer W i l l i a m James Stillman. 4

culture o n V i c t o r i a n life, neither o f t h e m so m u c h as

1
B o t h m e n were p h o t o g r a p h i n g i n Athens i n the late
m e n t i o n s photography, and this o m i s s i o n i n s p i r e d the 1860s and early 1870s, yet even a c u r s o r y glance at t h e i r
present essay. The title originates i n a review by respective treatments o f the same subject (e.g., the Par­
W i l l i a m H a z l i t t o f some watercolors by H u g h W i l l i a m thenon, figs. 4, 13) reveals h o w different t h e i r ap­
"Grecian" Williams: "Some splenetic travellers have proaches c o u l d be. I n brief, B o n f i l s was an accom­
pretended that A t t i c a was dry, flat and barren. B u t i t is plished c o m m e r c i a l photographer, w h o made beautiful,
not so i n M r . W i l l i a m s ' s authentic draughts . . . and w e i f c o n v e n t i o n a l , images t o satisfy a b r o a d audience.
t h a n k h i m for r e s t o r i n g to us o u r o l d , and as i t appears, S t i l l m a n was an i n s p i r e d amateur w i t h a c o m p l e x p r i ­
true i l l u s i o n s . " T h e phrase " t r u e i l l u s i o n s " c o u l d serve
2
vate v i s i o n o f the Greeks and t h e i r relationship t o his
as a capsule d e s c r i p t i o n o f the w h o l e o f photography, own times. T h e w o r k o f these t w o m e n illustrates the
and i t is p a r t i c u l a r l y apt w h e n w e come to consider e x t r a o r d i n a r y range o f true illusions made available by
early photographs o f Greek antiquities. A t h e n s provides the photographers t o t h e i r audience.
an excellent case study; i t has a relatively s m a l l n u m b e r
o f i m p o r t a n t m o n u m e n t s , w i t h the A c r o p o l i s o b v i o u s l y
p r i m e a m o n g t h e m , yet the photographers w h o w o r k e d Despite the precision o f renderings made by artists
there brought to t h e i r v i e w s diverse themes, ap­ l i k e Jacques Carrey i n 1674 5
and James " A t h e n i a n "
proaches, and interpretations. Stuart and N i c h o l a s Revett (whose first volume o f
Extensive traditions, b o t h p i c t o r i a l and literary, u n ­ d r a w i n g s was published i n 1762), m o s t o f the p r e - V i c -
6

derlay the n i n e t e e n t h - c e n t u r y photographs o f classical t o r i a n d r a w i n g s and p a i n t i n g s o f A t h e n i a n sites were

sites. T h i s essay w i l l first e x a m i n e the c u l t u r a l context distorted b y l i t e r a r y concerns. A s F a n i - M a r i a T s i g a k o u
for the p h o t o g r a p h i c enterprise: w h a t d i d the people o f has noted, "Characteristically, written descriptions
the t i m e w a n t t o see i n t h e i r images o f the ancient often seem to have been m o r e accurate than p i c t o r i a l
w o r l d ? T h e last part o f the essay w i l l concentrate o n representations . . . i t was the f o r m a l i z e d , l i t e r a r y past,
t w o artists w h o are p a r t i c u l a r l y w e l l represented i n the not the present, that was the attraction o f Greece." 7

This article was begun i n the summer o f 1985 during m y tenure as oddly enough, Bonfils adds t w o pictures o f Constantinople and labels
guest scholar i n the Department o f Photographs o f the J. Paul Getty them as belonging to "Grece."
Museum. I owe a great debt o f gratitude to Weston J. Naef and the 4. W i l l i a m James Stillman, The Acropolis of Athens: Illustrated Pic­
other members o f the department, as well as to the staff o f the Getty's turesquely and Architecturally in Photography (London, 1870), w i t h one
Department o f Education and Academic Affairs, Photo Archive, A r ­ small photograph on the title page and twenty-five full-size plates.
chives o f the History o f A r t , and Library. M y thanks also to M a r ­ 5. Carrey traveled to Athens w i t h the French ambassador to the
guerite Waller and Ben Lifson for invaluable editorial advice. Turkish court and produced a set o f drawings, now i n the B i b l i o -
1. Richard Jenkyns, The Victorians and Ancient Greece (Cambridge, theque Nationale, Paris. They are the best documentation o f the
Mass., 1980); Frank Turner, The Greek Heritage in Victorian Britain Parthenon before 1687, when it was being used as a powder magazine
(New Haven, 1981). and suffered a direct hit from a Venetian shell.
2. W. Hazlitt, Essays on the Fine Arts (London, 1873), p. 144. 6. Stuart and Revett's travels and the publication o f their Antiq­
3. Felix Bonfils published t w o albums, five years apart, that i n ­ uities of Athens, Measured and Delineated were sponsored by the Society
cluded views o f Athens. Architecture Antique (Paris, 1872) contains o f Dilettanti, a group o f British artistocrats dedicated to the study o f
eight photographs o f Athens, and Souvenirs d'Orient—Album pitto- classical culture. See Jenkyns (supra, note 1), pp. 1—12, also James
resque des Sites, Villes et Ruines les plus remarquables de la Terre Osborn, "Travel Literature and the Rise o f Neo-Hellenism i n E n ­
Sainte (Alais, 1877) has ten. Each set also includes pictures made i n the gland," Bulletin of the New York Public Library 67 (1963), pp. 279-300.
Near East and Turkey. Souvenirs d'Orient was republished i n 1878 i n a 7. Fani-Maria Tsigakou, The Rediscovery of Greece (New Rochelle,
smaller—hence presumably cheaper—edition; i n this latter version, N Y , 1981), pp. 26, 28-29.
126 Szegedy-Maszak

Painters also l o v e d t o e x p l o i t whatever exotica they tographers were n o t , and t o appreciate t h e i r w o r k fully,
c o u l d f i n d or confect. James Stuart p r o d u c e d a p o r t r a i t i t is necessary t o sort o u t the influences that shaped
o f h i m s e l f , clad i n t u r b a n and robes, sketching the t h e i r picture m a k i n g . We m u s t first, therefore, under­
E r e c h t h e i o n , i n f r o n t o f w h i c h passes a s m a l l procession stand the l o c a t i o n o f Greece i n the m i d - n i n e t e e n t h -
consisting o f a T u r k i s h pasha, his son-in-law, the s o n - century imagination.
in-law's s m a l l daughter, and the girl's black slave. 8

O t h e r painters and d r a u g h t s m e n often enlivened t h e i r

depictions w i t h s i m i l a r i m a g i n a t i v e additions. W i t h the T h e rediscovery o f Greece was already w e l l under
i n v e n t i o n o f photography, however, the visual record w a y i n 1839 w h e n p h o t o g r a p h y was i n v e n t e d . W i t h i n
acquired a n e w p r i m a c y , and a n e w set o f standards the same year an entrepreneur n a m e d N . - M . P. L e r e -
developed for d o c u m e n t a r y precision. bours sent daguerreotypists t o Athens. H e t h e n had
W h e r e w e have evidence for a photographer's i n t e n ­ d r a u g h t s m e n convert t h e i r pictures i n t o aquatints and i n
t i o n , w e generally find that he c l a i m e d accuracy as his 1842 p u b l i s h e d the latter i n a c o l l e c t i o n w h o s e title,
c h i e f c o n t r i b u t i o n . Indeed, o n January 7, 1839, w h e n Excursions daguerriennes: Vues des monuments les plus
Francois A r a g o announced the i n v e n t i o n o f p h o t o g r a ­ remarquables du globe, p r o m i s e d " v i e w s o f the most
p h y i n the A c a d e m i e des Sciences i n Paris, he said that remarkable m o n u m e n t s o n earth." 13
T h i r t y - f i v e years
one o f its m o s t p r o m i s i n g applications was the precise later, the p h o t o g r a p h i c representation o f the "most
c o p y i n g o f antiquities, specifically the h i e r o g l y p h i c s remarkable" was s t i l l a major concern, as is s h o w n b y
of Egypt. 9
I t was t h o u g h t that p h o t o g r a p h y c o u l d re­ the t i t l e o f one o f B o n f i l s ' great collections, Souvenirs
m a i n unaffected b y the prejudices and preferences o f d'Orient—Album pittoresque des Sites, Villes et Ruines les
the artist. W i l l i a m H e n r y Fox Talbot, the i n v e n t o r o f plus remarquables de la Terre Sainte. F r o m the age o f
the paper negative process, w r o t e o f the camera that Odysseus o n , the prospect o f seeing the w o r l d ' s w o n ­
" t h e i n s t r u m e n t chronicles whatever i t sees, and cer­ ders has been one o f the most powerful s t i m u l i for travel­
t a i n l y w o u l d delineate a c h i m n e y - p o t or a c h i m n e y ­ ers, and the early photographers and their audience were
sweeper w i t h the same i m p a r t i a l i t y as i t w o u l d the n o t i m m u n e t o its appeal. T h e lure o f the marvelous,
A p o l l o o f Belvedere." 10
T h i r t y years later, w h e n W i l ­ leavened w i t h religious and c u l t u r a l piety, was an o r i g ­
l i a m James S t i l l m a n c o m p o s e d the i n t r o d u c t o r y note t o i n a l and e n d u r i n g m o t i v e for the p h o t o g r a p h i c explora­
his a l b u m , l i t t l e had changed. S t i l l m a n states that his t i o n o f ancient lands.
v i e w s "have been left . . . u n t o u c h e d . . . so that n o t h ­ Set apart b y its l o c a t i o n , language, customs, and
i n g s h o u l d d i m i n i s h t h e i r accuracy." 11
p o l i t i c a l circumstances, Greece seemed t o b e l o n g b o t h
O n l y relatively recently have w e come t o a d m i t that t o E u r o p e and t o the N e a r East. 14
We have already n o t e d
p h o t o g r a p h y is c o n t r o l l e d b y p i c t o r i a l conventions l i k e the O r i e n t a l i s m i n Stuart's p a i n t i n g , b u t t o repeat, the
any other visual m e d i u m ; 1 2
for m o s t n i n e t e e n t h - c e n t u r y " O r i e n t a l s " are Turks, n o t Greeks. 15
I t was this a m b i g u ­
viewers the p h o t o g r a p h was conceived o f as a trans­ i t y that a l l o w e d for the i n c l u s i o n o f Greece i n p h o ­
parent w i n d o w o n t o an objective reality. A l t h o u g h the tographic d o c u m e n t a t i o n o f the H o l y L a n d . For the
camera, t o use Talbot's w o r d , was i m p a r t i a l , the p h o - B r i t i s h travel photographer Francis F r i t h the fact that

8. Ibid., p. 32, fig. I I . 12. O n this subject i n general, the indispensable discussion is by
9. See Aaron Scharf, Art and Photography (New York, 1974), pp. Ernst Gombrich, Art and Illusion, 3rd ed. (London, 1968).
25—26; see also Louis Vaczek and Gail Buckland, Travelers in Ancient 13. N . — M . P. Lerebours, ed., Excursions daguerriennes: Vues des
Lands: A Portrait of the Middle East 1839-1919 (Boston, 1981), p. 34, and monuments les plus remarquables du globe (Paris, 1840—1842). I n addition
more generally on photography and archaeology i n the Middle East, to Athens, Lerebours dispatched his artists to Egypt, Nubia, the H o l y
pp. 76—77. The French calotypist Eugene Piot is credited w i t h being Land, and most countries i n Europe.
the first actually to use photography to provide precise documenta­ 14. As Jenkyns observes, Greece "was near enough to be acces­
tion o f antiquities; he worked i n Italy i n the late 1840s (publishing a sible, remote enough to be exotic, w i t h a soupcon o f danger to add
selection entitled Lltalie Monumentale i n 1851) and then i n Greece a spice to the adventure" (supra, note 1), p. 4.
few years later. O n Piot, see Andre Jammes and Eugenia Parry Janis, 15. A similar phenomenon appears a century later i n the Shaw
The Art of Trench Calotype (Princeton, 1983), pp. 46-48, 234-235. album, which was compiled i n the late 1860s or early 1870s by a
10. The remark is made i n Talbot's introduction to his Pencil of wealthy and knowledgeable traveler, whose name is all that is k n o w n
Nature (London, 1844—1846), a collection o f twenty-four calotypes o f h i m . It includes photos taken i n Greece and the Near East. It
(salt prints from paper negatives). contains many ethnographic portraits o f Turks—warriors, dervishes,
11. I n the case o f Stillman s album, as w i t h many nineteenth-cen­ members o f the royal harem—but none o f Greeks, w h o presumably
tury albums, lack o f pagination makes an exact reference impos­ were not sufficiently "exotic" to warrant that k i n d o f attention on the
sible. Unless otherwise indicated, this is also the case w i t h excerpts part o f a collector. Moreover, the Shaw album is not unique i n this
from additional photographic albums quoted throughout the present regard. The Getty owns an anonymous travel album (see infra, note
article. 39) that has exactly the same balance, or rather imbalance, between
 True Illusions 127

Paul preached o n the Areopagus (Acts 17:22) was reason the P r i x de R o m e had been i n existence since before
e n o u g h t o p u t v i e w s o f Athens i n t o a c o l l e c t i o n e n t i t l e d the French R e v o l u t i o n , i t was n o t u n t i l 1845 that a w i n ­
Photo-Pictures from the Lands of the Bible.16
I n the same ner was p e r m i t t e d t o go t o Greece. T h e Ecole Fran­
way, as n o t e d above, Greece f o r m s part o f F e l i x B o n f i l s ' chise d'Athenes was f o u n d e d i n 1846, yet i t was almost
Terre Sainte. T h e paradox is that Greece is neither assim­ t h i r t y years before its students were a l l o w e d t o i n v e s t i ­
ilated into Christian Europe nor portrayed in its gate any sites outside the c i t y itself. Gradually, t h o u g h ,
O r t h o d o x reality. Instead i t is l i m i n a l , i d e n t i f i e d as a f r o m the 1820s o n Greece d i d overtake Rome, and its
h y b r i d that combines the best o f paganism w i t h early attraction was made manifest b y the large n u m b e r o f
Christianity. painters, architects, and photographers w h o chose t o
Greece was unusual i n other ways as w e l l . D r . Johnson w o r k there. 20

had declared "a m a n w h o has n o t been i n Italy is always

conscious o f an inferiority, f r o m his n o t h a v i n g seen
w h a t i t is expected a m a n s h o u l d see." 17
U n l i k e Italy, H e n r y C o o k , a painter and w r i t e r , traveled t h r o u g h
however, Greece had never become a requisite stop o n Greece i n 1849/50 r e c o r d i n g his impressions i n a series
the G r a n d Tour. A small b u t t e l l i n g sign o f the i n i t i a l o f short articles. 21
H e reports that seeing the m o n u ­
d o m i n a n c e o f R o m e over Greece i n the Western E u r o ­ ments i n s p i r e d t w o feelings o f almost equal power, " t h e
pean perception o f the ancient w o r l d is the fact that, at first, an o v e r w h e l m i n g i m p r e s s i o n o f beauty and g r a n ­
least for the B r i t i s h and the French, the names o f the deur, the other (succeeding i m m e d i a t e l y ) , a sense o f
O l y m p i a n gods were always L a t i n i z e d : Athena's Par­ utter and irrepressible sadness." 22
T h e m o n u m e n t s thus
t h e n o n is the temple o f M i n e r v a , Zeus O l y m p i o s is became part o f the sublime, i n s p i r i n g p h i l o s o p h i c a l or
Jupiter, Ares is M a r s , D e m e t e r is Ceres, and so o n . sentimental reflection o n the depredations o f time.
M o r e i m p o r t a n t l y , m u c h o f Western Europe's contact Here, i n the direct t r a d i t i o n o f R o m a n t i c p h i l h e l l e n i s m ,
w i t h classical a n t i q u i t y had s p r u n g f r o m the use o f clas­ w e f i n d the sense o f the ruins as evocative survivals o f
sical canons i n b u i l d i n g s l i k e Palladian villas or the great the "classical." B y r o n had expressed the same feelings
public edifices i n major cities. Students o f architecture, i n " T h e Giaour" (1813): "Such is the aspect o f this shore;/
such as the w i n n e r s o f the P r i x de Rome, w e n t t o Italy 'Tis Greece, b u t l i v i n g Greece n o m o r e ! . . . / Shrine o f the
for t h e i r classical models. Greece was t o o far away and m i g h t y ! can i t be,/ T h a t this is a l l remains o f thee?" 23

too w i l d . 1 8
I t is true e n o u g h that i n the early part o f the M o s t o f the photographs f r o m Athens are general
n i n e t e e n t h century, travel i n the Aegean was m o r e haz­ views rather than fragments, w h o l e b u i l d i n g s rather
ardous than i n other parts o f Europe. I n 1812, W i l l i a m than architectural or sculptural details, possibly because
G e l l , a m e m b e r o f the Society o f D i l e t t a n t i , w r o t e t o they were meant for the armchair traveler rather than
the secretary o f the society that he and his c o m p a n i o n the specialist. 24
W h i l e photographers c o u l d emphasize
w i s h e d to make the voyage f r o m A t h e n s t o T u r k e y b u t either the archaeological or the picturesque, a l l those
were forced t o postpone t h e i r t r i p because o f the threat w h o made architectural views i n Greece were aware that
f r o m pirates and privateers. 19
E v e n after such dangers they were dealing w i t h the scantiest remnants o f w h a t
had abated, some u n c e r t a i n t y l i n g e r e d o n . Although had actually existed. T h e c o m p a r i s o n was d r a w n be-

ethnographic studies from Turkey and unpopulated views o f the review by Bernard Knox, "Visions o f the Grand Prize," New York
Greek monuments. This is not to say that there were no genre scenes Review of Books 31, no. 14 (1984), pp. 21-28.
made i n Greece—many are reproduced i n a recent catalogue from the 19. The letter is i n the Archives o f the History o f A r t o f the Getty
Benaki Museum, Athens 1839-1900—A Photographic Record (Athens, Center for the History o f A r t and the Humanities (#840199).
1985)—but they do not seem to have interested the typical western 20. Turner (supra, note 1) discusses the reasons behind the shift i n
traveler. The Shaw album is i n the collection o f Daniel Wolf, and I am interest from Rome to Greece and ascribes it to the combination o f a
grateful to h i m for having given me the opportunity to examine it. search for new cultural patterns, the influence o f the new German
16. This is a portfolio o f views selected from the larger series called philology—which revolutionized the understanding o f the ancient
Friths Europe and the East: Photo Pictures (Reigate, n.d.); i n the port­ world—and "the stirring o f liberal democracy that began w i t h the
folio each picture is captioned w i t h a biblical verse. American Revolution" (p. 3).
17. James Boswell, Life of Samuel Johnson LL.D, ed. C. Shorter 21. "The Present State o f the Monuments o f Greece," The Art
(New York, 1922), vol. 5, pp. 63-64. Journal 13 (1851), pp. 130-132, 187-188, 228-229.
18. It was thought o f as "an exotic Oriental country, which pre­ 22. Ibid., p. 131.
sented physical danger and sensual seduction better avoided by the 23. "The Giaour: A Fragment o f a Turkish Tale," The Works of Lord
serious student"; see The Museum o f Fine Arts, Houston, Ecole N a ­ Byron, ed. E. H . Coleridge (New York, 1904), vol. 3, pp. 90-91, lines
tionale Superieure des Beaux-Arts, Paris, et al., Paris-Rome-Athens: 90—91, 106—107. Tsigakou (supra, note 7), p. 41, reproduces a water-
Travels in Greece by French Architects in the Nineteenth and Twentieth color o f 1822 by Turner, which uses Byron's lines as an epigraph.
Centuries, ex. cat. (Houston, 1982), p. x v i i i . I owe to this publication 24. A very different approach is exemplified by the work o f A u ­
all m y information about the French studies i n Greece. See also the guste Salzmann, w h o photographed i n Jerusalem i n the early 1850s
128 Szegedy-Maszak

Figure 1. The Parthenon in Athens, 1842. A q u a t i n t b y Figure 2. The Acropolis in Athens, 1842. A q u a t i n t b y
Frederic Martens from a daguerreotype. A . A p p e r t f r o m a d a g u e r r e o t y p e . H : 14.1 c m
H : 15 c m ( 5 / " ) W : 20.3 c m ( 7 / i " ) . M a l i b u ,
7
8 ;
15
6 (5 /i ")
9
6 ; W: 19.2 cm (7 A ").
9
6 Malibu, The
T h e J. Paul G e t t y M u s e u m 84.XB.U87.24. J. Paul G e t t y M u s e u m 84.XB.U87.23.

t w e e n the physical r u i n s and the fact that w e have o n l y a synecdochic fragments o f some larger entity, the " A n ­
fraction o f ancient l i t e r a r y p r o d u c t i o n . 2 5
T h e pictures, tique." 26
L i k e t h e i r l i t e r a r y counterparts, b o t h the r u i n s
therefore, serve b o t h t o preserve the treasures that sur­ and the photographs reflect the entire social and artistic
v i v e and t o elegize vanished glories. I n the note a c c o m ­ c o m p l e x w i t h i n w h i c h they were created.
p a n y i n g the v i e w o f the Parthenon i n Excursions daguer- A n o t h e r p o w e r f u l i m p e t u s b e h i n d this k i n d o f p h o ­
riennes (fig. 1), J o l y de L o t b i n i e r e gives voice t o the t o g r a p h y was the m e d i u m ' s struggle t o establish i t s e l f
p r i d e and excitement aroused b y the n e w i n v e n t i o n : as a l e g i t i m a t e expression o f h i g h culture. I t h a d t o es­
" T h i s v i e w was made i n the a u t u m n o f 1839; I m e n t i o n cape the s t i g m a o f b e i n g , i n Peter Galassi's memorable
this fact because i t was the first t i m e the i m a g e o f the phrase, "a bastard left b y science o n the doorstep o f
P a r t h e n o n was fixed o n a plate b y Daguerre's b r i l l i a n t art." 27
B y p h o t o g r a p h i n g the a c k n o w l e d g e d master­
i n v e n t i o n , and because each year can b r i n g n e w changes pieces o f the w e s t e r n t r a d i t i o n , photographers staked
i n the appearance o f these famous r u i n s . " D e L o t b i n i e r e a c l a i m for themselves w i t h i n that t r a d i t i o n and c o n ­
m e n t i o n s the damages the b u i l d i n g had sustained, m o d ­ firmed the seriousness o f t h e i r o w n activity.
e r n efforts t o restore i t , and t h e n significantly l i n k s the I n spite of, or perhaps because of, t h e i r ostensible
archaeologists (and b y i m p l i c a t i o n , the photographers) s u p e r i o r i t y as literal documents, the p h o t o g r a p h s — l i k e
t o the ancient Greeks: " W h a t glory, w h a t pleasure, for the d r a w i n g s and p a i n t i n g s that preceded them—were
the one w h o can b r i n g back this w o r k , the masterpiece made u n d e r the spell o f the ancient texts. Photographs
o f Pheidias, o f Pericles; his name w o u l d thus be j o i n e d offered a n e w o p p o r t u n i t y t o gratify the desire for first­
t o theirs." F r o m this perspective, even overall v i e w s of, h a n d experience o f the places that had been i m m o r ­
for example, the A c r o p o l i s , can themselves be seen as talized i n the masterpieces o f classical l i t e r a t u r e . 28
Like

and shortly afterward published t w o large selections o f architectural (1859), p. 217.

studies. As noted i n the study by Jammes and Janis, "Salzmanns 26. Peter Galassi has commented that "the sense o f a picture as a
photographs o f details are selectively arranged like collages o f ma­ detail, carved from a greater, more complex whole, is a characteristic,
sonry, architectural ornament and shadow which defy reference to a original feature o f nineteenth-century art. Perhaps most symptomatic
larger context" (supra, note 9), pp. 246—248. See also Richard Bretell is the phenomenon o f close variant views o f the same site." See Peter
et al., Paper and Light: The Calotype in France and Great Britain Galassi, Before Photography: Painting and the Invention of Photography
1839-1870 (Boston, 1984), pp. 168-172. (New York, 1981), p. 26.
25. C o m m e n t i n g on the views o f antiquities made by Eugene Piot, 27. Ibid., p. 12.
the critic Philippe B u r t y wrote that they were " C o m m e ces lambeaux 28. Tsigakou comments, "European artists and their clients shared
de manuscrit dont nous retrouvons par hasard une scene, un mono­ the belief that certain places which had been dignified by past glory
logue, u n choeur interrompu au vers le plus pathetique." (Like those possessed such powers o f suggestion that their successful depiction
scraps o f manuscript i n which we chance to find a scene, a mono­ could stimulate the imagination and make more v i v i d the impression
logue, a chorus, cut o f f at the most touching verse.) "Exposition de la o f what had happened there" (supra, note 7), p. 27. See also T i m o t h y
Societe franchise de Photographie," Gazette des beaux arts 1, no. 2 Webb, English Romantic Hellenism 1720-1824 (Manchester, 1982), es-
 True Illusions 129

de L o t b i n i e r e , Paul de La Garenne w r o t e an essay for meant t o recall the conventions o f p a i n t i n g or t o i n d i ­

Excursions daguerriennes, i n c o n j u n c t i o n w i t h the l o n g cate scale seem true b u t insufficient. A m o r e expansive
v i e w o f the A c r o p o l i s (fig. 2): " W h e n I open the h i s t o r y i n t e r p r e t a t i o n has t o take i n t o account the r h e t o r i c o f
o f A t h e n s i n the t i m e o f Pericles, the m o s t b r i l l i a n t p h o t o g r a p h y i t s e l f and its peculiar r e l a t i o n to the o b ­
spectacle unfolds before m y eyes: the w h o l e c i t y is f u l l jects i t depicts. A l t h o u g h p a i n t i n g s b y an artist l i k e
or orators, artists, r e n o w n e d w a r r i o r s . " L i k e w i s e , i t was G e r φ m e , for example, c o n t a i n a s t u n n i n g a m o u n t o f
believed that one c o u l d n o t , for example, t h o r o u g h l y detail, the v i e w e r is always aware that the scene depicted
understand H o m e r u n t i l one had s t o o d o n the p l a i n is a p r o d u c t o f the i m a g i n a t i o n and the h a n d o f the
outside Troy, for, i n the w o r d s o f R o b e r t W o o d , "the artist. T h e r e d i d n o t have t o be an actual event that
Iliad has n e w beauty o n the banks o f the Scamander." 29
corresponded t o the p a i n t e d image. I n the presence o f
I n t h e i r a b s o r p t i o n i n a l l t h i n g s Greek, the p h o t o g r a ­ m o s t photographs, o n the other hand, the v i e w e r be­
phers and t h e i r audience seem t o have been l i t t l e t r o u ­ lieves i n the literal veracity o f the rendering, or at least
bled b y the difference b e t w e e n h i s t o r y and m y t h o l o g y i n the existence " o u t there" o f the objects recorded.
The locations made famous i n epic and tragedy shared Paintings and d r a w i n g s , n o m a t t e r h o w accurate, always
an appeal equal t o those o f ancient m i l i t a r y campaigns have the character o f i l l u s t r a t i o n , b u t photographs serve
or p o l i t i c a l debates as subjects o f photographs. D e l p h i , b o t h as i l l u s t r a t i o n and as evidence. A l t h o u g h w e have
Mycenae, C o r i n t h , A r g o s , and, o f course, A t h e n s were become less credulous about the factual status o f the
all depicted b y n u m e r o u s photographers b o t h foreign p h o t o g r a p h i c image, the n i n e t e e n t h - c e n t u r y v i e w e r d i d
and domestic. 30
Indeed an allusion t o the greatness o f not share such s k e p t i c i s m . 32

times past occasionally compensates for some mediocre A l l this has a p a r t i c u l a r p o i n t w h e n photographs have
imagery. I n the w o r l d o f V i c t o r i a n photography, and been taken i n a l a n d as l i t t l e k n o w n as Greece. W h e n the
even for us today, an u n d i s t i n g u i s h e d seascape takes o n figures i n a p h o t o g r a p h were identifiably western and
new resonance w i t h the i n f o r m a t i o n that i t is Salamis, m i d d l e class (hence able t o afford the expense o f the
and a d u l l picture o f an e m p t y field is transformed i n t o t r i p ) , t h e i r presence created a sense o f i d e n t i f i c a t i o n o n
a t e l l i n g c u l t u r a l and historical d o c u m e n t w i t h the s i m ­ the part o f w o u l d - b e travelers and promoted the
ple c a p t i o n " M a r a t h o n . " 3 1
acquisition o f f i r s t - h a n d acquaintance with classical
I n c l u d e d i n the G e t t y c o l l e c t i o n is a splendid copy o f culture. Figures i n local costume were p a r t i c i p a t i n g i n
Lerebours' Excursions daguerriennes. T h e d a g u e r r e o t y p - another kind o f historical romance, one that both
ists' o r i g i n a l plates have l o n g since disappeared, yet emphasized c u l t u r a l difference and p r i v i l e g e d the m y s ­
one gets a sense o f " p h o t o g r a p h i c seeing," p a r t i c u l a r l y tique o f c o n t i n u i t y w i t h i n change. I n either case, the
i n the v i e w o f the Parthenon, w h i c h includes a d e c i d ­ sites become stage sets, and the presence o f actors is
edly non-classical shed d i r e c t l y i n f r o n t o f the t e m p l e simultaneously provocative and reassuring. Without
(fig. 1). I n m a n y o f the other pictures i n the b o o k , r o b b i n g the l a n d o f its unusual qualities, photographs
Lerebours' craftsmen added figures w h e n c o p y i n g the nonetheless domesticated i t and conveyed the message
daguerreotypes and translating t h e m i n t o engravings, that i t was a safe place t o go.
yet there are n o such additions i n any o f the pictures I n general the n i n e t e e n t h - c e n t u r y photographs f r o m
f r o m Athens. Greece t e n d t o have fewer figures i n t h e m than v i e w s
I n fact, the w h o l e issue o f the i n c l u s i o n o f people f r o m R o m e , the H o l y L a n d , or elsewhere i n the M e d i ­
i n n i n e t e e n t h - c e n t u r y landscape photographs deserves terranean. Part o f the reason, as discussed above, is that
m o r e a t t e n t i o n . T h e standard explanations that they are c o n t e m p o r a r y Greeks were n o t t h o u g h t t o be as exotic

pecially pp. 1—6. his preface to Bonfils' Souvenirs d'Orient: "Le philosophe et le penseur
29. The Ruins of Palmyra (London, 1753), preface, unpaginated. The voudront eux-memes se recueillir devant ces vieux temoins des ages
remark is quoted by Jenkyns (supra, note 1), p. 7. Jenkyns' silence on ecoules qui racontent l'histoire mieux que l'histoire elle-meme." (The
the topic o f photography is all the more difficult to understand i n philosopher and the intellectual w i l l wish to stop and reflect before
view o f his compelling account o f the importance accorded by the these old traces o f vanished ages, which relate history better than
Victorians to seeing the original sites connected w i t h Greek literature. history itself.) Photographs o f Salamis and Marathon are included i n
30. A m o n g the earliest photographers i n Greece were the da- the Shaw album (supra, note 15).
guerreo typists included i n Lerebours' Excursions daguerriennes 32. Again we may cite Charvet's remarks on Bonfils (cf note 31):
(1840—1842) and Baron Gros (1850). Early calotypists included George "Devant ces tableaux prestigieux, l'illusion est complete, et Ton
Bridges (1850), Alfred N o r m a n d (1851), Eugene Piot (1851-1852), croirait se trouver en presence de la nature elle-meme, tellement 1'ar­
Jean Walther (1851), and Claudius Wheelhouse (1850-1851). See Gary tiste a su mettre d'intelligence et de g o ٧ t au service de son art."
Edwards, "Foreign Photographers i n Greece," i n the Benaki Museum (Before these illustrious pictures, the illusion is complete; one could
catalogue (supra, note 15), pp. 16—24. believe that one was i n the presence o f nature herself, so well has the
31. G. Charvet makes explicit this function o f the photographs i n artist put intelligence and taste i n the service o f his art.)
130 Szegedy-Maszak

as the inhabitants o f the N e a r East. I n a d d i t i o n , the " u n i t a r y " views, that is, o f an entire b u i l d i n g or at least
c u l t u r a l i m p o r t a n c e o f the Greek m o n u m e n t s gave rise an entire side. Moreover, there was a f a i r l y restricted
t o a k i n d o f deference, or even reverence. I t is as i f the canon o f b u i l d i n g s and even o f v i e w s o f these b u i l d i n g s .
photographers w i s h e d t o present the classical ruins as T h e earliest p h o t o g r a p h i c v i e w s o f the " r u i n s o f
relatively free f r o m i n t r u s i o n b y the m o d e r n w o r l d . A t h e n s " are the same as those o f Spon and Wheler, and
To s u m m a r i z e , p h o t o g r a p h y played t w o seemingly the set does n o t change appreciably for the next quarter
c o n t r a d i c t o r y b u t actually c o m p l e m e n t a r y roles i n m a k ­ century. 37
A n excellent example is afforded b y the t e m ­
i n g Greece m o r e accessible t o the w o r l d . I t afforded ple o f Zeus O l y m p i o s , almost always shot f r o m the east
vicarious g r a t i f i c a t i o n o f the need to see e x t r a o r d i n a r y so as to emphasize the e n o r m o u s h e i g h t o f its c o l u m n s
places and at the same t i m e encouraged travel t o those and h i g h l i g h t the A c r o p o l i s h o v e r i n g b e h i n d i t . Such
v e r y places. O f course, photographs also came t o serve conventions were established as early as the Excursions
as the m o s t c o m m o n trophies and souvenirs o f the daguerriennes (fig. 2). Some o f t h e m were "self-evident,"
voyage. T h e m e d i u m that began b y p r o m i s i n g the re­ w h i l e others were b o r r o w e d f r o m p a i n t i n g . 3 8
We m i g h t
markable eventually b r o u g h t its subjects i n t o the r e a l m compare this w i t h the i m p u l s e o f n i n e t e e n t h - c e n t u r y
o f the ordinary. landscape p h o t o g r a p h y i n the U n i t e d States, where
there was, f o r e x a m p l e , a u n i v e r s a l l y accepted "best
general v i e w " o f Y o s e m i t e . 39

It is w o r t h repeating that the early photographers o f F e l i x B o n f i l s and W i l l i a m James S t i l l m a n were w o r k ­

Greece were heirs t o a l o n g p i c t o r i a l t r a d i t i o n . Jacob i n g largely i n the t w o decades f r o m 1860 t o 1880, w h e n
Spon, a French physician, and George Wheler, a B r i t i s h p h o t o g r a p h y had reached its m a t u r i t y , and t h e i r pictures
naturalist, made a t o u r t h r o u g h Italy, Greece, and the e x h i b i t almost all the features that have been described
Levant i n the mid-1670s. I n 1678 Spon p u b l i s h e d an ac­ earlier. B o n f i l s was b o r n i n France o n M a r c h 6, 1831. I n
c o u n t o f t h e i r j o u r n e y i l l u s t r a t e d w i t h engravings made 1866 he m o v e d t o B e i r u t and established a p h o t o g r a p h y
o n the basis o f his o w n d r a w i n g s . 33
W h e n the t w o m e n studio, specializing i n architectural and ethnographic
were i n A t h e n s i n 1676, they saw the A c r o p o l i s w i t h views o f the M i d d l e East. 40
Later, he was j o i n e d b y his
the Propylaea, E r e c h t h e i o n , Parthenon, and t e m p l e o f son, A d r i e n , w h o c o n t i n u e d the o p e r a t i o n after his
A t h e n a N i k e ; the T h e s e i o n ; 34
the choregic m o n u m e n t father's r e t i r e m e n t i n 1878. T h e i r oeuvre represents
o f Lysicrates; the T o w e r o f the W i n d s ; and the A r c h o f c o m m e r c i a l w o r k o f h i g h q u a l i t y and is thus a v a l u ­
Hadrian. M a r i e - C h r i s t i n e H e l l m a n n and Philippe Fraicse able i n d i c a t o r for p o p u l a r taste o f the t i m e .
note: "Along with Philopappos's Monument, this Felix Bonfils published two albums, five years
g r o u p o f b u i l d i n g s f o r m e d , at the t i m e , 'the r u i n s o f apart, that i n c l u d e d v i e w s o f A t h e n s : Architecture An­
Athens,' w i t h o u t any clear d i s t i n c t i o n b e i n g made be­ tique (1872—eight photographs o f Athens) and Souve­
t w e e n the Greek and R o m a n p e r i o d s . " 35
The nine­ nirs d'Orient (his last w o r k , 1877—ten photographs o f
t e e n t h - c e n t u r y audience i d e n t i f i e d ancient architecture Athens). 41
B o t h sets are m o r e or less standard collec­
solely w i t h the p u b l i c and m o n u m e n t a l , and the A c r o p ­ tions o f professionally made travel scenes, a l t h o u g h p r e ­
olis—with some allowance for the Olympeion, the sented i n the f o r m o f lavish f o l i o volumes w i t h near-
T h e s e i o n , and one or t w o other sites—was believed t o i m p e r i a l size plates. O n c e again w e see the p o w e r o f the
represent the pinnacle o f the Greek a c c o m p l i s h m e n t . 36
canon; b o t h sets c o n t a i n v i e w s o f the Parthenon, the
A s n o t e d above, m o s t o f the p h o t o g r a p h i c images are E r e c h t h e i o n ( t w o each, one a m o r e general d e p i c t i o n

33. Jacob Spon, Voyage dTtalie, de Dalmatie, de Grece et du Levant thought to contain the very essence o f Greek architecture." Ibid.,
(Lyons, 1678). Tsigakou remarks that "Spon and Wheler were, i n fact, p. 34.
the first travellers to write about Greece i n a way that combined 37. A m o n g the pictures i n the Getty collection there are three
scholarship w i t h accurate observation" (supra, note 7), p. 18, see also views attributed to P. Margaritis, a local Athenian photographer.
p. 192, and Osborn (supra, note 6), and David Constantine, Early There is a general view o f the Acropolis from the south, a frontal
Greek Travellers and the Hellenic Ideal (Cambridge, 1984), especially study o f the temple o f Athena Nike, and the interior (east) side o f the
pp. 7-33. Propylaea w i t h the Venetian tower beyond. Interestingly, there is
34. This is the nineteenth-century name for the temple overlook­ nothing w i t h i n the images themselves that w o u l d identify their
ing the west side o f the Athenian Agora. Scholars n o w unanimously maker as Greek. I began this study w i t h the impression that there
identify it as a temple o f Hephaistos and call it the Hephaisteion. I n might be discernible variations i n the "national character" o f the
this paper I w i l l use the older appellation because that is how i t views by photographers from different countries. Now, however, it
appears i n the photographers' captions. O n the controversy, see R. E. seems to me that the canon was strong enough to override any such
Wycherley, The Stones of Athens (Princeton, 1978), pp. 68, 97. variations that might have existed.
35. Paris-Rome-Athens catalogue (supra, note 18), p. 25. 38. H e n r y Cook (cf. note 21) painted Athens from the road to
36. "The Athenian Acropolis and its different buildings [were] Eleusis and described this view as giving "perhaps the most beautiful
 True Illusions 131

Figure 3. F e l i x B o n f i l s (French, 1831-1885). The Parthe­ Figure 4. F e l i x B o n f i l s (French, 1831-1885). Greece: The
non As Seen from the Propylaea—Athens, circa Parthenon in Athens, circa 1877. A l b u m e n p r i n t .
1872. A l b u m e n p r i n t . H : 22.5 c m (87s"); W : H : 23.1 c m (9V "); W : 28.4 c m ( l l W ) . M a l i b u ,
8

29.2 c m (1IV2"). M a l i b u , T h e J. Paul Getty T h e J. Paul G e t t y M u s e u m 84.XO.1167.41.

M u s e u m 84.XM.422.37.

and the other a close-up o f the caryatids), the T h e s e i o n , w i t h a y o u n g b o y placed i n the front r o w as a sample
the theater o f D i o n y s u s , and the choregic m o n u m e n t o f spectator. I n r e w o r k i n g this v i e w (fig. 6), B o n f i l s moves
Lysicrates. B o n f i l s , however, d i d n o t reuse his o l d nega­ his camera u p i n t o the seating area and makes the cen­
tives b u t made n e w pictures for each site, and so w e are tral element o f the picture the shed erected i n the m i d ­
p r o v i d e d w i t h a revealing g l i m p s e i n t o the development dle o f the orchestra to house the w o r k m e n ' s tools. T h e
o f his w o r k i n g methods. spectator is s t i l l i n c l u d e d , b u t his presence is n o w m u c h
Sometimes the differences are m i n o r . For example, less i m p o r t a n t as a p i c t o r i a l element.
the views o f the T h e s e i o n are taken f r o m s l i g h t l y d i f ­ Perhaps even m o r e s t r i k i n g is B o n f i l s ' reinterpreta-
ferent angles, w i t h the later one i n c l u d i n g somewhat t i o n o f the E r e c h t h e i o n . A s n o t e d above, b o t h albums
m o r e o f the s u r r o u n d i n g landscape. T h e Parthenon is c o n t a i n t w o v i e w s o f this edifice, one m o r e general and
seen f r o m almost exactly the same vantage p o i n t i n the other a close-up. I n Architecture Antique, however,
b o t h versions, b u t the f o r e g r o u n d o f the later picture is the general v i e w contains o n l y a b i t o f the south w a l l
occupied b y an assortment o f architectural and s c u l p ­ and the famous caryatid p o r c h (fig. 7). I n Souvenirs
t u r a l fragments uncovered by recent excavations (figs. 3, d'Orient, the general v i e w is taken f r o m the west, c o m ­
4). I n the first study o f the theater o f D i o n y s u s (fig. 5), pletely d o w n p l a y i n g the caryatids and emphasizing
B o n f i l s is at g r o u n d level, so that the picture becomes the Erechtheion's blend o f heterogeneous elements
almost an abstract study o f the c u r v i n g rows o f seats (fig. 8 ) . 4 2
T h i s later p h o t o g r a p h makes m o r e demands

as well as the most explanatory idea o f the position o f the Acropolis." a limited scope for what was considered acceptable or desirable i n
Quoted i n Tsigakou (supra, note 7), p. 120. scenes from Athens.
39. The Shaw album contains several Athenian views, possibly by 40. See Ritchie Thomas, "Bonfils and Son, Egypt, Greece and the
the f i r m o f Constantin, which are identified by numbers on the nega­ Levant: 1867-1894," History of Photography 3, no. 1 (1979), pp. 33-46,
tive. The Getty Museum owns another travel album (84.XA.1499) that w i t h correspondence from Paul Chevedden, History of Photography 5,
also has scenes from Athens o f a much lower quality both artistically no. 1 (1981), p. 82. See also Carney E. S. Gavin, The Image of the East:
and technically (see supra, note 15). Curiously, several o f the views Nineteenth Century Near Eastern Photographs by Bonfils from the Collec­
from the Getty album are o f the same sites, taken from the same tion of the Harvard Semitic Museum (Chicago, 1982).
angle, and marked w i t h the same numbers as their counterparts i n the 41. See supra, note 3.
Shaw album, although they are unmistakably from different nega­ 42. The Erechtheion was home to a number o f very old cults, and
tives. I assume that, like Bonfils (supra, note 3), the photographer it incorporated several different structures from different periods. Its
made both "deluxe" and "economy" versions o f his images. It is also western end has been described by R. E. Wycherley as a "peculiar and
possible that a less-skilled photographer got hold o f the Constantin ill-balanced conglomeration" (supra, note 34), p. 147.
catalogue and produced his o w n pictures, perhaps to sell at a lower
price. N o matter what the motive, this illustrates again that there was
132 Szegedy-Maszak

Figure 5. F e l i x B o n f i l s (French, 1831—1885). Interior of Figure 6. F e l i x B o n f i l s (French, 1831—1885). Greece:

the Theater of Bacchus—Athens, circa 1872. A l ­ Temple [Theater] of Bacchus in Athens, circa
bumen print. H : 22 c m (8 /s"); W : 28 c m
5
1877. A l b u m e n p r i n t . H : 23.1 c m ( W ) ; W :
(UVie"). M a l i b u , T h e J. Paul G e t t y M u s e u m 28.6 cm (ll //).
1
Malibu, T h e J. Paul G e t t y
84.XM.422.42. M u s e u m 84.XO.1167.45.

o n the viewer's c o n c e n t r a t i o n , and a l t h o u g h less i m m e ­ t o g r a p h i n g , and he is almost always at a m i d d l e distance

diately appealing t h a n its predecessor, i t is m o r e i n f o r ­ that gives some sense o f the l o c a t i o n and allows for
m a t i v e about the actual structure. I n fact, m o s t o f the correct perspective. H i s m e t h o d seems t o e m b o d y the
pictures f r o m the later series are b o t h m o r e c o m p l e x disinterested i m p a r t i a l i t y that the early partisans of
visually and evince a m o r e developed interest i n the p h o t o g r a p h y h a d p r o c l a i m e d as its c h i e f v i r t u e . The
archaeological, as opposed t o the picturesque, details o f apparent absence o f i n t e r p r e t a t i o n , however, i n i t s e l f
the b u i l d i n g s . I t is as i f the self-described souvenirs are indicates w h a t he was t r y i n g t o accomplish. H i s p i c ­
n o w directed at a m o r e sophisticated audience that can tures are n o t i n t e n d e d t o be personal revelations b u t
appreciate a m o r e austere and scholarly approach t o the d o c u m e n t s accessible t o a b r o a d audience. H i s p h o t o ­
sites. I n the mid-1870s a major c a m p a i g n o f excavation graphs are visual corollaries o f the standard guide­
o n the A c r o p o l i s and its environs began u n d e r the s p o n ­ b o o k s o f the t i m e . T h e buyer o f a B o n f i l s p r i n t c o u l d
sorship o f the Greek A r c h a e o l o g i c a l Society, and i t is be confident o f r e c e i v i n g the m o s t w i d e l y accepted
t e m p t i n g t o see B o n f i l s ' r e - v i s i o n as at least i n part a version o f whatever v i e w he had chosen. T h o s e w e a l t h y
response t o the n e w discoveries. e n o u g h t o afford an a l b u m g o t collections that w o u l d
B o n f i l s ' w o r k consistently shows visual i n t e l l i g e n c e a l l o w t h e m t o feel that they possessed a representa­
and technical s k i l l . A s a c o m m e r c i a l photographer, he tive i m a g e o f any subject that deserved t h e i r a t t e n t i o n ,
h a d t o be a t t u n e d t o the requirements o f his clients and whether the rubric was " A n c i e n t Architecture" or " M e m ­
adept at p r o v i d i n g images that w o u l d satisfy t h e m . We ories o f the Orient."
m u s t also r e m e m b e r that he sold m o s t o f his pictures B o n f i l s ' p h o t o g r a p h y is a p u b l i c art. I n Athens, i t is
t h r o u g h catalogues, f r o m w h i c h his clients w o u l d m a k e directed at the p u b l i c face o f the ancient Greeks and the
t h e i r choice b y n u m b e r o n the basis o f a c u r s o r y de­ timeless perfection o f t h e i r architecture. G i v e n a l l these
s c r i p t i o n a l o n g the lines o f " P a r t h e n o n , West Face." A s constraints, i t is a l l the m o r e impressive that he strove t o
a result, he h a d t o l i m i t his v i e w s t o those that were keep his images fresh. A s p o i n t e d o u t above, he d i d n o t
m o s t canonical and keep his approach d e t e r m i n e d l y s i m p l y keep r e p r i n t i n g o l d negatives b u t r e t u r n e d t o the
neutral. H e remains outside the b u i l d i n g s he is p h o - sites t o revise his view, sometimes radically. A skeptic

43. B y contrast, Francis Frith (supra, note 16) regularly repackaged large stock." Their catalogue at the time offered, among other things,
his pictures i n different combinations and w i t h different titles for the a choice o f more than three hundred "costumes, scenes and types
various collections. from Egypt, Palestine, and Syria." This information is from Thomas
44. B y the end o f the century, the Bonfils atelier received a lauda­ (supra, note 40), p. 41.
tory note i n the Baedeker guide to the region: "good photographs, a 45. The details o f Stillman s life are recounted i n his Autobiography
 True Illusions 133

Figure 7. F e l i x B o n f i l s (French, 1831-1885). Caryatids Figure 8. F e l i x Bonfils (French, 1831-1885). Greece:

from the Temple of the Erechtheion—Athens, circa Temple of the Erechtheion in Athens, circa 1877.
1872. A l b u m e n p r i n t . H : 22.4 c m ( 8 / i " ) ; W :
13
6 A l b u m e n p r i n t . H : 23.2 c m (9V "); W : 28.5 c m
8

28.9 c m ( 1 1 W ) . M a l i b u , T h e J. Paul G e t t y (117i6"). M a l i b u , T h e J. Paul G e t t y M u s e u m

M u s e u m 84.XM.422.38. 84.XO.1167.42.

m i g h t suggest that this is j u s t a response t o the p u b l i c 's h i m persona n o n grata w i t h the local authorities and fin­
d e m a n d for novelty, w h i l e a c y n i c c o u l d call i t a p h o ­ ally led h i m to take a leave o f absence—which proved
tographer's version o f planned obsolescence. Since B o n ­ to be permanent—and move to Athens i n 1868. Once
fils made his l i v i n g f r o m s e l l i n g photographs, c o m m e r ­ there, as he notes i n his autobiography, he set about
cial considerations m u s t have played some part i n his p h o t o g r a p h i n g the ruins o f A t h e n s ; he had " e v e r y t h i n g
decision t o make n e w pictures o f o l d sites, b u t they are necessary t o correct architectural w o r k , " and moreover
n o t e n o u g h t o j u s t i f y a l l the expense and effort i n ­ " t h e ruins . . . had never been treated i n t e l l i g e n t l y b y
volved. 43
Rather, his revisions, l i k e his self-effacement, the local photographers." 47

are another sign o f the conscientiousness that i n f o r m s T h i s was a g r i m t i m e for S t i l l m a n . H i s wife, Laura,
all his w o r k . I n t h e i r o w n t i m e the pictures were h i g h l y had been g r o w i n g increasingly despondent, first be­
regarded, 44
and taken o n t h e i r o w n terms, they are s t i l l cause o f the trials o f l i v i n g i n w a r - t o r n Crete and t h e n
successful today. because o f a d e b i l i t a t i n g illness that had struck t h e i r
W i l l i a m James S t i l l m a n was b o r n i n Schenectady i n son, Russie. S h o r t l y after t h e i r arrival i n Athens, she
1828 and educated there at U n i o n C o l l e g e . 45
After grad­ c o m m i t t e d suicide. T h e pain o f her death, anxiety about
u a t i o n he w e n t t o study p a i n t i n g i n E n g l a n d , w h e r e the health o f his son, and an increasingly desperate
he became f r i e n d l y w i t h R u s k i n . H e r e t u r n e d t o the lack o f m o n e y led S t i l l m a n t o the edge o f a break­
United States and i n 1855 he f o u n d e d The Crayon, d o w n : " I was myself nearly prostrated mentally and physi­
the first serious A m e r i c a n j o u r n a l o f the arts, for cally, and u n f i t for a n y t h i n g b u t m y p h o t o g r a p h y . " 48

w h i c h he served as editor d u r i n g the first year o f p u b ­ Stillman's life is i n d i s s o l u b l y l i n k e d t o his art, and
lication. 46
S h o r t l y afterward, w h i l e recovering f r o m an despite his o w n assertions o f i m p r o v e d accuracy, the
illness, he learned the basics o f photography. S t i l l m a n real i m p o r t a n c e o f his v i e w s o f the A c r o p o l i s lies i n the
t h e n e m b a r k e d o n a career as a d i p l o m a t and i n 1862 be­ v i v i d personal v i s i o n he i m p o s e d o n his material. For
came A m e r i c a n consul i n R o m e . T h r e e years later, he h i m , p h o t o g r a p h i n g the antiquities o f Athens was a
was posted t o Crete, again as A m e r i c a n consul, b u t his process that encompassed the exorcism o f his wife's s u i ­
support for the Cretan rebellion against Turkish rule made cide, the h o p e — n o t t r i v i a l — o f a l l e v i a t i n g his financial

of a Journalist (Boston, 1901). See also Richard Pare, Photography and 47. Stillman (supra, note 45), p. 454.
Architecture 1839-1939 (Montreal, 1982), pp. 241-242. 48. Ibid., p. 457.
46. See Elizabeth Lindquist-Cock, "Stillman, Ruskin, and Ros-
setti: The Struggle between Nature and A r t , " History of Photography 3,
no. 1 (1979), pp. 1-14.
134 Szegedy-Maszak

Figure 9. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828— Figure 10. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—

1901). Ancient Gate of the Acropolis (detail o f 1901). View of the Acropolis from the Musaeum
t i t l e page), 1869. C a r b o n p r i n t . H : 14.5 c m Hill, 1869. C a r b o n p r i n t . H : 18.5 c m ( 7 A " ) ;
5
6

(5 he"); W : 14.4 c m
n
(5 /i6").
n
M a l i b u , T h e J. W : 23.5 c m (9 U"). M a l i b u , T h e J. Paul G e t t y
l

Paul G e t t y M u s e u m 84.X0.766.4.1. M u s e u m 84.X0.766.4.2.

worries, and a celebration o f H e l l e n i c independence.

W h i l e there is n o w a y t o gauge the therapeutic aspect o f
his activity, his life d i d eventually become m o r e stable.
H e m e t and later m a r r i e d M a r i e Spartali, a w o m a n o f
Greek ancestry, w i t h w h o m he l i v e d h a p p i l y u n t i l his
death i n 1 9 0 1 . 49
A s for the financial rewards, the a l b u m
o f twenty-five views, 50
dedicated t o the f a m i l y o f his
w i f e - t o - b e , y i e l d e d h i m a p r o f i t o f about one thousand
dollars, the equivalent o f a year's consular salary. 51

T h e a l b u m is called The Acropolis of Athens: Illustrated

Picturesquely and Architecturally in Photography; b o t h ad­
verbs are significant as indicators o f Stillman's i n t e n ­
t i o n . I n a b r i e f preface he strikes the note o f d o c u m e n ­
tary precision that has already been m e n t i o n e d : "The
negatives f r o m w h i c h the f o l l o w i n g A u t o t y p e s have
been p r i n t e d have been, w i t h one exception, left u n ­
touched . . . so that n o t h i n g s h o u l d i n j u r e the outlines
Figure 11. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—
or d i m i n i s h the Architectural, accuracy o f the v i e w s . " 52

1901). The Acropolis with the Theatre of Bacchus,

1869. C a r b o n p r i n t . H : 19 c m (7V "); W : 23.7
2
H e also says that w h i l e p h o t o g r a p h i n g the b u i l d i n g s , he
c m (97i6"). M a l i b u , T h e J. Paul G e t t y M u ­ t r i e d whenever possible t o stand so that the views
s e u m 84.X0.766.4.3. w o u l d be c o m p l e t e l y f r o n t a l and s y m m e t r i c a l . Such
comments, c o m b i n e d w i t h references t o technical data,

49. Spartali modeled for several o f the pre-Raphaelite painters, as

well as for the photographer Julia-Margaret Cameron; see Lindquist-
Cock (supra, note 46), pp. 12—14.
50. See supra, note 4.
51. Stillman (supra, note 45), p. 465.
52. The Getty's album is a presentation copy signed by Stillman,
and this phrase has been emended i n his hand to " w i t h four ex­
ceptions."
 True Illusions 13!

such as his use o f Dallmeyer's rectilinear lenses, create

an atmosphere o f scientific objectivity. We m i g h t be led,
therefore, t o expect a systematic, or even schematic,
treatment o f the site. Instead, w e f i n d ourselves i n the
hands o f a b r i l l i a n t l y idiosyncratic t o u r guide, b o t h ex­
pert and passionate about his material. S t i l l m a n s a l b u m
does n o t c o n f o r m t o standard n i n e t e e n t h - c e n t u r y prac­
tice, either architectural or archaeological. 53
H i s concep­
t i o n depends almost as m u c h o n the sequence o f images
as o n t h e i r i n d i v i d u a l content, as the visual arrangement
moves back and f o r t h b e t w e e n far and near, inside and
outside, h i g h and l o w . To do f u l l j u s t i c e t o his ideas, i t is
necessary t o go t h r o u g h the a l b u m plate by plate. For
the purposes o f this essay i t w i l l suffice t o concentrate
o n t w o o f the m o s t i m p o r t a n t subsets, the i n t r o d u c t i o n
and the studies o f the Parthenon, and demonstrate h o w
they f i t i n t o the larger pattern. Figure 12. W i l l i a m James Stillman (American, 1828—
1901). Western Facade of the Parthenon, 1869.
T h e first plate, located o n the t i t l e page, shows the
Carbon print. H : 17.9 cm (7Vi "); W: 23.1 cm
6

Ancient Gate of the Acropolis, t h r o u g h w h i c h w e enter t o

(97i6"). Malibu, The J. Paul Getty Museum
b e g i n o u r e x p l o r a t i o n o f the site (fig. 9). S t i l l m a n takes 84.XO.766.4.10.
care to s h o w that, for all its venerability, the A c r o p o l i s
is n o t a static d i o r a m a f r o m a m u s e u m o f c u l t u r a l h i s ­
tory. T h e first full-size picture establishes its presence as
a d o m i n a n t feature i n a l i v i n g landscape, even w h e n its
structures are almost i n v i s i b l e (fig. 10). T h e caption
specifies that this l o n g v i e w is taken f r o m the H i l l o f the
Muses, and the subtle b u t u n m i s t a k a b l e insistence o n
a r t i s t r y is c o n t i n u e d w i t h the next image. We suddenly
f i n d ourselves i n the theater o f D i o n y s u s , w h i c h is c u t
i n t o the s o u t h slope o f the A c r o p o l i s (fig. 11). T h e t h e ­
atricality o f the s e t t i n g is h i g h l i g h t e d b y the statue i n
the extreme right foreground. This sculpture was
doubtless p u t w h e r e i t stands at S t i l l m a n s behest, and i t
functions as a substitute for the c o n v e n t i o n a l f i g u r e i n a
landscape and for a l l spectators past and present.
A f t e r passing t h r o u g h the Propylaea, S t i l l m a n s first
v i e w o f the P a r t h e n o n is c o m p l e t e l y f r o n t a l , r e c a l l i n g
b o t h the m o r e c o n v e n t i o n a l pictures o f contemporaries
l i k e B o n f i l s and his o w n claims t o greater accuracy (fig.
12). We m i g h t expect h i m t o p r o v i d e a m a t c h i n g v i e w
f r o m the east e n d or possibly a t o u r a r o u n d the other
three sides, b u t he is n o t b o u n d by such mechanical
n o t i o n s o f s y m m e t r y . T h e next plate is a dramatic per-
spectival s t u d y o f the western p o r t i c o (fig. 13). U n l i k e

53. For example, i n the early 1860s the gifted French photographer
Edouard-Denis Baldus documented the rebuilding o f the Louvre and
the Tuilleries. He went seriatim from pavilion to pavilion. W i t h u n ­ Figure 13. W i l l i a m James Stillman (American, 1828—
failing regularity, each section o f his monumental album begins w i t h 1901). Western Portico of the Parthenon, 1869.
a general view, proceeds to a series o f closer views from r o o f level to Carbon print. H : 24.2 cm ( 9 / i " ) ; W: 19.1 cm
9
6

ground level, and ends w i t h a systematic presentation o f the decora­

(7V "). Malibu, The J. Paul Getty Museum
2
tive and sculptural programs.
84. XO.766.4.11.
136 Szegedy-Maszak

Figure 14. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828— Figure 15. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—

1901). Western Portico of the Parthenon, from 1901). View Taken from the Same Point as
Above, Showing the Frieze in Its Original Posi­ No. 12 [fig. 14] and Looking Eastward over the
tion, 1869. C a r b o n p r i n t . H : 18.9 c m (7Vie"); Ruin of the Parthenon, 1869. C a r b o n p r i n t . H :
W : 23.4 c m ( 9 / i " ) . M a l i b u , T h e J. Paul G e t t y
3
6 17.7 c m ( 6 / i " ) ; W : 23.5 c m (9V "). M a l i b u ,
15
6 4

M u s e u m 84.XO.766.413. T h e J. Paul G e t t y M u s e u m 84.XO.766.414.

B o n f i l s and m o s t other photographers o f the t i m e , S t i l l ­

m a n has gone inside the Parthenon, and this image
makes e x p l i c i t the album's p o l i t i c a l agenda: " T h e names
scratched o n the c o l u m n s are those o f Philhellenes, w h o
f o u g h t here i n the w a r o f Greek independence." 54
Here
Stillman's earlier support o f the C r e t a n u p r i s i n g against
O t t o m a n rule finds a c o m p l e x double reflection i n the
palimpsest created by the g r a f i t t i o n the ancient marble.
Despite the aforementioned stance o f correctness and
objectivity, his a l b u m is an allegory w h o s e hero is the
Greek spirit, specifically i n its artistic and p o l i t i c a l m a n ­
ifestations. S t i l l m a n presents the b u i l d i n g s and t h e i r
decorative elements i c o n o g r a p h i c a l l y t o express w h a t he
saw as the H e l l e n i c ideal. T h i s w o u l d serve, at least
i n part, t o e x p l a i n the o s c i l l a t i o n b e t w e e n l o n g v i e w
and detail as w e l l as the s t a r t l i n g n o v e l t y o f some o f
the visualizations.
N o t content w i t h the usual pedestrian p o i n t o f view,
S t i l l m a n t o o k his camera u p t o the v e r y t o p o f the
Parthenon t o capture the last bits o f the frieze i n situ
(fig. 14). T h i s l o n g sculpture i n h i g h r e l i e f depicted the
great Panathenaic procession—in w h i c h all residents o f
the c i t y t o o k p a r t — a n d thereby celebrated Athenian
civic u n i t y . 5 5
I n the context o f the a l b u m , i t is another

Figure 16. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—

54. This is Stillman's o w n caption. The abbreviation Philh[elle]ne is
1901). Eastern Portico of the Parthenon, View clearly visible inscribed under the signature o f one Blondel. Given the
Looking Northward, 1869. C a r b o n p r i n t . H : difficulty o f the exposure, Stillman might have retouched the negative
24.2 c m ( 9 V " )2 ; W : 18.4 c m ( 7 / / ) .
1
Malibu, to make the grafitti more vivid.
T h e J. Paul G e t t y M u s e u m 84.XO.766.416. 55. See M a r t i n Robertson and Alison Frantz, The Parthenon Frieze
 True Illusions 137

Figure 17. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828— Figure 18. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—

1901). Eastern Facade, or Front, of the Parthenon, 1901). Profile of the Eastern Facade, Showing the
1869. C a r b o n p r i n t . H : 18.5 c m ( 7 / i " ) ; W : 24
5
6 Curvature of the Stylobate, 1869. C a r b o n p r i n t .
c m (97i6"). M a l i b u , T h e J. Paul G e t t y M u ­ H : 18.4 c m ( 7 / / ) ; W : 23.7 c m ( 9 W ) . M a l i b u ,
1

s e u m 84.X0.766.4.17. T h e J. Paul G e t t y M u s e u m 84.X0.766.4.18.

example o f the Greeks' a b i l i t y t o b l e n d the aesthetic and

the p o l i t i c a l . H a v i n g c l i m b e d t o the t o p o f the Par­
t h e n o n , S t i l l m a n also t o o k note o f the practical p r o b ­
lems i n v o l v e d i n the p r o d u c t i o n o f the frieze, and the
next plate is a d i z z y i n g v i e w o f the panorama the o r i g i ­
nal craftsmen w o u l d have seen (fig. 15). W h e n he re­
turns t o the g r o u n d , i t is t o f i n d an u n k n o w n m a n — t h i s
m i g h t be a s e l f - p o r t r a i t — w i t h i n the eastern p o r t i c o
56

(fig. 16). I n an unusual gesture, the m a n is t u r n e d away

f r o m the camera, and his posture is studiedly introspec­
tive under the c o l u m n d r u m that seems so precariously
balanced above h i m . S t i l l m a n seems t o have placed spe­
cial i m p o r t a n c e o n this image, since i t is the o n l y p i c ­
ture i n the a l b u m t o i n c l u d e a figure i n western dress, as
w e l l as the o n l y one t o be cropped w i t h an arched top.
Such features support the suggestion that i t is a p o r t r a i t Figure 19. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—
o f the artist. 1901). General View of the Summit of the Acro­
T h e r e f o l l o w s yet another example o f o s c i l l a t i o n ; the polis, from the Extreme Eastern Point, Showing
the Erectheum [ E r e c h t h e i o n ] at the Right, 1869.
next shot is the l o n g - p o s t p o n e d , yet unexceptional,
C a r b o n p r i n t . H : 17.7 c m ( 6 / i " ) W : 24 c m
15
6 ;

frontal v i e w o f the eastern facade (fig. 17). T h e p e n u l t i ­

(9 /i6").
7
M a l i b u , T h e J. Paul G e t t y M u s e u m
mate v i e w o f the Parthenon is quite l i t e r a l l y at g r o u n d 84.XO.7664.19.
level (fig. 18). I t is accompanied by an erudite c a p t i o n
e x p l a i n i n g the architectural refinements o f the stone
courses, 57
b u t the picture's visual c o m p o n e n t s belie, or

(Oxford, 1975). See also John Boardman and David Finn, The Par­ curvature o f the Greek temples . . . seems, taken i n conjunction w i t h
thenon and Its Sculpture (Austin, Tex., 1985). the d i m i n u t i o n o f the extreme intercolumniations o f the facade . . . to
56. The suggestion is made i n Pare (supra, note 45), p. 242. indicate, as its purpose, the exaggeration o f . . . the apparent size o f
57. The following is excerpted from the caption: "Profile o f the the building. It is common to the Greek temples o f the best epoch."
Eastern facade showing the curvature o f the stylobate. This system o f
138 Szegedy-Maszak

at least qualify, its ostensible scientific purpose. A s i n

the earlier study o f the theater o f D i o n y s u s , a piece o f
sculpture—here a s m a l l square v o t i v e r e l i e f s h o w i n g a
g r o u p o f f o u r men—has been placed i n the scene t o give
i t some narrative content. O n a m u c h reduced scale, i t
recalls the procession o n the Parthenon frieze. S t i l l m a n
ends his e x a m i n a t i o n o f Athena's t e m p l e b y r e t u r n i n g t o
the eastern facade b u t f r o m a m u c h greater distance than
before (fig. 19). B y u s i n g a second negative, the r e t o u c h ­
i n g he disclaimed i n the preface, S t i l l m a n has f i l l e d the
sky w i t h l o w e r i n g clouds that are m o r e R u s k i n i a n t h a n
Sophoclean. T h e d r a m a t i z a t i o n o f the site reaches its
c l i m a x i n this apotheosis o f the Parthenon.
T h e r e f o l l o w several studies o f the E r e c h t h e i o n , and
f i n a l l y the last t w o images i n the a l b u m depict details o f
the sculptural p r o g r a m : a w i n g e d v i c t o r y f r o m the para­
pet o f A t h e n a N i k e , goddess o f v i c t o r y (fig. 20) and a
panel f r o m the Parthenon's Panathenaic frieze (fig. 21).
W i t h such an understated coda, S t i l l m a n returns to
Greek art t o s u m m a r i z e his themes o f H e l l e n i c t r i u m p h
and democratic u n i t y .
The Acropolis of Athens is u n i q u e i n several respects.
S t i l l m a n is aware o f the t r a d i t i o n a l d o c u m e n t a r y ap­
proach and sometimes adopts its style, b u t he also uses
the special properties o f p h o t o g r a p h y t o convey his p r i ­
Figure 20. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828— vate v i s i o n o f w h a t has been called " t h e Greek miracle."
1901). Figure of Victory, from the Temple of I n its c o m b i n a t i o n o f the personal, the epic, and the
Victory, High Relief, 1869. C a r b o n p r i n t . H : scientific, Stillman's w o r k goes far b e y o n d the c o n ­
23.8 c m ( 9 W ) ; W : 18.3 c m ( 7 / i " ) . M a l i b u ,
3
6
ventional architectural p h o t o g r a p h y o f his time. It
T h e J. Paul G e t t y M u s e u m 84.X0.766.4.25.
embodies b o t h R o m a n t i c p h i l h e l l e n i s m and the n i n e ­
t e e n t h - c e n t u r y o p t i m i s m that allied the moderns with
the ancients i n a b o n d o f e n l i g h t e n e d understanding.
I n t h e i r different ways, the w o r k s o f S t i l l m a n and
B o n f i l s m a r k the end o f the m o s t creative p e r i o d i n the
p h o t o g r a p h y o f classical sites i n A t h e n s . 58
Exploration
and discovery were b e i n g transformed i n t o s o m e t h i n g
m o r e r o u t i n e . I n photography, the field was left to
the m a n y s m a l l local studios that had s p r u n g u p to ser­
vice the g r o w i n g tourist industry. To the extent that they
t o o were i n the business o f s u p p l y i n g true i l l u s i o n s ,
they were the descendants and beneficiaries o f t h e i r
predecessors.

Wesleyan U n i v e r s i t y
Middletown, Conn.

Figure 21. W i l l i a m James S t i l l m a n ( A m e r i c a n , 1828—

1901). Fragment of Frieze from the Parthenon,
1869. C a r b o n p r i n t . H : 18.9 c m ( 7 / i 6 " ) ; W :
7

23.9 c m ( 9 / i 6 " ) . M a l i b u , T h e J. Paul G e t t y

7

58. See Gary Edwards i n the Benaki Museum catalogue (supra,

M u s e u m 84.X0.766.4.26.
note 15), pp. 23-24.
Die Bathseba des Giovanni Bologna
Herbert Keutner

I m Jahre 1970 hat G u n n a r W. L u n d b e r g die damals i m n e n sei, l i e ί er nach der E r w δ g u n g beider M φ g l i c h k e i ­

S c h l o ί A k e r φ befindliche, selbst i n Schweden n u r l o k a l ten nach w i e v o r offen. D a erst die B e a n t w o r t u n g dieser
bekannte M a r m o r f i g u r einer Bathseba erstmals der kunst­ Frage erlaubt, d e m neuen W e r k seinen Platz i n n e r h a l b
historischen Φ f f e n t l i c h k e i t vorgestellt ( A b b . 1). A l t e ­ der k ٧ n s t l e r i s c h e n E n t w i c k l u n g des Bildhauers z u z u ­
ren I n v e n t a r e n f o l g e n d betrachtete er die h e u t e i m weisen, greife i c h sie n o c h e i n m a l a u f u n d beginne m i t
J. Paul G e t t y M u s e u m ( A b b . 2; I n v . 82.SA.37) aufbe­ einer erneuten I n t e r p r e t a t i o n der beiden Textstellen b e i
wahrte Statue als eine S c h φ p f u n g des Giovanni Bologna. 1
Raffaello B o r g h i n i .
Eine Diskussion ٧ber das W e r k brachte Charles
A v e r y i n Gang, i n d e m er i m Jahre 1978 einen seit l a n ­
g e m unbeachteten Wachsbozzetto einer Frau, auf einem D i e Lebensbeschreibung des G i o v a n n i B o l o g n a hatte
Baumstumpf sitzend, ohne K o p f u n d A r m e i n die G i a m ­ B o r g h i n i m i t einer k u r z e n S c h i l d e r u n g seiner Lehrzeit
bologna—Ausstellung einbezog u n d die k l e i n e F i g u r i n Flandern, seiner r φ m i s c h e n Studien u n d seiner ersten
m i t vorgeneigtem O b e r k φ r p e r u n d hochgestelltem l i n ­ Auseinandersetzung m i t der F l o r e n t i n e r S k u l p t u r als
ken B e i n i m K a t a l o g t e x t m i t g u t e n G r ٧ n d e n als eine Gast i m Hause des Bernardo Vecchietti eingeleitet.
Studie zu d e m M a r m o r w e r k i n Schweden i n E r w δ g u n g N a c h d e m er die staunenswerte F e r t i g k e i t des j u n g e n
z o g . Z u der Statue selbst schrieb er, d a ί i n i h r eine v o n
2
Bildhauers i m E n t w u r f v o n T o n - u n d Wachsmodellen
z w e i bisher verschollenen, v o n Raffaello B o r g h i n i i m hervorgehoben hatte, verzeichnete er als sein erstes, i n
Jahre 1584 e r w δ h n t e n W e r k e n des Bildhauers erhalten Florenz geschaffenes W e r k " u n a bellissima Venere," zu
sein k φ n n t e : entweder eine Galathea, die sein M δ z e n der i h m sein Gastgeber den M a r m o r beschafft habe. 5

B e r n a r d o V e c c h i e t t i an einen u n g e n a n n t e n Empfδnger Nach einem H i n w e i s a u f seine Teilnahme an der

i n D e u t s c h l a n d gesandt hatte, oder eine Sitzende, weib­ K o n k u r r e n z u m den Neptunbrunnen a u f der Piazza della
liche Figur ohne N a m e n , die die M e d i c i d e m H e r z o g Signoria beschrieb er als zweites W e r k : " L a v o r φ una
v o n Bayern geschenkt h a t t e n . 3
Galatea d i m a r m o d'altezza d i due braccia e mezo, che
F ٧ n f Jahre s p δ t e r hat A v e r y i n einer reich i l l u s t r i e r ­ fu da M , B e r n a r d o mandata nella Lamagna." A l s d r i t t e
ten A b h a n d l u n g die ٧ b e r l i e f e r t e A t t r i b u t i o n der F i g u r Figur, ausgef٧hrt f٧r Lattantio Cortesi, nannte er
d u r c h eine s o r g f δ l t i g e Beschreibung, d u r c h H i n w e i s e sodann " u n Bacco d i b r o n z o d i braccia quattro." Z u den
auf die besonderen M e r k m a l e i h r e r K o m p o s i t i o n u n d Entstehungszeiten dieser d r e i Werke besitzen w i r keine
Ausarbeitung i n ٧ b e r z e u g e n d e r Weise b e s t δ t i g t . 4
Er d o k u m e n t a r i s c h e n Belege, d o c h n i m m t m a n m i t Recht
hat die Besitz V e r h δ l t n i s s e u n d Schicksale des Werkes allgemein an, daί Giovanni Bologna diese P r i v a t ­
i n Schweden w e i t g e h e n d k l δ r e n u n d i h r e H e r k u n f t aus a u f t r δ g e i n seinen ersten F l o r e n t i n e r Jahren z w i s c h e n
D e u t s c h l a n d glaubhaft darlegen k φ n n e n . Das i m A u s ­ 1553—55 und 1560—61 ausgef٧hrt hat; vom Jahre
stellungskatalog schon aufgeworfene Problem aber, 1560—61 an, i n d e m i h n der P r i n z Francesco de' M e d i c i
welche der beiden nach Deutschland gelangten F i ­ i n seinen p e r s φ n l i c h e n D i e n s t g e n o m m e n hatte, k o n n t e
guren—die Galathea oder die namenlose Sitzende—mit er dergleichen A u f t r δ g e bis a u f weiteres n i c h t m e h r
der Bathseba f٧r das O e u v r e des Meisters z u r ٧ c k g e w o n - annehmen. 6
Z e i t l i c h nach der u m 1555—57 g e m e i ί e l t e n

1. G. W. Lundberg, " N δ g r a bronser ur Carl Gustaf Tessins 4. C. Avery, "Giambologna's 'Bathseba': A n Early Marble Statue
skulptursamling," Konsthistorisk Tidskrift 39 (1970), 113-115, Abb. 11. Rediscovered," The Burlington Magazine125 (1983), 340-49.
Lundberg zitierte die ٧berlieferte Zuschreibung m i t Vorbehalt, doch 5. Uber diese nicht i n M a r m o r sondern i n Alabaster ausgef٧hrte
ohne seine Bedenken zu erlδutern. kauernde Venus, die sog. Venus Vecchietti, siehe: Giambologna ( A n m . 2),
2. C. Avery, Giambologna 1529-1608. Sculptor to the Medici, 1. Aufl. 2. Aufl., 22 und 104, N r . 23 m i t Abb., sowie: H . Keutner, ' ' G i a m ­
(Edinburgh-London, 1978), 233, N r . 248 m i t Abb., oder Giambologna bologna. I I Mercurio volante e altre opere giovanili," Lo specchio del
1529-1608. Ein Wendepunkt der europäischen Plastik, 2. Aufl. (Edin­ Bargello 17 (Firenze, 1984), 5-14.
b u r g h - L o n d o n - W i e n , 1978), 308-09,. N r . 248 m i t Abb. 6. Spδtestens seit dem Fr٧hjahr 1560 stand Giovanni Bologna i n
3. R. Borghini, // Riposo (Firenze, 1584), 286-87. Diensten des Prinzen Francesco, der i h m die Teilnahme an der 2.
140 Keutner

Abb. 1 G i o v a n n i B o l o g n a (ital., 1529—1608). Bathseba. Alte Aufstellung i m

Treppenhaus i n S c h l o ί Δ k e r φ , Schweden. Photo: m i t freundlicher
Genehmigung, Nordiska Museet, S t o c k h o l m .

Venus ( C o l l . Sir W i l l i a m P e n n i n g t o n Ramsden, M u n - fanciulla d i sedici anni, la quale statua fu mandata al

caster Castle) u n d v o r d e m u m 1559—61 gegossenen Bac­ D u c a d i Baviera;" a n s c h l i e ί e n d schrieb er ٧ b e r die A u s ­
chus (Florenz, B o r g o San Jacopo) entstanden, w i r d er a r b e i t u n g der v i e r g r o ί e n F i g u r e n f٧r den Okeanus-
die Galathea u m 1557—59 geschaffen h a b e n . 7
hrunnen i m B o b o l i g a r t e n . D e m Vitenverfasser f o l g e n d
8

N a c h der E r w δ h n u n g weiterer, i n den 60er Jahren muί G i o v a n n i B o l o g n a die F i g u r der Sitzenden also
vollendeter Werke, berichtete B o r g h i n i ٧ b e r die M a r ­ etwa gleichzeitig m i t der Firenze u n d v o r der Fertigstel­
m o r a u s f ٧ h r u n g der f ٧ n f Bracchien h o h e n G r u p p e der l u n g des Okeanusbrunnens g e m e i ί e l t haben. D a w i r aus
"Firenze, che ha sotto u n p r i g i o n e " u n d fuhr i n d e m ­ D o k u m e n t e n wissen, d a ί er die M a r m o r g r u p p e der
selben Satz fort: "e n e l m e d e s i m o t e m p o (lavorφ) u n Firenze als Siegerin über Pisa i n den Jahren 1570—72 u n d
altra f i g u r a d i m a r m o δ sedere della grandezza d ' u n a den Okeanusbrunnen i n den Jahren 1572—76 a u s g e f ٧ h r t

Konkurrenz u m den Neptunbrunnen finanziell ermφglicht hatte; die 7. M . Bury, "Bernardo Vecchietti, Patron o f Giambologna," I
entsprechenden Zahlungen sind publiziert: H . Keutner, " U n modello Tatti Studies. Essays in the Renaissance 1 (1985), 26. B u r y schlug f٧r die
del Bandinelli per i l Nettuno della fontana d i Piazza della Signoria," Bronzestatue des Bacchus j ٧ n g s t eine Entstehungszeit u m die M i t t e
i n Scritti di Storia dellArte in onore di Roberto Salvini (Firenze, 1984), der 1550er Jahre vor; nach meiner ٢ b e r z e u g u n g ist jedoch die bisher
422—23, A n m . 10. E i n festes, von Francesco gezahltes Gehalt an den ٧bliche, zwischen 1558—59 und 1561—62 nur geringf٧gig schwan­
Bildhauer ist seit 1561 beglaubigt, siehe: E. Dhanens, Jean Boulogne. Gio­ kende Datierung einleuchtender zu b e g r ٧ n d e n .
vanni Bologna Fiammingo. Douai 1529-Florence 1608 (Br٧ssel, 1956), 49. 8. Borghini ( A n m . 3), 586-87.
 Die Bathseba 141

f ٧ n f z e h n Jahren entstanden sind, die erste n o c h als e i n

F r ٧ h w e r k des 28 bis 3 0 j δ h r i g e n Meisters, die zweite als
eine S c h φ p f u n g aus seinen besten Mannesjahren.

N u n ist die Bathseba n i c h t unversehrt erhalten; neben

e i n i g e n k l e i n e r e n E r g δ n z u n g e n ist v o r a l l e m die l i n k e ,
erhobene H a n d m i t d e m G e f δ ί erneuert ( A b b . 2). D a
sie u r s p r ٧ n g l i c h eine M u s c h e l oder eine Koralle, die
Attribute der Galathea, vorgewiesen haben kφnnte,
s c h l o ί A v e r y n i c h t aus, d a ί i n unserer F i g u r dieses
f r ٧ h e , v o n B o r g h i n i ٧ b e r l i e f e r t e W e r k wiedergefunden
sei. 10
D o c h w e l c h e n Gegenstand auch i m m e r sie einst i n
ihrer L i n k e n getragen haben mag, die M φ g l i c h k e i t , u n ­
sere F i g u r m i t der u m 1557—59 g e m e i ί e l t e n Galathea
gleichzusetzen, sollte n i c h t w e i t e r h i n e r φ r t e r t werden.
Gegen eine solche I d e n t i f i z i e r u n g spricht z u n δ c h s t , d a ί
B o r g h i n i sie als 272 Bracchien, also als 146 c m h o c h
beschrieben hat, unsere Bathseba aber n u r eine H φ h e
v o n 115 c m aufweist. V o r a l l e m aber w i r d m a n sie
aus stilistischen G r ٧ n d e n n i c h t als e i n F r ٧ h w e r k der
50er Jahre, der Z e i t der Auseinandersetzung Giovanni
Bolognas m i t der Antike und der zeitgenφssischen
Florentiner S k u l p t u r betrachten d ٧ r f e n . B e i all seinem
Bestreben i n jenen ersten Jahren, auch die eigenen
k٧nstlerischen Vorstellungen schon zur Geltung zu
b r i n g e n , lassen seine f r ٧ h e n S c h φ p f u n g e n d o c h i m m e r
die V o r b i l d e r d e u t l i c h erkennen, v o n denen er ausging
oder m i t denen er wetteiferte. So ist v o r der um
1555—57 datierbaren Venus i n Muncaster Castle die
Abhδngigkeit v o n der antiken, kauernden Venus des
Doidalses ebenso o f f e n k u n d i g w i e v o r d e m u m 1559—61
Abb. 2. G i o v a n n i B o l o g n a (ital., 1529-1608). Bathseba. entstandenen bronzenen Bacchus sein B e m ٧ h e n , sich i n
M a r m o r . H : 115 c m (45V "). M a l i b u , T h e J. Paul
4 K o m p o s i t i o n u n d M o d e l l i e r u n g d e m Perseus des C e l l i n i
G e t t y M u s e u m 82.SA.37. oder d e m Mars des A m m a n n a t i e b e n b ٧ r t i g zu zeigen. 11

V o r unserer Bathseba aber k o m m e n uns dergleichen

hat, d٧rfen wir als Entstehungszeit der namenlo­ R ٧ c k - oder Q u e r b e z ٧ g e a u f S k u l p t u r e n δ l t e r e r M e i s t e r
sen, nach Bayern gesandten Sitzenden etwa die Jahre n i c h t i n den Sinn. A l s e i n W e r k , das i n E r f i n d u n g u n d

1571—73 ansetzen. 9 Ausf٧hrung offenbar a l l e i n aus der Auseinanderset­

Raffaello B o r g h i n i hat die Werke des befreundeten zung des Bildhauers m i t sich selbst entstanden ist,

Bildhauers i m g r o ί e n u n d ganzen z u v e r l δ s s i g i n i h r e r m u ί es einer s p δ t e r e n Phase seiner K u n s t a n g e h φ r e n . So

zeitlichen A b f o l g e verzeichnet, so d a ί k e i n G r u n d be­ z φ g e r n w i r nicht, i n der Bathseba die zweite namen­

steht, die seinem Text zu e n t n e h m e n d e n , a n n δ h e r n d e n lose, aus Florenz nach Deutschland gelangte Figur

D a t i e r u n g e n der Galathea u m 1557—59 u n d der Sitzen­ wiederzuerkennen.

den u m 1571—73 i n Z w e i f e l zu ziehen. Dies aber besagt, D a ί B o r g h i n i i n der e i n e m H e r z o g v o n Bayern ge­

d a ί die beiden F i g u r e n i n e i n e m A b s t a n d v o n zehn bis schenkten Statue t a t s δ c h l i c h unsere Bathseba beschrieb,

9. Z u r Marmorgruppe der Firenze siehe: E. Allegri und A . 11. Benvenuto Cellinis Perseusgruppe unter der Loggia dei Lanzi ist
Cecchi, Palazzo Vecchio e i Medici. Guida storica (Firenze, 1980), i m A p r i l 1554 enth٧llt worden; der Mars des Bartolomeo Ammannati
271—73. Z u r Ausf٧hrung der Marmorfiguren des Okeanusbrunnens i m Treppenaufgang der Uffizien war spδtestens i m Juni 1559 v o l l ­
siehe: B. H . Wiles, The Fountains of Florentine Sculptors and Their Fol­ endet, siehe: F. Kriegbaum, " E i n verschollenes Brunnenwerk des
lowers from Donatello to Bernini (Cambridge, Mass., 1933), 61—62 und Bartolomeo Ammannati," Mitt. d. Kunst. Inst. Florenz 3 (1929—30), 86,
121-23, sowie E. Dhanens, A n m . 6, 167-68. A n m . 3.
10. Avery ( A n m . 4), 344-47.
142 Keutner

Abb. 3 Giovanni Bologna (ital., 1529-1608). La Fiorenza. Abb. 4. Giovanni Bologna (ital., 1529-1608). Firenze als
Bronze. H : 115 cm (4574"). Florenz, Villa Petraia. Siegerin über Pisa. Marmor. H : 260 cm (1027s").
Photo: m i t freundlicher Genehmigung, Kunst- Florenz, Museo Nazionale del Bargello.
historisches Institut Florenz; Luigi Artini. Photo: m i t freundlicher Genehmigung, Kunst­
historisches Institut Florenz; Luigi A r t i n i .
 Die Bathseba 143

Abb. 5. Bathseba. Siehe A b b . 2. Abb. 6. Firenze als Siegerin über Pisa. Siehe A b b . 4.
Photo: m i t freundlicher Genehmigung, K u n s t ­
historisches I n s t i t u t Florenz; L u i g i A r t i n i .
144 Keutner

Abb. 7. Rechte H a n d der Bathseba. Siehe A b b . 2. Abb. 8. L i n k e H a n d der Firenze. Siehe A b b . 4. P h o t o :

mit freundlicher Genehmigung, Kunsthis­
torisches I n s t i t u t Florenz; L u i g i A r t i n i .

geht i m G r u n d e schon aus den w e n i g e n H i n w e i s e n a u f seinen w e i b l i c h e n F i g u r e n verliehen hat, e t w a der u m

i h r e δ u ί e r e H a l t u n g u n d i h r e G r φ ί e hervor: die j u n g e 1570—72 gegossenen Brunnenstatue der Fiorenza (Abb.
Frau i n v o l l e n t w i c k e l t e n K φ r p e r f o r m e n ist als eine 3), der u m 1573—74 a u s g e f ٧ h r t e n Statuette der Astro­
" f i g u r a d i m a r m o δ sedere" dargestellt u n d sie ist u n ­ nomie u n d n a t ٧ r l i c h der Firenze als Siegerin über Pisa
terlebensgroί ausgef٧hrt oder, w i e B o r g h i n i es aus­ ( A b b . 4). A l l e ihre K φ r p e r s i n d g r o ί f o r m i g e n t w o r f e n ,
d r ٧ c k t e , " d e l l a grandezza d ' u n a fanciulla d i sedici a n n i , " aus w e i t g e w φ l b t e n Partien u n d fest gerundeten G l i e d ­
also i n der G r φ ί e eines n o c h heranwachsenden M δ d ­ m a ί e n gleichsam zusammengesetzt. U n d allen ist eine
chens. 12
D a r ٧ b e r hinaus erscheint die I d e n t i t δ t der u m m e h r straffe als nachgiebige E p i d e r m i s gemeinsam, die
1571—73 datierbaren Sitzenden m i t der Bathseba vollends d e m Betrachter die U b e r g δ n g e des einen Kφrperteils
gesichert, w e n n w i r sehen, w i e eng sie m i t der nach i n einen anderen, e t w a i m Schulterbereich, i n der H ٧ f t ­
B o r g h i n i gleichzeitig g e m e i ί e l t e n M a r m o r g r u p p e der partie oder i n den A r m - u n d K n i e b e u g e n verhehlt, die
Firenze oder auch m i t anderen W e r k e n aus denselben i h n Gelenke, Sehnen oder M u s k e l n n u r erahnen l δ ί t .
Jahren d u r c h gemeinsame S t i l m e r k m a l e v e r b u n d e n ist. D e n n o c h , die zarte, selbst d e m sich n δ h e r n d e n A u g e
So ist die Bathseba als eine Gestalt v o n k r δ f t i g e r Statur nicht unmittelbar wahrnehmbare Binnenmodellierung
veranschaulicht ( A b b . 2), v o n einer gesunden K φ r p e r ­ ( A b b . 5, 6)—leichte E r h e b u n g e n u n d E i n z i e h u n g e n der
f٧lle, w i e sie G i o v a n n i B o l o g n a n u r i n diesen Jahren H a u t ٧ b e r R u m p f u n d G l i e d e r n , eine m δ ί i g vertiefte

12. I n derselben Weise umschrieb Borghini ( A n m . 3), 587, den 14. Die i n den Jahren 1569 bis 1573 modellierten Stuckfiguren des
u n t e r l e b e n s g r o ί e n Fliegenden Merkur als "grande come un fanciullo d i Cosimo und des i n manchen Teilen restaurierten hl. Markus, die David
15 anni." Summers i n seinem A r t i k e l "The Sculptural Program o f the Cappella
13. Z u r Charakterisierung dieser Stilphase siehe: H . Keutner, " D i e di San Luca i n the Santissima Annunziata," Mitt. d. Kunsth. Inst. Flo­
k٧nstlerische Entwicklung Giambolognas bis zur Aufrichtung der renz 14 (1969), 67—90, an je zwei Bildhauer, an Andrea Corsali—
Gruppe des Sabinerinnenraubes," i n Giambologna ( A n m . 2), 2. Aufl., Giovanni Bologna und an Vincenzo Danti—Zanobi Lastricati,
25-28. zugeschrieben hat, sind nach meinem U r t e i l Werke Giovanni B o l o -
 Die Bathseba 145

R ٧ c k e n l i n i e , w e n i g e Bauchfalten u n d einzelne Gr٧b­ bequem hockenden Flußgöttern des Okeanusbrunnens,

chen i n der G e s δ ί r u n d u n g oder i m E l l b o g e n — a r t i k u ­ sowie s c h l i e ί l i c h i n unserer, i n l a b i l e m Sitz sich v o r ­
l i e r t die H a l t u n g der K φ r p e r zwar n u r u n m e r k l i c h , t e i l t neigenden Bathseba. 14

insgesamt aber den F i g u r e n dieser Jahre b e i aller T y p i ­

sierung ihres Aufbaus u n d aller G l δ t t e ihres A u ί e n b i l ­
des auch freie B e w e g l i c h k e i t u n d innere B e l e b u n g m i t . F ٧ r die Beschaffung des M a r m o r b l o c k s , f٧r seine
G r o ί z ٧ g i g entworfene G r u n d f o r m e n u n d d o c h e i n ­ Bossierung oder die F e r t i g s t e l l u n g unserer F i g u r sind
f ٧ h l s a m e M o d e l l i e r u n g , die diesen Frauengestalten i h r e bis heute keine Z a h l u n g s d o k u m e n t e bekannt oder auf­
unpersφnliche, aber n i c h t unnahbare S c h φ n h e i t ver­ gefunden w o r d e n . A u c h die Suche nach anderen f r ٧ h e n
leihen, s i n d n a t ٧ r l i c h auch i n der Einzelausf٧hrung Nachrichten, die D u r c h s i c h t der Korrespondenz der
etwa ihrer H δ n d e oder K φ p f e z u beobachten ( A b b . 7, 8). M e d i c i m i t den W i t t e l s b a c h e r n i m Florentiner Staats­
O h n e jede A u s a r b e i t u n g der K n φ c h e l , Sehnen oder archiv u n d Stichproben i n den M ٧ n c h e n e r A r c h i v e n
A d e r n gleiten aus den H a n d g e l e n k e n die H a n d r ٧ c k e n blieben ohne E r f o l g . 15
D a a n l δ ί l i c h einer so ansehn­
u n d aus i h n e n die Finger fast z δ s u r l o s hervor, u n d d o c h l i c h e n Schenkung z w i s c h e n den Partnern m i t Sicherheit
sind die H δ n d e m i t i h r e r s a m t i g w e i c h m o d e l l i e r t e n e i n Briefwechsel g e f ٧ h r t w o r d e n war, ist zu hoffen,
Haut und den schmalen, feingliedrigen Fingern als daί er i n Z u k u n f t n o c h ans Licht kommt. Ange­
δ u ί e r s t e m p f i n d s a m veranschaulicht. A u c h die K φ p f e , sichts dieser negativen Ergebnisse—ohne Dokumente
die Frisuren u n d Gesichter der Astronomie, der Bathseba aus der Z e i t des Auftrags, der A u s a r b e i t u n g u n d U b e r ­
und der Firenze sind ohne sonderliche Individu­ f ٧ h r u n g der F i g u r nach B a y e r n — k φ n n e n w i r die f r ٧ h e
alisierung belassen, S t i r n u n d A u g e n , M u n d and K i n n Geschichte der Bathseba nicht e n d g ٧ l t i g befriedigend
w i r k e n i n i h r e n einfachen F o r m e n u n d i n i h r e m Ver­ aufklδren, kφnnen vor allem ٧ber zwei, durch
h δ l t n i s zueinander w i e k a n o n i s c h vorgezeichnet ( A b b . B o r g h i n i s Text aufgeworfene Fragen n u r unsere M u t ­
9—11). D e n n o c h f i n d e n w i r i n n e r h a l b der e i n h e i t l i c h e n , m a ί u n g e n anstellen: ٧ b e r die Frage nach der u r s p r ٧ n g ­
modisch bedingten Frisuren die Z φ p f e und Locken lichen Benennung und Bedeutung der lediglich als
unterschiedlich k u n s t v o l l geordnet, sehen b e i aller Re­ " f i g u r a d i m a r m o δ sedere" verzeichneten Statue, so­
gungslosigkeit der G e s i c h t s z ٧ g e d o c h die Wangen u n d w i e ٧ b e r die Frage nach der n u r a l l g e m e i n als " D u c a
A u g e n oder die M u n d - u n d K i n n p a r t i e d u r c h die be­ d i Baviera" e r w δ h n t e n Person des Empfδngers und
hutsamste B e h a n d l u n g der Oberflδchen von stillem ersten Besitzers.
Leben durchpulst. O h n e Wissen u m die aus der schwedischen U b e r l i e f e ­
Diese Vergleiche m φ g e n gen٧gen, um—von Bor- r u n g bekannte D e u t u n g der F i g u r als Bathseba, w٧rde
g h i n i s N o t i z e n ausgehend—die Jahre 1571—73 als die w o h l e i n jeder die a n t i k i s c h nackte Gestalt f٧r eine
Entstehungszeit der Bathseba anzusetzen u n d sie als die Venus oder eine Nymphe halten. E i n e Bathseba w٧rde
v o n den M e d i c i nach Bayern geschenkte F i g u r zu i d e n ­ m a n i n i h r u m s o w e n i g e r v e r m u t e n , als das T h e m a der
tifizieren. I n n e r h a l b der K u n s t des G i o v a n n i B o l o g n a v e r f ٧ h r e r i s c h s c h φ n e n G e m a h l i n des U r i a s allzeit n u r i n
entstand sie als e i n H a u p t w e r k j e n e r Entwicklungs­ M a l e r e i , G r a p h i k u n d Reliefkunst u n d n u r i n e r z δ h ­
phase, die m a n i n w e i t e n Grenzen m i t den Jahren 1565 lender F o r m dargestellt w o r d e n ist, meist als e i n B i l d
u n d 1575 abstecken k a n n . 13
V o n den stilistischen, den der Bathseba, von David beim Bade beobachtet, seit d e m 16.
W e r k e n dieser Jahre e i g e n t ٧ m l i c h e n M e r k m a l e n abgese­ J a h r h u n d e r t vereinzelt auch als Bathseba bei der Toilette
hen, ist es i m Gedanken an die K o m p o s i t i o n unserer von Mägden bedient. A u s solchen szenischen Z u s a m m e n ­
Sitzenden aufschluίreich festzustellen, daί sich der h δ n g e n aber h e r a u s g e l φ s t u n d d e m Betrachter i n e i n e m
B i l d h a u e r z u keiner anderen Z e i t so anhaltend m i t den G e m δ l d e oder gar i n einer S k u l p t u r als E i n z e l f i g u r p r δ ­
P r o b l e m e n der Sitzstatue b e s c h δ f t i g t hat w i e i n diesem sentiert, ist sie i n der Geschichte der K u n s t u n d I k o n o ­
Jahrzehnt, etwa i n den beengt sitzenden F i g u r e n des graphie schlechterdings unbekannt. 16
So ist es, wenn
Cosimo als Josua oder des hl. Markus i n der A k a d e m i e ­ auch n i c h t beweisbar, d o c h sehr w a h r s c h e i n l i c h , d a ί
kapelle, i n der aufrecht sitzenden Architektur, i n den u n - Giovanni Bologna unsere Sitzende als eine Gestalt

gnas. Die Komposition der Architektur w i r d allgemein u m 1570—72 j δ h r i g e n Studien unsere Bathseba i n den 1570er Jahren nicht e r w δ h n t
angesetzt; die originalgroίen Stuckmodelle der Fluίgφtter waren gefunden haben.
spδtestens i m Herbst 1572 vollendet, zu der Zeit, zu der sie probe­ 16. E. Kunoth—Leifels, Stichwort Bathseba, Lexikon der christlichen
weise am Brunnen versetzt worden waren. Ikonographie, 8 Bde. (Rom—Freiburg—Basel—Wien, 1968—76), B d . 1,
15. Dorothea Diemer, Peter Diemer und Johannes Erichsen—als Sp. 254-58.
Kunsthistoriker heute die besten Kenner der M ٧ n c h e n e r Archive—
teilten m i r freundlicherweise m i t , daί auch sie w δ h r e n d ihrer lang-
146 Keutner

der M y t h o l o g i e e n t w o r f e n u n d a u s g e f ٧ h r t hatte. Ihre der Fresken P o n t o r m o s i m C h o r v o n San L o r e n z o her­

Umdeutung von einem antiken Sinnbild weiblicher vor, aber auch die Besuche der G i e ί e r e i b e i S. M a r c o
S c h φ n h e i t i n e i n alttestamentarisches i n der Person der u n d des Gartens u n d der B r u n n e n der V i l l a Castello. 19

Bathseba w u r d e , w i e w i r v e r m u t e n , i n Bayern, dem O h n e E h r g e i z i n den S t a a t s g e s c h δ f t e n , w e l t l i c h geson­

deutschen Kernland gegenreformatorischen Geistes, nen, e i n F r e u n d u n d S a m m l e r der K ٧ n s t e — u n d selbst
v o r g e n o m m e n : als Bathseba, die s c h φ n e G e m a h l i n des i n i h n e n d i l e t t i e r e n d — h a t er, seiner F l o r e n t i n e r E i n ­
K φ n i g s D a v i d u n d M u t t e r Salomos, k o n n t e i h r M a r ­ d r ٧ c k e stets eingedenk, i n den 70er Jahren i n M ٧ n c h e n
m o r b i l d i n der h e r z o g l i c h e n Residenz u n e i n g e s c h r δ n k ­ eine G i e ί e r e i e i n r i c h t e n lassen. I n den spδten 80er
ter B e t r a c h t u n g u n d B e w u n d e r u n g dargeboten w e r d e n . Jahren hat er dann v o r seinem Palast a m R i n d e r m a r k t
Ferner m u ί vorerst offen bleiben, an w e l c h e n " D u c a v o n H u b e r t Gerhard ( u m 1550—1622/23), den Schφp­
d i Baviera" Francesco d e ' M e d i c i unsere F i g u r gesandt fungen A m m a n n a t i s u n d Giovanni Bolognas nacheifernd,
hatte, an d e n regierenden H e r z o g A l b r e c h t V. (1528—79) einen vielfigurigen B r u n n e n ausfuhren lassen, den ersten
oder an einen seiner S φ h n e , die H e r z φ g e Wilhelm " i t a l i e n i s c h e n " M o n u m e n t a l b r u n n e n n φ r d l i c h der A l ­
(1548-1626), Ferdinand (1550-1608) oder Ernst pen. 20
Diese w e n i g e n H i n w e i s e a u f V e r b i n d u n g e n der
(1554—1612). Seit der Verschwδgerung der Hδuser H e r z φ g e W i l h e l m u n d Ferdinand z u m F l o r e n t i n e r H o f
M e d i c i u n d W i t t e l s b a c h i m Jahre 1565, seit der H o c h z e i t m φ g e n zur G e n ٧ g e b e g r ٧ n d e n , w a r u m w i r i n e i n e m
Francescos m i t Johanna v o n Osterreich, der j u n g e n v o n i h n e n den ersten Besitzer der Bathseba v e r m u t e n .
Schwester v o n A l b r e c h t s V. G e m a h l i n A n n a , hatten
sich die V e r b i n d u n g e n z w i s c h e n Florenz u n d M ٧ n c h e n
s p ٧ r b a r belebt. D o c h es w a r n i c h t der f٧r die z e i t g e n φ s ­ D o c h n i c h t n u r aus den ersten Jahren, auch aus den
sische K u n s t Italiens w e n i g aufgeschlossene A l b r e c h t nachfolgenden Jahrzehnten l i e ί e n sich keine N a c h r i c h ­
V, der die v e r m e h r t e n K o n t a k t e pflegte, sondern die ten ٧ b e r unsere F i g u r e r m i t t e l n ; i n keiner der bis heute
j u n g e n H e r z φ g e . U n t e r i h n e n w i r d m a n als E m p f δ n g e r bekannten L i s t e n oder Inventare des f ٧ r s t l i c h e n K u n s t ­
der Statue n i c h t so sehr an den j ٧ n g s t e n H e r z o g Ernst, besitzes aus d e m s p δ t e n 16. oder f r ٧ h e n 17. J a h r h u n d e r t
den spδteren Erzbischof u n d K u r f ٧ r s t e n v o n K φ l n , 1 7
als fand sich i h r e Existenz oder A u f s t e l l u n g i n M ٧ n c h e n
v i e l m e h r an seine δ l t e r e n B r ٧ d e r denken. D e n T h r o n ­ oder an e i n e m anderen O r t des H e r z o g t u m s v e r m e r k t .
folger W i l h e l m w i r d m a n i n E r w δ g u n g ziehen, w e i l er D e n n o c h hatte sich Raffaello B o r g h i n i i n seiner M i t ­
nach seiner H o c h z e i t m i t Renata v o n L o t h r i n g e n i m t e i l u n g ٧ b e r die Versendung der " f i g u r a d i m a r m o δ
Jahre 1568 bis z u seinem Regierungsantritt i m Jahre 1579 sedere" an einen " D u c a d i Baviera" n i c h t g e i r r t . D a ί
die B u r g Trausnitz i n Landshut als glanzvolle Residenz sich die Bathseba t a t s δ c h l i c h i m Besitz der bayerischen
ausbauen u n d , ab 1573 u n t e r der L e i t u n g des Vasari- H e r z φ g e befunden hat, ist uns f r e i l i c h erst aus einer Z e i t
s c h ٧ l e r s F r i e d r i c h Sustris ( u m 1540—99), m i t allen E i n ­ d o k u m e n t i e r t , z u der sie i n M ٧ n c h e n schon n i c h t m e h r
r i c h t u n g e n der R e p r δ s e n t a t i o n eines R e n a i s s a n c e f ٧ r s t e n v o r h a n d e n war.
ausstatten l i e ί . N e b e n v i e l e r l e i anderen D i n g e n zur I n einer a u f b r e i t e n A r c h i v s t u d i e n f u ί e n d e n A b h a n d ­
A u s z i e r u n g v o n S c h l o ί u n d G a r t e n erbat u n d erhielt er l u n g ٧ b e r " E n t s t e h u n g u n d A u s b a u der K a m m e r g a l e r i e
v o n Francesco auch E n t w ٧ r f e f٧r einen B r u n n e n u n d M a x i m i l i a n s I . v o n B a y e r n " hat uns Peter D i e m e r i m
eine G r o t t e n a n l a g e . 18
M a n w i r d aber auch an H e r z o g einzelnen auch ٧ b e r die P l ٧ n d e r u n g des f٧rstlichen
Ferdinand d e n k e n , der als Abgesandter seines Vaters zur Kunstbesitzes i n M ٧ n c h e n d u r c h K φ n i g Gustav A d o l f
H o c h z e i t Francescos i n Florenz w e i l t e , w δ h r e n d dieses i m M a i 1632 u n d ٧ b e r die i m Jahre 1635 aufgenommene
Aufenthaltes die K u n s t u n d den K u n s t b e t r i e b i n der N e u e i n r i c h t u n g der S a m m l u n g e n d u r c h den seit 1598
Stadt kennenlernte und alle bedeutenderen K i r c h e n regierenden Maximilian I . (1573—1651) unterrichtet. 21

aufsuchte. I n seinem Reisetagebuch h o b er v o r a l l e m die Z u den teils erfolgreichen, teils erfolglosen B e m ٧ h u n ­

B e s i c h t i g u n g e n der M e d i c i g r δ b e r M i c h e l a n g e l o s und gen u m eine Wiederbeschaffung der e n t f ٧ h r t e n Be-

17. Als junger Bischof von Freising verbrachte Ernst i n den Jahren Herzog Wilhelms V. (Leipzig—Straίburg), 1944, passim.
1574 und 1575 einen Bildungs- und Erziehungsaufenthalt i n Rom. I n 19. Das Tagebuch der Reise Ferdinands zur Hochzeit des Prinzen
seiner Korrespondenz aus dieser Zeit befindet sich v o m 10. Februar Francesco nach Florenz liegt i m Geheimen Hausarchiv, M ٧ n c h e n ,
1575 ein Dankbrief an Francesco f٧r die Ubersendung einer statua, A k t . 924. E i n zweites Exemplar befindet sich i m Hauptstaatsarchiv,
die jedoch weder nach Thema, noch nach G r φ ί e oder Material M ٧ n c h e n , F ٧ r s t e n t o m 26, 1—84.
beschrieben ist (ASF, Mediceo 4281, lett. 102). D a ί es sich i n ihr u m 20. Uber Geschichte und Schicksale des seit dem fr٧hen 17. Jahr­
die Bathseba gehandelt haben k φ n n t e , halte ich f٧r ausgeschlossen. hundert i m Residenzhof aufgerichteten Brunnens siehe: D Diemer,
18. I n dem ٧ber ein Jahrzehnt h i n anhaltenden Geschenkeaustausch "Bronzeplastik u m 1600 i n M ٧ n c h e n . Neue Quellen und Forschun­
zwischen Francesco und W i l h e l m war der letztere meist der empfan­ gen. Teil I und I I , : " Jahrbuch des Zentralinstituts fir Kunstgeschichte 2
gende Partner, siehe: B. Ph. Baader, Der Bayerische Renaissancehof (1986), 107-177 und 3 (1987) i m Druck, dort der Abschnitt: "Hubert
 Die Bathseba 147

s t δ n d e v e r φ f f e n t l i c h t e D i e m e r als Beispiel einer ver­ i m Treppenhaus des Schlosses Δ k e r φ ist i h r Z u s t a n d

geblichen Recherche M a x i m i l i a n s I . den A u s z u g aus v o r diesen E i n g r i f f e n d e u t l i c h zu erkennen ( A b b . 1).
e i n e m Brief, i n d e m der A m b e r g e r Rentmeister Sick- V o n der H i n z u f ٧ g u n g der Z e h e n abgesehen, s i n d die
henhauer a m 21. J u l i 1635 eine A n f r a g e des Herzogs v o r g e n o m m e n e n V e r δ n d e r u n g e n w e n i g g l ٧ c k l i c h aus­
nach d e m Verbleib der v o n den Schweden z u n δ c h s t nach gefallen. Vergleichen w i r die e r g δ n z t e Nase der Bathseba
N ٧ r n b e r g verbrachten K u n s t w e r k e ; der uns betreffende e t w a m i t den Nasen der Firenze oder der Astronomie
A b s c h n i t t des Schreibens lautet ins Neuhochdeutsche (Abb. 9—11), so fδllt auf, d a ί i h r e Nasenspitze n i c h t ge­
٧ b e r t r a g e n : " I c h k o n n t e aber nichts ٧ b e r das hinaus r u n d e t ausgearbeitet ist w i e diese, sondern zugespitzt,
erfahren, was m i r die Leute i n N ٧ r n b e r g schon gesagt d a ί sich Nasenspitze u n d N a s e n f l ٧ g e l also n i c h t g l e i ­
haben u n d zwar, d a ί der v o r L ٧ t z e n gefallene K φ n i g c h e r m a ί e n zu e i n e m organischen Ganzen v e r b i n d e n .
v o n Schweden, als er erstmals v o n M ٧ n c h e n w i e d e r M i t der geraden, i n scharfem W i n k e l z u r ٧ c k s p r i n g e n ­
nach N ٧ r n b e r g k a m , die l e b e n s g r o ί e Bathseba v o n w e i ­ den Nase erscheint i h r P r o f i l eckiger, i h r Gesichtsaus­
ί e m M a r m o r m i t sich g e f ٧ h r t u n d das B i l d w e r k sehr d r u c k starrer, i h r K o p f insgesamt u n w e i b l i c h e r als die
b a l d nach S t o c k h o l m i n Schweden verschickt h a t . " 22
K φ p f e der beiden anderen F i g u r e n . E i n e so w e n i g sen­
A u c h w e n n i n d e m Schreiben der N a m e des Meisters sible Nase, w i e sie die Bathseba heute t r δ g t , g i b t es i m
der Bathseba n i c h t genannt ist, b e d a r f dessen I n h a l t d o c h O e u v r e des G i o v a n n i B o l o g n a n i c h t .
keines w e i t e r e n K o m m e n t a r s . Das D o k u m e n t b e s t δ t i g t M i t der Δ n d e r u n g der Basiszone sollte offenbar die
e i n weiteres M a l die Ergebnisse, die w i r z u n δ c h s t ٧ b e r Standfestigkeit des B i l d w e r k s v e r s t δ r k t w e r d e n ( A b b . 1
eine I n t e r p r e t a t i o n des Textes v o n Raffaello B o r g h i n i u n d 5). So w u r d e die P l i n t h e u n t e r der S δ u l e u n d d e m
und sodann a u f d e m Weg der Stilkritik gewonnen rechten F u ί u m m e h r als das D o p p e l t e e r h φ h t u n d die
haben, d a ί uns i n unserer F i g u r t a t s δ c h l i c h j e n e v o n F i g u r sodann a u f eine nach S e i t e n l δ n g e u n d H φ h e u m
Giovanni B o l o g n a gleichzeitig m i t der Gruppe der ein Drittel vergrφίerte Sockelplatte versetzt. Auch
Firenze g e m e i ί e l t e , an den bayerischen H o f gesandte w e n n der Betrachter es n i c h t a b s c h δ t z e n k a n n , ob die
Sitzende erhalten ist. D a r ٧ b e r hinaus u n t e r r i c h t e t uns Basis n u n t a t s δ c h l i c h t r a g f δ h i g e r g e w o r d e n ist, so w i r d
das D o k u m e n t , d a ί m a n die i m Jahre 1632 nach Schwe­ i h m d o c h dieser E i n d r u c k v e r m i t t e l t , e i n E i n d r u c k der
den verbrachte Statue schon i n B a y e r n als Bathseba δ u ί e r e n A b s i c h e r u n g u n d Stabilisierung der Statue, den
betrachtet h a t . 23
zu erwecken G i o v a n n i B o l o g n a i n seinen W e r k e n stets
v e r m i e d e n hat. Selbst b e i gewagtesten Stellungen ent­
w a r f er seine F i g u r e n i m m e r als sich selbst tragend u n d
A b s c h l i e ί e n d n o c h einige B e o b a c h t u n g e n zur E r h a l ­ veranschaulichte das d u r c h eine f٧r das A u g e des B e ­
t u n g unserer Figur. I h r g e g e n w δ r t i g e r , a u f den ersten trachters ٧ b e r p r ٧ f b a r e , sorgfaltig k a l k u l i e r t e Pondera-
B l i c k makellos w i r k e n d e r Z u s t a n d ist, w i e w i r wissen, t i o n . Z u r V e r m i t t l u n g dieses E i n d r u c k s , d a ί die G e ­
das Ergebnis einer i m Jahre 1981 d u r c h g e f ٧ h r t e n H e r ­ stalten i h r G l e i c h g e w i c h t selbst w a h r e n , i h r e Sicherheit
r i c h t u n g , zu einen Z e i t also, zu der sich die F i g u r n o c h selbst g e w δ h r l e i s t e n , w a r er n i c h t zuletzt d a r a u f be­
i m K u n s t h a n d e l befand. A u s d e m B e r i c h t des Restaura­ dacht, alle δ u ί e r e n , s t ٧ t z e n d e n oder tragenden Ele­
tors erfahren w i r , 2 4
d a ί er neben einer sorgfδltigen R e i n i ­ mente a u f das u n e r l δ ί l i c h N o t w e n d i g e e i n z u s c h r δ n k e n .
g u n g u n d geringen Ausbesserungen der M a r m o r o b e r ­ Deshalb richtete er seine Bronzestatuetten oder M a r ­
flδche die v e r l o r e n e n Z e h e n des l i n k e n F u ί e s u n d die m o r f i g u r e n stets a u f unscheinbaren, flachen Plinthen
Nasenspitze ergδnzte, d a ί er die Sockelplatte u n d Plinthe a u f u n d b e m a ί sie so knapp, d a ί F ٧ ί e u n d B e i w e r k
v e r δ n d e r t e u n d schlieίlich die als eine δltere Restaurie­ soeben n o c h Platz f i n d e n . F ٧ r unsere Bathseba hatte er
r u n g vorgefundene l i n k e H a n d m i t d e m Gefδί entfernte gar, u m keine g r φ ί e r e P l i n t h e f٧r S δ u l e u n d F u ί ver­
u n d i n anderer Weise erneuerte ( A b b . 2). I n der A b b i l ­ w e n d e n z u m ٧ s s e n , f٧r die z u r ٧ c k g e s e t z t e F u ί s p i t z e
d u n g der Bathseba a u f i h r e m f r ٧ h e r e n Aufstellungsplatz eine eigene k l e i n e Platte ausgeschnitten. D a ί er hier,

Gerhards Brunnen f٧r Herzog Ferdinand von Bayern." nacher Stockhholben verschickht." (Bayer. Hauptstaatsarchiv, Kasten
21. Siehe: Quellen und Studien zur Kunstpolitik der Wittelsbacher vom schwarz 5233, 2b).
16. bis 18. Jahrhundert. Mitteilungen des Hauses der Bayer. Geschichte, I 23. Auch wenn Giovanni Bologna die Sitzende nach meiner
(1980), 140-44 und A n m . 83. Uberzeugung nicht als Bathseba ausgef٧hrt hat, sollte man aus
22. Der bei P. Diemer, A n m . 21 publizierte Originaltext lautet: G r ٧ n d e n der Verstδndigung die letztere Bezeichnung bis auf weiteres
"Ich hab aber ein mehrers nit erfahren migen, als das m i r die von beibehalten.
N φ r n b e r g selbsten gesagt, wie das der vor L٧zen Todtgebliebne 24. C. Avery ( A n m . 4), 349, Appendix.
K h φ n i g i n Schweden, die persebea von weisem marmor i n lebens
g r o ί e als derselben von M ٧ n c h e n das erstemal wider auf N φ r n b e r g
khomen, m i t sich gebracht, und solch bild als balden i n Schweeden
148 Keutner

Abb. 9 G i o v a n n i B o l o g n a (ital., 1529-1608). K o p f der Abb. 10. K o p f der Bathseba. Siehe A b b . 2.

Astronomie. B r o n z e . H (der F i g u r ) : 38.8 c m (IS /4").
1

Wien, Kunsthistorisches Museum Inv. 5893.

Photo: m i t freundlicher Genehmigung, Kunst­
historisches M u s e u m , W i e n .

aber auch i n anderen W e r k e n , so " u m s t δ n d l i c h " ver­ g δ n z l i c h erneuert w o r d e n . Das m u ί nach 1770 gesche­
fuhr, zeigt n o c h e i n m a l , einen w i e g r o ί e n W e r t er i n h e n sein, w e i l aus z w e i Bestandsaufnahmen der K u n s t ­
der D a r b i e t u n g seiner F i g u r e n a u f die δ u ί e r s t reduzier­ w e r k e i n A k e r φ v o n 1757 u n d 1770 hervorgeht, d a ί u n ­
t e n S t a n d f l δ c h e n legte. M i t der V e r s t δ r k u n g u n d Ver­ sere Bathseba damals " a n H δ n d e n u n d F ٧ ί e n e i n w e n i g
g r φ ί e r u n g der z u v o r n o c h w e i t g e h e n d o r i g i n a l e n Basis­ beschδdigt" war. 25
D a k e i n G r u n d besteht anzunehmen,
zone hat m a n also den k ٧ n s t l e r i s c h e n V o r s t e l l u n g e n des d a ί die S c h δ d e n i n den beiden L i s t e n b e s c h φ n i g t sind,
B i l d h a u e r s entgegengearbeitet. wird die H a n d t a t s δ c h l i c h nur geringf٧gig verletzt
S c h l i e ί l i c h w u r d e i n der L o n d o n e r W e r k s t δ t t e die gewesen sein. D i e V e r m u t u n g l i e g t also nahe, d a ί der
l i n k e erhobene H a n d m i t d e m k l e i n e n G e f δ ί , w o h l als nach 1770 t δ t i g e Restaurator sie n i c h t nach eigenem
eine unpassend empfundene, δ l t e r e E r g δ n z u n g entfernt Geschmack sondern nach d e m V o r b i l d der v o n i h m
( A b b . 1) u n d d u r c h eine andere m i t u n g l e i c h g r φ ί e r e r a b g e n o m m e n e n , n u r b e s c h δ d i g t e n H a n d erneuert hat­
Vase ersetzt. W i e der glatte S c h n i t t u n t e r h a l b des H a n d ­ te—eine ٢ b e r l e g u n g , die sich als zutreffend erweisen
gelenks anzeigt, w a r die b e m δ n g e l t e H a n d i n f r ٧ h e r e r lδίt. A l s e i n Beispiel f٧r die hohe E i n s c h δ t z u n g der
Z e i t n i c h t abgebrochen u n d wiederangesetzt, sondern Bathseba i n Schweden machte A v e r y a u f einige G i p s k o -

25. Zuletzt publiziert von C. Avery ( A n m . 4), 348, A n m . 34 u n d n δ g o t skadad pδ hδnder och fφtter, 47 t u m h φ g , hvit Marbre de Car-
35. Die Texte lauten i m Inventar von 1757: " E n sittiande Bathseba rare, piedestalen af trδd. 280.
wacker statue af Giovanni d i Bologna litet skadd pδ h δ n d e r och fφtter. 26. C. Avery ( A n m . 4), 347. Uber Carlo Carove siehe: E. Andren
47 tumb h w i t marmor. Trδpiedestal." U n d i n der Liste von 1770 i n Svenskt Konstnärs Lexikon (1952), B d . 1, 288.
heiίtes: " E n sittande Bathseba, s k φ n statue af Giovanni d i Bologna, 27. Frau Dr. K a r i n R δ d s t r φ m danke ich sehr herzlich f٧r ihre
 Die Bathseba 149

Abb. 11 K o p f der Firenze. Siehe Abb. 4. Photo: m i t

freundlicher Genehmigung, Kunsthistorisches
Institut Florenz; Luigi A r t i n i .

p i e n aufmerksam, die der italienische Stuckateur C a r l o

Carove ( i n Schweden t δ t i g seit 1666—67, d o r t gest. 1697) Abb. 12 Carlo Carove (ital., nachweisbar tδtig seit 1666,
v e r m u t l i c h u m 1670 f٧r den p r u n k v o l l e n B a d e r a u m des gest. 1697). Gipsabguί der Bathseba des Giovanni
Schlosses Ericsberg, S φ d e r m a n l a n d , angefertigt h a t t e . 26
Bologna. H : ungefδhr 115 cm (4574"). Katrine-
Diese s o r g f δ l t i g hergestellten u n d g u t erhaltenen K o ­ holm, Schloί Ericsberg. Photo: m i t freund­
licher Genehmigung, Schloί Ericsberg, K a -
pien (Abb. 12) 27
lassen k e i n e n Z w e i f e l daran, d a ί der
trineholm, Schweden.
δ l t e r e Restaurator t a t s δ c h l i c h keine w i l l k ٧ r l i c h e E r g δ n ­
z u n g v o r g e n o m m e n , sondern die H a n d m i t d e m G e f δ ί
so nachgearbeitet hat, w i e er sie v o r g e f u n d e n hatte u n d der δ l t e r e n Fassung ( A b b . 12) sieht m a n die j u n g e Frau
w i e sie z u m i n d e s t seit 1670 v o r h a n d e n war. m i t beiden H δ n d e n g l e i c h e r m a ί e n z u r ٧ c k h a l t e n d be­
M i t der E r n e u e r u n g dieser H a n d hat m a n sehr w a h r ­ s c h δ f t i g t : m i t der L i n k e n hat sie i h r kleines G e f δ ί ٧ b e r
scheinlich i h r e n a u f G i o v a n n i B o l o g n a z u r ٧ c k g e h e n d e n den Haaransatz oberhalb der l i n k e n Stirnhδlfte an­
Zustand, 28
i n j e d e m Falle aber eine erhaltenswerte h i s t o ­ gehoben, w δ h r e n d sie m i t e i n e m Tuch i n der h i n a b g r e i ­
rische E r g δ n z u n g ohne ersichtlichen G r u n d entfernt. I n fenden Rechten i h r e n F u ί t r o c k n e t . Es s i n d a l l t δ g l i c h

liebensw٧rdigen B e m ٧ h u n g e n u m die Beschaffung einer Photo­ gδnzlich auszuschlieίen ist, daί die Hand auch vor 1670 schon einmal
graphie von einer der 5 Kopien. M e i n aufrichtiger Dank gilt nicht restauriert worden ist.
minder dem Freiherrn Carl Jedward Boude, Schloί Ericsberg, f٧r die
freundliche Erlaubnis zur Herstellung der Photographie.
28. Ich schreibe "sehr wahrscheinlich," weil nat٧rlich nicht
150 Keutner

gewohnte, anspruchslose V e r r i c h t u n g e n , die sie i n n e r ­ m i t t e versetzte Vase d e m Betrachter w i e eine T r o p h δ e

l i c h u n b e t e i l i g t a u s ٧ b t ; v o r sich h i n s i n n e n d h δ n g t sie entgegen, zieht sein A u g e n m e r k a u f sich w i e a u f e i n
anderen G e d a n k e n nach. So e m p f i n d e t der Betrachter zentrales O b j e k t der K o m p o s i t i o n des B i l d w e r k s , w i e
die m a ί v o l l e n R e g u n g e n i h r e r A r m e and H δ n d e i n v o l ­ ein Hauptattribut der dargestellten Person. M i t der
l e m E i n k l a n g m i t der leichten N e i g u n g ihres Kopfes, G e w i c h t i g k e i t aber, die m a n der H a n d m i t d e m g r o ί e n
der geringen B i e g u n g ihres Rumpfes, der einfachen G e f δ ί derart zugemessen hat, h o b m a n den f٧r die alte
H a l t u n g der B e i n e u n d begreift alle i h r e G l i e d m a ί e n Fassung so bezeichnenden G l e i c h k l a n g der beiden ge­
als gleichwertige K o m p o n e n t e n eines Gesamtbildes v o n messen agierenden H δ n d e ebenso auf, wie man die
s t i l l e m , beschaulichem Dasein. Ausgewogenheit i m Gesamtaufbau der Figur durch
H e u t e sieht m a n die Vase—sie ist eine K o p i e der einen e i g e n w i l l i g nach oben verlegten A k z e n t g e s t φ r t
B ٧ c h s e der Pandora aus der B r o n z e g r u p p e des A d r i a n hat. G i o v a n n i B o l o g n a hatte gerade jegliche B e t o n u n g
de V r i e s — s o w o h l d u r c h ihre u n g e w φ h n l i c h e
29
Grφίe eines E i n z e l m o t i v s v e r m i e d e n , u m unsere A u f m e r k ­
als auch d u r c h den besonderen Platz ausgezeichnet, den samkeit i n der B e t r a c h t u n g der u n a u f d r i n g l i c h e n M a n ­
m a n i h r verschafft hat ( A b b . 2): die m i t b r e i t e m H a n d ­ n i g f a l t i g k e i t seiner S c h φ p f u n g , i n der B e w u n d e r u n g der
r ٧ c k e n u n p r o p o r t i o n i e r t g r o ί e L i n k e ist, i m G e l e n k ab­ S c h φ n h e i t der Gestalt unserer Bathseba nicht abzulenken.
g e w i n k e l t , e i n w δ r t s g e f ٧ h r t u n d h δ l t die v o r die S t i r n ­
Florenz

29. Die 250 cm hohe Gruppe Merkur und Pandora befindet sich i n
Paris, Louvre (Inv. M . R . 3270); dort wie auch i n manchen Publika­
tionen findet man sie irrt٧mlicherweise als Merkur und Psyche
verzeichnet.
Acquisitions/1986
INTRODUCTION 153

NOTES TO THE READER 158

ANTIQUITIES 159

MANUSCRIPTS 167

PAINTINGS 177

DRAWINGS 188

DECORATIVE ARTS 210

SCULPTURE A N D WORKS OF ART 216

PHOTOGRAPHS 222

T R U S T E E S A N D STAFF L I S T 239
© 1987 The J. Paul Getty Museum
Introduction
T h e year 1986 was one o f steady g r o w t h for the c o l ­ for m o r e public services, have squeezed the V i l l a b u i l d ­
lections. T h e most i m p o r t a n t acquisitions were made i n g and o u r office annex, M r . Getty's so-called Ranch
f r o m private sources, n o t at auctions, so o u r w o r k w e n t House. Galleries for antiquities, paintings, manuscripts,
o n largely o u t o f the glare o f p u b l i c i t y T h e results o f and photographs got the most a t t e n t i o n i n 1986, so that
our intensive c o l l e c t i n g d u r i n g the last few years be­ a v i s i t o r w h o returns today after j u s t a few years' ab­
came m o r e and m o r e evident i n the galleries, however, sence w i l l be struck b y the changes i n ambience as w e l l
as renovations c o n t i n u e d and lesser objects were r e g ­ as i n the objects s h o w n . T h e large basement studio f o r ­
u l a r l y displaced b y greater ones. m e r l y used by Paintings and A n t i q u i t i e s C o n s e r v a t i o n ,
We c o n t i n u e d to spend a g o o d deal o f t i m e w i t h o u r w h i c h had been vacated for i m p r o v e d quarters at the
architect Richard M e i e r and w i t h the G e t t y Trust staff Ranch House, was b e i n g r e b u i l t t o serve as offices for
i n d e v e l o p i n g plans for a n e w m u s e u m . I t is to be i n the four curatorial departments.
f o o t h i l l s o f the Santa M o n i c a M o u n t a i n s , about t w e n t y A m e r i c a n museums always seem t o l o o k l i k e c o n ­
m i n u t e s ' drive f r o m the present G e t t y M u s e u m . B e ­ s t r u c t i o n sites, so all this a c t i v i t y does n o t set us apart;
l o n g i n g t o a c o m p l e x o f b u i l d i n g s that i n 1993 w i l l t h e rate o f o u r a c q u i s i t i o n s does. B u i l d i n g a d i s ­
house the various organizations o f the G e t t y Trust, the t i n g u i s h e d c o l l e c t i o n remains o u r first p r i o r i t y and o u r
m u s e u m w i l l be the largest and the o n l y public part. biggest challenge. I s h o u l d l i k e t o r e v i e w some o f the
T h e collections f r o m the M i d d l e Ages t o 1900 w i l l be progress m a d e last year b y t h e v a r i o u s c u r a t o r i a l
s h o w n there, w h i l e the present b u i l d i n g i n M a l i b u w i l l departments.
become a m u s e u m o f Greek and R o m a n art. FOR T H E DEPARTMENT OF ANTIQUITIES, most major
We helped the M e i e r office analyze the p r o g r a m w e acquisitions i n 1986 were Greek. T h e smallest is a m o n g
had prepared over the past several years, w h i c h had the m o s t i m p o r t a n t w e have ever made, a f i f t h - c e n t u r y
been c o m b i n e d i n t o an overall p r o g r a m for the n e w bronze statuette representing a fallen or d y i n g y o u t h .
G e t t y b u i l d i n g s . O u r needs were translated i n t o square N o other Greek bronze o f the p e r i o d embodies the ideal
footages and f u n c t i o n a l relationships and then, d u r i n g o f kalos thanatos (beauty i n death) so eloquently. T h e
the summer, i n t o schematic drawings. For the first t i m e c o m p l e x arched and t w i s t i n g pose embodies the m o s t
we c o u l d see Meier's ingenious s o l u t i o n for o r g a n i z i n g advanced ideas i n sculpture, w e l l ahead o f any s u r v i v i n g
the w h o l e c o m p l e x o n the h i l l , a site that poses practical c o n t e m p o r a r y figures i n marble. We do n o t k n o w yet
problems o f every k i n d even as i t provides an i n s p i r i n g how i t was o r i g i n a l l y i n t e n d e d to be seen, since i t has
place for the b u i l d i n g s . We c o u l d f i n a l l y b e g i n t o v i s u a l ­ l o s t its c o m p a n i o n s or the landscape elements that
ize the b u i l d i n g s themselves, atop the ridges, separate w o u l d presumably have supported i t . Nevertheless, the
but nearby one another, t h e i r varied shape and scale d a r i n g pose and refined m o d e l i n g and f i n i s h i n g p u t
reflecting t h e i r different purposes, t h e i r s i m i l a r f o r m a l i t a m o n g the f i n e s t G r e e k bronzes t h a t have come
vocabulary m a k i n g visual and s y m b o l i c l i n k s . Materials d o w n t o us.
sympathetic to the landscape w i l l be used, especially H a v i n g acquired a large g r o u p o f o u t s t a n d i n g Greek
stone. T h e p r o g r a m calls for a m u s e u m o f moderate vases f r o m Walter and M o l l y Bareiss i n 1984, w e have
size a n d o f u n u s u a l shape. T h e c o l l e c t i o n s w i l l be been a d d i n g o n l y the choicest examples. A c u p at­
housed i n about s i x t y thousand square feet o f galleries t r i b u t e d to O n e s i m o s stands o u t a m o n g the vases that
i n six separate t w o - s t o r y b u i l d i n g s o f d i f f e r i n g form, came o n the m a r k e t last year, and indeed a m o n g all r e d -
l i n k e d b y short covered or enclosed w a l k s , so as to give f i g u r e vases, for its o r i g i n a l t r e a t m e n t o f a f a v o r i t e
as varied and pleasant an experience as possible. We beauty-and-the-beast theme, the encounter o f a sleep­
w a n t the v i s i t o r t o be rewarded n o t o n l y w i t h beau­ ing maenad with an a m o r o u s satyr w h o creeps
t i f u l l y e x h i b i t e d w o r k s o f art b u t also w i t h gardens, p r e c a r i o u s l y d o w n a c l i f f t o w a r d her. T h i s is A t t i c
distant views, and pauses for relaxation. A s 1986 came draughtsmanship at its m o s t expressive.
to an end w e had accepted the basic elements o f the Several terracottas f r o m the Greek colonies i n S o u t h
s o l u t i o n and were w o r k i n g o n refinements o f Meier's Italy were acquired i n 1986. T h o u g h terracottas are rela­
schematic design. t i v e l y abundant i n older collections o f antiquities, the
I n M a l i b u , o u r ceaseless r e n o v a t i o n o f the b u i l d i n g s M u s e u m is s t i l l b u i l d i n g its small b u t i m p o r t a n t g r o u p .
154 Walsh

figure is a s t a r t l i n g rediscovery. I t has n o k n o w n parallel n o t h i n g surpassed the astonishing M o d e l B o o k o f C a l ­

i n M a g n a Grecia w h e r e i t was made b u t has several ligraphy by Georg Bocskay w i t h i l l u m i n a t i o n s by
A t t i c precedents; almost perfectly preserved, w i t h m a n y G e o r g Hoefnagel. I t was made i n 1 5 6 1 — 1 5 6 2 i n Prague
traces o f color, the N i k e has all the insouciant freshness to demonstrate a variety o f scripts. A generation later,
o f her sisters, the k o r a i , at the d a w n o f Greek sculpture. w h e n i t was i n the possession o f E m p e r o r R u d o l f I I , i t
A pair o f terracotta altars o f a c e n t u r y later are also was taken u p b y the c o u r t painter Hoefnagel and g i v e n
unprecedented. T h e reliefs s h o w A d o n i s and his at­ i l l u m i n a t i o n s o f f r u i t , flowers, insects, animals, and c i t y
tendants represented w i t h the m o b i l e poses and fluid views—a b r e a t h t a k i n g survey o f the natural w o r l d b y
c l i n g i n g d r a p e r y t h a t w e associate w i t h t h e latest this greatest o f scientific illustrators. T h e manuscript, a
fifth-century s t o n e s c u l p t u r e i n Greece, h e r e exe­ celebration o f b o t h nature and h u m a n artifice, comes at
cuted i n a m e d i u m n o r m a l l y used for m o l d e d pieces. the end o f a l o n g t r a d i t i o n that eventually perished w i t h
T h e h i g h p o i n t o f the year, however, was the p u r ­ the rise o f p r i n t i n g .
chase o f t e n silver d r i n k i n g vessels. A d d e d t o the M u ­ Several other purchases had special i m p o r t a n c e for
seum's earlier h o l d i n g s , they help make ours the finest the G e t t y c o l l e c t i o n , whose core remains the 1 4 4 m a n u ­
c o l l e c t i o n o f Eastern H e l l e n i s t i c silver i n the w o r l d . I n scripts acquired i n 1 9 8 3 f r o m Irene and Peter L u d w i g .
a n t i q u i t y such silver was a t o k e n o f w e a l t h and i m p e r i a l Because the L u d w i g material, t h o u g h fine and i m p o r ­
favor, as w e l l as an artistic m e d i u m ; b u t i t was m e l t e d tant, is a l o n g w a y f r o m c o m p r i s i n g a comprehensive
d o w n b y captors and thieves o n such a scale that v e r y collection, w e w a n t t o compensate for its weaknesses as
l i t t l e has survived. T h u s each n e w discovery is precious. w e l l as t o b u i l d its strengths. French manuscripts were
T h e g r o u p o f r h y t a (horn-shaped spouted vessels) is the n o t the L u d w i g s ' focus, b u t i m p o r t a n t examples are
m o s t impressive. T h e r e are t w o r h y t a w i t h l y n x p r o - s t i l l available, especially f r o m the later M i d d l e Ages; so
t o m a i o f f a m i l i a r f o r m , b o t h bearing the makers' signa­ w e have concentrated o n t h e m . O u t s t a n d i n g i n this area
tures i n A r a m a i c and p r o v i d i n g invaluable i n f o r m a t i o n is a b o o k o f hours f r o m about 1415—1420 w i t h seven­
for scholars. A n d there are t w o r h y t a w i t h u n i q u e p r o - teen large d e v o t i o n a l m i n i a t u r e s b y the B o u c i c a u t M a s ­
t o m a i , a l i o n and a stag, the noblest q u a r r y o f hunters, ter and his w o r k s h o p . I t adds a splendid example o f the
that are a m o n g the m o s t v i g o r o u s a n i m a l representa­ Parisian I n t e r n a t i o n a l G o t h i c Style t o the Museum's
tions t o survive i n the art o f antiquity. collections. A copy o f a Passion narrative i l l u m i n a t e d i n
It was a year o f r e n o v a t i o n and r e i n s t a l l a t i o n for the Lyons by the Master o f G u i l l a u m e L a m b e r t and his
D e p a r t m e n t o f A n t i q u i t i e s under its n e w l y appointed w o r k s h o p is n o t o n l y a beautiful d e v o t i o n a l b o o k , b u t
curator, M a r i o n True. A f t e r t w o years o f study and it also represents the art o f the i m p o r t a n t years a r o u n d
conservation w o r k , the kouros acquired i n 1 9 8 5 was 1480 p a r t i c u l a r l y w e l l . O n the other hand, w e already
placed o n a specially made base that w o u l d isolate i t have a g r o u p o f F l e m i s h m a n u s c r i p t s t h a t is u n s u r ­
f r o m seismic m o v e m e n t and e x h i b i t e d i n a refurbished passed i n this c o u n t r y . We added a b o o k o f hours p r o b ­
gallery w i t h the best o f o u r archaic and f i f t h - c e n t u r y ably i l l u m i n a t e d i n Bruges a r o u n d 1 4 8 5 — 1 4 9 5 by the
material, m u c h o f i t acquired since 1983. The w o r k o f Master o f the D r e s d e n Prayer B o o k , an anonymous
Jerry Podany, o u r conservator o f antiquities, and his painter w h o is a m o n g the leading figures i n a fertile

staff was essential t o the project. p e r i o d i n Flanders.

Greek vases were the center o f a t t e n t i o n m o s t o f the T h e D e p a r t m e n t o f M a n u s c r i p t s e n t i r e l y remodeled

year. We created and p u t i n t o service a n e w interactive the gallery i n w h i c h w e have been s h o w i n g its collec­
videodisc t o teach visitors about Greek vases. Installed t i o n . N e w e x h i b i t i o n s every few m o n t h s are devoted t o
i n t w o b o o t h s adjacent t o a s m a l l gallery w i t h several o f themes or periods or centers o f p r o d u c t i o n ; t o house
o u r best vases, the touch-screen m o n i t o r s a l l o w visitors t h e m , handsome n e w display cases have replaced t e m ­
to guide themselves t h r o u g h as m u c h p r o g r a m m e d i n ­ p o r a r y ones, and the r o o m has been refurbished.

s t r u c t i o n o n various aspects o f vases (subject matter, T W E N T Y - O N E P A I N T I N G S were added t o the c o l l e c t i o n

p o t t i n g and p a i n t i n g , f u n c t i o n , etc.) as they w i s h . For i n 1 9 8 6 . Supply c o n t i n u e d t o go d o w n and prices up,
specialists, w e sponsored an i n t e r n a t i o n a l s y m p o s i u m i n e v i t a b l y s l o w i n g the rate o f acquisition for a m u s e u m
on vase-painting i n A t h e n s d u r i n g the p e r i o d o f the d e t e r m i n e d t o h o l d a h i g h standard. T h i s was a year
great black-figure pioneer k n o w n as the A m a s i s Painter. that ended w i t h a series o f s t a r t l i n g prices p a i d at auc­
T h e occasion was an e x h i b i t i o n devoted t o the artist, o f t i o n , far h i g h e r than o p t i m i s t i c estimates, b y relatively
w h i c h w e were cosponsors, h e l d at the Los Angeles n e w private collectors. T h e G e t t y M u s e u m was never­
C o u n t y M u s e u m o f A r t at the t i m e o f the s y m p o s i u m . theless able t o add some p a i n t i n g s that w o u l d be h i g h
F O R M A N U S C R I P T S , o f the eight acquisitions i n 1 9 8 6 points o f any year.
 Acquisitions/1986 155

A n anonymous l i t t l e Italian d i p t y c h o f the m i d - f o u r ­ c o m p o s i t i o n o f a silver goblet, fruit, and nuts. Chardin's

teenth century, the so-called A n s o u i s D i p t y c h , is a great artless s i m p l i c i t y is an i l l u s i o n , for the arrangement is
rarity: a beautiful and well-preserved d e v o t i o n a l object. finely calibrated, and his translation o f subtle variations
U n i q u e i n subject, i t has the sumptuousness and s t o r y ­ o f hue and texture i n t o paint is the p r o d u c t o f a l i f e t i m e
t e l l i n g verve o f Sienese p a i n t i n g o f the later M i d d l e o f patient g r o w t h .
Ages, t h o u g h i t was made far f r o m Tuscany, p r o b a b l y T h e biggest event o f the year was the reappearance o f
i n A v i g n o n or Naples. a l o n g - l o s t p o r t r a i t o f the daughters o f Joseph B o n a ­
A p o r t r a i t by Francesco Salviati adds greatly t o a c o l ­ parte b y Jacques-Louis D a v i d that w e were able t o ac­
l e c t i o n that has so far been weak i n Renaissance p o r t r a i ­ quire privately. Painted i n 1821 for the exiled Bonaparte
ture. Painted by the i t i n e r a n t F l o r e n t i n e i n R o m e by another exile, the seventy-three year-old D a v i d , i t is
a r o u n d 1 5 5 0 — 1 5 5 5 , its resolute energy is tempered b y one o f his most acute portraits. T h e contrast between
the c o m p l e x i t y , resonant color, and polished execution the sturdy, n u b i l e older daughter and her p l i a n t y o u n g e r
typical o f Italian M a n n e r i s m at its apogee. sister is s t r i k i n g yet complex; the m o d e l i n g is strong
A w e l l - k n o w n p o r t r a i t by van D y c k was acquired i n and the color rich; and the presence o f a letter f r o m
1986. T h e sitter is T h o m a s H o w a r d , Second E a r l o f t h e i r absent father makes the picture a k i n d o f i c o n o f
A r u n d e l , the greatest E n g l i s h connoisseur and collector familial devotion.
o f his day and a leading statesman under James I and A s happy as w e are t o f i n d p a i n t i n g s by van D y c k ,
Charles I . H e was portrayed a r o u n d 1620—1621 b y the C h a r d i n , a n d D a v i d , o f w h o m w e n a t u r a l l y expect
y o u n g F l e m i s h painter, w h o established his r e p u t a t i o n great things, i t can be j u s t as satisfying to acquire a
and made his fortune w i t h j u s t such commissions i n masterpiece b y an a r t i s t w h o m the p u b l i c m a y n o t
E n g l a n d . T h e p o r t r a i t shows w h y : i t is a s t r o n g likeness k n o w at a l l — f o r example, the pictures b y L e o v o n
softened by the w a r m , fluent manner o f the great Vene­ Klenze and Franz X a v e r W i n t e r h a l t e r w e b o u g h t last
tians o f the previous c e n t u r y and deepened by the sug­ year. Winterhalter's subject is a twenty-seven year-old
gestion o f refinement i n the face and hands. Russian princess, whose s u l t r y beauty he celebrated i n
Several D u t c h p a i n t i n g s have j o i n e d the c o l l e c t i o n . a h i g h l y u n c o n v e n t i o n a l life-size p o r t r a i t ; she is r e c l i n ­
O n e , The Horse Stall, may o r i g i n a l l y have been the es­ i n g , l i k e the Venuses o f the past, i n a splendid g o w n be­
tranged c o m p a n i o n o f The Cow Shed by ter B o r c h w e fore a m o o d y M e d i t e r r a n e a n , o r perhaps C r i m e a n ,
acquired a few years ago. T h e n e w acquisition repre­ b a c k g r o u n d . H e r c o o l self-assurance is set o f f b y the
sents a stable w i t h t w o figures and a fine dapple-gray b o l d colors and r i c h textures that the artist painted w i t h
r i d i n g horse, a l l painted w i t h ter Borch's b r e a t h t a k i n g such ease.
v i r t u o s i t y . I n a M o n t e C a r l o a u c t i o n w e were able t o T h e p a i n t i n g s c o l l e c t i o n has changed d r a m a t i c a l l y
b u y a n o t h e r genre p a i n t i n g , rarer s t i l l , the Doctor's d u r i n g the past five years. T h e acquisition i n that t i m e
Visit o f 1 6 6 7 b y Frans van M i e r i s the Elder, the L e y d e n o f m o r e than a h u n d r e d w o r k s has necessitated δ t h o r ­
p a i n t e r w h o s e w o r k was h i g h l y p r i z e d a n d eagerly o u g h rearrangement o f the pictures and g i v e n us the
collected i n his o w n t i m e and w e l l i n t o the n i n e t e e n t h chance t o refurbish, r e l i g h t , and relabel t h r o u g h o u t the
century. I t treats a stock theme, the diagnosing o f l o v e - second-floor p a i n t i n g s galleries. U n r e c o g n i z e d , b u t es­
sickness or, m o r e likely, pregnancy, w i t h a b r o a d h u ­ sential i n all this a c t i v i t y o f acquisitions and reinstalla­
m o r t h a t is closely related t o c o n t e m p o r a r y theater. t i o n , is the w o r k o f the p a i n t i n g s conservators under
It has all o f the refinement and o r i g i n a l i t y o f color that A n d r e a Rothe. We take t h e i r j u d g m e n t o f the c o n d i t i o n
earned van M i e r i s his fame. o f a picture before i t is b o u g h t . A n d w h e n i t needs
A pair o f large views o f Venice by the pioneer vedute cleaning and restoration, as i t frequently does, w e de­
painter Luca Carlevarijs, o f 1710 and 1711, n o w hang i n p e n d o n t h e m t o treat i t sensitively, conservatively, and
the M u s e u m ' s Baroque gallery. W e l l k n o w n and often w i t h the greatest respect for the artist's i n t e n t i o n . O n c e
published, they represent the festivities p u t o n for the i n a w h i l e this w o r k represents a particular t r i u m p h , as
visit o f Frederick I V o f D e n m a r k . Carlevarijs portrayed it d i d w i t h the Dosso D o s s i Mythological Scene acquired
the scenes w i t h an eye for a m u s i n g anecdote as w e l l as i n 1983. I t was so radically altered by the artist h i m s e l f
for the s h i m m e r and g l i t t e r o f this c i t y o f spectacle. that i t posed every k i n d o f d i l e m m a for the restorer.
Step by step, w e are b u i l d i n g a g r o u p o f eighteenth- Last year w e p u t i t o n e x h i b i t i o n after three years o f
c e n t u r y French p a i n t i n g s that w e hope can one day rival research and successful treatment.
the M u s e u m ' s collections o f French f u r n i t u r e and deco­ FOR DRAWINGS, 1 9 8 6 was the year o f the much-
rative arts. O n e step was the purchase last year o f an p u b l i c i z e d Gaines and S p r i n g e l l sales, at w h i c h w e
especially beautiful C h a r d i n s t i l l life, a relatively late m a d e six i m p o r t a n t acquisitions. T h e r e w e r e many
156 Walsh

other less conspicuous purchases as w e l l . I m p o r t a n t d r a w i n g s b y the leading R o m a n t i c painters

T h e single greatest a d d i t i o n was the sheet o f d r a w ­ i n France, Gericault and D e l a c r o i x , j o i n e d the c o l l e c t i o n
ings b y L e o n a r d o da V i n c i , w h i c h becomes part o f the i n 1986. The Giaour, an i m p e c c a b l y preserved water-
f o u n d a t i o n o f o u r collection. O n i t he progressively color o f about 1822 b y Gericault, treats a s w a s h b u c k l i n g
evolved the f o r m o f a c h i l d w i t h a l a m b , a key m o t i f i n subject f r o m B y r o n ; a gouache o f Sailboat on the Sea,
several o f his p a i n t i n g s , f r o m a vague e x p l o r a t i o n i n acquired f r o m the same source, embodies the threaten­
chalk t o increasingly exact delineations i n pen. H e also i n g p o w e r o f the ocean that was a constant R o m a n t i c
used the sheet for d r a w i n g s o f machinery, for the head preoccupation. We were also able t o b u y The Education
o f an o l d m a n , and for notes i n his d i s t i n c t i v e m i r r o r of Achilles b y D e l a c r o i x , a pastel o f the late 1850s i n
w r i t i n g . T h i s s m a l l piece o f paper is a c o m p e n d i u m o f v i r t u a l l y perfect c o n d i t i o n .
Leonardo's techniques and purposes as a draughtsman, E x h i b i t i o n s f r o m the p e r m a n e n t c o l l e c t i o n o f d r a w ­
w h i c h were so i n f l u e n t i a l o n the h i s t o r y o f art. ings, w h i c h change five t i m e s a year, give us a chance t o
I n contrast t o the Leonardo, a d r a w i n g o f C h r i s t car­ p u t n e w acquisitions o n v i e w fairly p r o m p t l y and, as
r y i n g the Cross b y the G e r m a n Renaissance master A l - the c o l l e c t i o n gets m o r e diverse, t o explore artistic p e r i ­
brecht A l t d o r f e r w e n t u n r e c o g n i z e d at a u c t i o n and was ods, styles o f d r a w i n g , and even themes.
i d e n t i f i e d , acquired, and later p u b l i s h e d b y the curator, THE DECORATIVE ARTS COLLECTION, built steadily

George Goldner, and his assistant curator, Lee H e n d r i x . over the past fifteen years i n an increasingly c o m p e t i t i v e
We b o u g h t Rembrandt's An Artist in a Studio at the market, has become one o f the h a l f - d o z e n finest i n the
a u c t i o n o f the S p r i n g e l l estate i n L o n d o n . T h i s is an w o r l d . Really i m p o r t a n t acquisitions are therefore n o t
early p e n d r a w i n g that shows a y o u n g artist l o o k i n g easily f o u n d or made. We concentrate o n the finest and
i n t e n t l y at a p a i n t i n g o n his easel. T h e w i r y energy o f rarest f u r n i t u r e and o n objects that w i l l n o t o n l y e n r i c h
l i n e invigorates the subject itself, w h i c h embodies the o u r installations b u t w i l l also b r o a d e n the picture w e
a m b i t i o n a n d i n t e l l e c t u a l p o w e r o f the painter. O u r give o f the lives and interests o f the o r i g i n a l patrons.
t e n t h d r a w i n g b y the artist, i t strengthens a g r o u p o f T h e single m o s t splendid acquisition was surely the
w o r k s by Rembrandt that n o w surpasses any i n America. v e r y large lit ä la Turque o f the 1760s a t t r i b u t e d t o the
T h e same can be said o f the Getty's d r a w i n g s b y menuisier Jean-Baptiste T i l l i a r d I I . Its graceful f o r m and
Poussin. To the t w o b o u g h t i n previous years, a g r o u p splendid c a r v i n g and g i l d i n g i n t w o colors p u t i t a m o n g
o f six were added i n 1986: studies f r o m the antique, the best e i g h t e e n t h - c e n t u r y beds t o survive. Since the
figure c o m p o s i t i o n s , and, finest o f all, a rare red-chalk b e d r o o m was always a focus o f social life, a place w h e r e
d r a w i n g o f the Israelites crossing the Red Sea o f about the mistress o f a great house w o u l d receive guests, the
1634. I t reveals an ardent, i m p u l s i v e character that Pous­ bed has a special i m p o r t a n c e w h i c h w e can eventually
sin w o u l d t h e n d i s c i p l i n e i n e x e c u t i n g the p a i n t i n g for convey i n o u r o w n i n s t a l l a t i o n .
w h i c h the d r a w i n g was a study. A m o n g the owners o f the f u r n i t u r e and decorative
H a v i n g o n l y one relatively m i n o r d r a w i n g b y W a t ­ arts collected b y the M u s e u m were m a n y passionate
teau, w e w o n d e r e d i f w e w o u l d ever represent the artist amateur scholars and scientists. A Rococo g i l t - b r o n z e
at his peak. I n 1986 w e g o t the chance t o b u y t w o o f the c o m p o u n d m i c r o s c o p e o f a b o u t 1751 b y t h e well-
best Watteau d r a w i n g s i n existence. The Remedy, one o f k n o w n maker A l e x i s M a g n y survives w i t h its leather
his few nudes, has the added interest o f b e i n g a study case, e x t r a lenses, i m p l e m e n t s , a n d p r e p a r e d slides.
for the p a i n t i n g i n the N o r t o n S i m o n M u s e u m ; the It m u s t have p r o v i d e d the sort o f e d i f y i n g e n t e r t a i n ­
other, a sheet o f d r a w i n g s o f three w o m e n i n various m e n t for the o w n e r and his guests that was a part o f
poses, was used for his m o s t famous picture, the Pil­ eighteenth-century social life. So d i d t h e p a i r o f
grimage to Cythera. B o t h are b e a u t i f u l examples o f W a t - c e l e s t i a l a n d t e r r e s t r i a l globes o n s p l e n d i d l a c q u e r
teau's d e l i c a t e s e n s i b i l i t y a n d e x p r e s s i v e t e c h n i q u e . stands that also j o i n e d the collection, complete w i t h
S o m e t h i n g o f Watteau's spirit can be felt i n the d r a w i n g engraved maps that c o u l d be amended b y pasting o n
by G a i n s b o r o u g h w e b o u g h t at the S p r i n g e l l sale, a n e w sheets w h e n discoveries were made overseas.
w o n d e r f u l costume study o n blue paper. We succeeded i n b u y i n g a pair o f porcelain l i d d e d
We were able t o acquire a v i e w o f W a r w i c k Castle b y vases that became o u r m o s t remarkable Sevres pieces.
Canaletto, one o f the l u m i n o u s wash d r a w i n g s made b y T h e m o d e l is u n i q u e , the b o d y is decorated i n exquisite
the Venetian v i e w painter d u r i n g his ten-year stay i n bleu Fallot w i t h a c o n s t e l l a t i o n o f g o l d dots, and the
E n g l a n d , w h i c h began i n 1745. O u r first d r a w i n g by finials are l i t t l e eggs o n g i l t straw—the sort o f d r o l l
Canaletto,, i t is f i r m i n c o n s t r u c t i o n , d e l i g h t f u l i n de­ conceit that d e l i g h t e d aristocratic patrons w h o played at
t a i l , and l o v e l y i n effects o f l i g h t and shade. b e i n g farmers and shepherdesses.
 Acquisitions 11986 157

S C U L P T U R E A N D W O R K S OF A R T , a department i n its Paul Strand's c o n t r i b u t i o n was t o p u t a n e w h a r d -

second f u l l year o f existence, made purchases o f f u n d a ­ edged v i s i o n , m u c h i n s p i r e d by m o d e r n i s t p a i n t i n g , i n
m e n t a l i m p o r t a n c e . We acquired a bust p o r t r a i t o f the place o f the p i c t o r i a l stylizations w i t h w h i c h he had
y o u n g M a r c u s A u r e l i u s f r o m about 1520 b y A n t i c o , the g r o w n up. T h e g r o u p o f 117 photographs w e b o u g h t
M a n t u a n w h o was famed for e m u l a t i n g R o m a n sculp­ f r o m his heirs n o t o n l y shows this i n f l u e n t i a l phase o f
ture i n s m a l l bronzes. T h o u g h i t bears a g e n e r a l his w o r k a r o u n d W o r l d War I b u t covers m o r e than
resemblance t o A n t o n i n e portraits, i t is alive w i t h a f o r t y years o f his p r o d u c t i v e career.
n e w c o m p l e x i t y o f expression and is f i n e l y cast, chased, E d w a r d Weston's w o r k evolved parallel t o Strand's,
and patined. t h r o u g h p i c t o r i a l i s m t o a conversion i n the 1920s t o
O n l y some s i x t y pieces survive f r o m the s h o r t - l i v e d near-abstract images o f figures, machines, and buildings.
porcelain w o r k s h o p o f the M e d i c i dukes at the Palazzo We b o u g h t f i f t y - n i n e separate Weston photographs and
P i t t i , where, i n 1574, the first successful attempts were 762 photographs i n albums f r o m his son Cole, o f w h i c h
made t o create the hard w h i t e wares that o t h e r w i s e had the strength is early w o r k done i n Los Angeles.
to be i m p o r t e d f r o m C h i n a . T h e beautiful b l u e - a n d - A n d r e Kertesz m o v e d to Paris i n 1925, a m o m e n t o f
w h i t e p i l g r i m flask acquired last year is a great r a r i t y particular brilliance, and became one o f the p r i m e i n n o ­
and a f i t t i n g a d d i t i o n t o a g r o w i n g c o l l e c t i o n o f later vators o f European photography. H i s v i s i o n has a sur­
European porcelain. realist element, usually the result o f seeming accident
T h e finest late Renaissance bronze t o be sold i n m a n y and studied choices o f v i e w p o i n t and c r o p p i n g . O u r
years is the statuette o f a r e a r i n g horse s i g n e d b y n e w g r o u p o f f o r t y - o n e pictures has m a n y o f the m o s t
A d r i a e n de Vries, a D u t c h sculptor taught by G i a m - i m p o r t a n t images i n Kertesz's first or o n l y prints.
bologna, w h o became c o u r t artist to R u d o l f I I i n B e y o n d these m a j o r a d d i t i o n s o f 1986 there w e r e
Prague (like the painter Hoefnagel, w h o i l l u m i n a t e d some f i f t y - o n e other acquisitions o f the w o r k o f 101
the M o d e l B o o k o f C a l l i g r a p h y already m e n t i o n e d ) . photographers, m o s t l y o f groups o f photographs, usu­
S p i r i t e d horses w e r e a p r e o c c u p a t i o n o f Renaissance ally b y purchase b u t a few by gift. A m o n g other artists
sculptors, n o t j u s t for equestrian m o n u m e n t s b u t as represented w e r e R o g e r F e n t o n , G u s t a v e L e Gray,
independent subjects. Few bronzes so successfully c o m ­ W i l l i a m H e n r y Fox Talbot, T h o m a s Eakins, E d w a r d
bine c o n v i n c i n g anatomy and m o t i o n w i t h v i r t u o s o Steichen, A l f r e d Stieglitz, and M a n Ray. These b r o a d ­
casting and f i n i s h i n g . ened and deepened a c o l l e c t i o n that n o w ranges f r o m
A m o n g a number o f eighteenth-century French p h o t o g r a p h i c incunabula o f the late 1830s t h r o u g h w o r k
sculptures a c q u i r e d recently, an a l l e g o r i c a l g r o u p o f by the major figures o f o u r century.
Hope Nourishing Love o f 1769 b y J.-J. Caffieri stands out. T h e department's study r o o m at 401 W i l s h i r e B o u l e ­
T h e figures act o u t the saying literally, b r i n g i n g the vard i n Santa M o n i c a has become a busy place. Since
abstractions t o life and g i v i n g t h e m a half-serious e r o t i ­ s p r i n g 1985 m o r e than eight h u n d r e d visitors have used
cism. T h e c o m p o s i t i o n rewards m a n y different vantage the c o l l e c t i o n — c u r a t o r s , scholars, dealers, photogra­
p o i n t s and is carved w i t h great v i r t u o s i t y . phers, collectors, s t u d e n t s — w h o s e w o r k the d e p a r t ­
T h e n e w G e t t y M u s e u m sculptures make t h e i r w a y m e n t tries t o further.
steadily i n t o the galleries, b o t h as part o f the revamped T h e year m a r k e d a debut for the department, the first
p a i n t i n g s installations and o n t h e i r o w n . A large u p ­ e x h i b i t i o n s t o be h e l d at the G e t t y M u s e u m . T h e i n a u ­
stairs vestibule is n o w devoted t o larger Renaissance gural show was devoted t o the w o r k o f Julia M a r g a r e t
sculptures, m o s t l y i n bronze. C a m e r o n , the V i c t o r i a n photographer w h o b r o u g h t a
T H E D E P A R T M E N T O F P H O T O G R A P H S t o d a y holds up­ n e w seriousness and poetic i n v e n t i o n t o portraits and
w a r d o f s i x t y thousand pictures, and, despite h a v i n g genrelike religious subjects. I t was h e l d i n a n e w l y r e n ­
been f o r m e d o n l y three years ago, i t m a y already be the ovated space next to the p a i n t i n g s galleries. A second
best a l l - a r o u n d c o l l e c t i o n anywhere. I t is by n o means e x h i b i t i o n was devoted t o E d w a r d Weston, the m o s t
complete, however. I t has n o t been especially s t r o n g i n i m p o r t a n t artist ever t o m a t u r e i n Los Angeles. There
the leading masters o f t w e n t i e t h - c e n t u r y photography, w i l l be four or five such shows o f photographs each
t h o u g h some, such as Sander, M a n Ray, Evans, and year. A l r e a d y w e can see the M u s e u m ' s audience chang­
M o h o l y - N a g y , are represented b e t t e r here t h a n a n y ­ i n g as a result o f these e x h i b i t i o n s , b e c o m i n g y o u n g e r
where. So w e have t r i e d t o f i l l the holes and had special and m o r e diverse, a happy sign for the future.
success i n 1986, w h e n w e were able t o acquire groups o f
p h o t o g r a p h s b y three o f the greatest o f a l l , S t r a n d , J o h n Walsh
Weston, and Kertesz. Director
Notes to the Reader
A l t h o u g h variations occur reflecting b o t h curatorial
preference and the nature o f the works o f art described, the
f o l l o w i n g i n f o r m a t i o n has been provided for each listed
i t e m where appropriate or available: name and dates o f
a r t i s t , t i t l e o r name o f w o r k a n d date o f e x e c u t i o n ,
m e d i u m , dimensions w i t h centimeters preceding inches,
i n s c r i p t i o n s , M u s e u m accession n u m b e r , c o m m e n t a r y ,
provenance, and bibliography.
W h e n possible i n g i v i n g dimensions, the f o r m u l a height
precedes w i d t h precedes depth has been observed. I n cases
where this was n o t appropriate to the w o r k o f art i n ques­
t i o n , the f o l l o w i n g abbreviations have been consistently
employed:

H: Height
W: Width
D: Depth
D i a m : Diameter
L: Length

I n the provenance sections brackets are used to indicate

dealers.
ANTIQUITIES
STONE SCULPTURE 3. F R O N T P A N E L OF A SAR­ sleep o r death. H i s legs are b e n t at the
C O P H A G U S OF T A E L I U S knee* a n d his u p p e r t o r s o falls back as i f
1. T H R E E F R A G M E N T S OF A EVANGELUS he w e r e l y i n g o n a r o c k o r b e i n g car­
FUNERARY M O N U M E N T R o m a n , circa 180 A.D. r i e d . H i s r i g h t a r m falls b a c k w a r d above
G r e e k , circa 5 2 5 - 5 0 0 B.C. M a r b l e , H : 46.4 c m (18 /i "); L : 173
5
6 his head, a n d the closed fingers o f his
M a r b l e , 1) 51 x 21 x 12.2 c m (20" x cm (68V ")
8 r i g h t h a n d t o u c h the curls o f h a i r over
87/ x 4 / / ) ; 2) 7 x 3 x 3 c m (2 A"
3 3
x I n s c r i b e d : F V E R I T POST M E E T his forehead; the straightened left a r m
1W x 1 W ) ; 3) 7 x 5 x 3 c m ( 2 / / x 2" 3
POST G A V D E N I A N I C E N E V E T O falls away f r o m his side. B o t h l o o s e l y
x 1W) A L I V M QVISQVIS H V N C T I T V L V M closed fists are e m p t y b u t once h e l d o b ­
8 6 . A A . 5 4 5 . 1 - . 3 ( j o i n i n g 85.AA.419) LEGERIT/MI ET ILLEI FECI/T AELIO jects, and a h o l e i n the r i g h t s h o u l d e r

T h e m o n u m e n t depicts a f i g u r e r e c l i n ­ E V A N G E L O / H O M I N I PATIENTI/ blade indicates a p r e v i o u s p o i n t o f at­

ing o n a k l i n e . T w o o f the fragments are M E R V M PROFVNDAT t a c h m e n t t o some o t h e r object. T h e

f r o m the f i g u r e i t s e l f T h e t h i r d m a y be 86. A A . 7 0 1 ( f o r m e r l y 82. AA.148) statuette was s o l i d cast, a n d copper was

p a r t o f a c u s h i o n . R e d p o l y c h r o m y is used f o r separate l o c k s o f h a i r a n d the

T h e p a n e l represents the deceased, a
preserved o n t w o o f the fragments. nipples. T h e surface is s l i g h t l y p i t t e d
w o o l - m a k e r n a m e d T i t u s Evangelus, r e ­
a r o u n d the chest a n d s t o m a c h a n d there
PROVENANCE: European art market. c l i n i n g o n a k l i n e as his w i f e offers h i m
are several s m a l l repair patches, a p p l i e d
a w i n e cup. I n the f i e l d a r o u n d t h e m are
after casting.
scenes d e p i c t i n g aspects o f t h e i r d a i l y
lives. A t the far left, t w o goats f r o l i c ; a PROVENANCE: N e w York art market.
seated m a n cards w o o l . T h e figures
a r o u n d the i m a g e o f a horse i n the u p ­
per r i g h t corner m a y be p a r t i c i p a n t s i n
TERRACOTTA
the rites o f the c u l t o f C y b e l e a n d A t t i s .
A t the far r i g h t , a seated m a n r o l l s w o o l
i n t o a ball.

PROVENANCE: LOS Angeles art market.

BIBLIOGRAPHY: The Summa Galleries, Inc., auc­
tion cat. (Beverly Hills, September 18, 1981),
lot 75; G. Koch, Roman Funerary Sculpture
(Malibu, 1987), no. 9.

BRONZE SCULPTURE

2. T O M B ALTAR W I T H M A L E
PORTRAIT
R o m a n , circa 150 A . D .
M a r b l e , H : 64 c m ( 2 5 / i " ) ; W : 49 c m
3
6

( 1 9 V / ) ; D : 27 c m ( 1 0 W )
86. A A . 5 7 2 , presented b y A . Rosen, 5

New York
4 5. T H Y M I A T E R I O N
T h e back o f the altar has been c u t d o w n
S o u t h I t a l i a n , circa 5 0 0 - 4 8 0 B.C.
i n m o d e r n t i m e s . W i t h i n its rectangular
4. S T A T U E T T E OF A F A L L E N O R Terracotta, H : 44.6 c m (17 /i6"); D i a m
9

f i e l d , the n i c h e contains i n r e l i e f the

DYING YOUTH (incense c u p ) : 6.9 c m (2 A") 3

p o r t r a i t o f an u n k n o w n bearded male.
G r e e k , circa 480—465 B.C. 86.AD.681
His head a n d gaze are d i r e c t e d s l i g h t l y
B r o n z e w i t h copper inlay, L : 13.5 c m
to the r i g h t . T h e bust is u n d r a p e d a n d T h e c a r y a t i d f i g u r e that supports an i n ­
( 5 / i 6 " ) ; W:
5
7.3 c m (2 /s")
7

t r u n c a t e d s o m e w h a t b e l o w the s h o u l ­ cense b u r n e r o n her head is N i k e , the

86.AB.530
ders b y the frame. w i n g e d goddess o f v i c t o r y . She h o l d s
T h e f i n e l y m o d e l e d b o d y o f the n u d e her r i g h t h a n d f o r w a r d i n a gesture o f
BIBLIOGRAPHY: G. Koch, Roman Funerary
160 Acquisitions/1986

the folds o f her himation to the side.

Perched on the knob o f the openwork
l i d is a dove w i t h its wings raised.
The piece has been restored from a
number o f fragments, w i t h only the
thumb o f the Nike's right hand, the f i n ­
gers o f her left hand, and the left w i n g
o f the dove on the l i d missing. Beneath
the surface encrustation there are abun­
dant remains o f the original poly-
chromy, especially on the headdress
(blue and purple), the wings (red) and
Nike's garments (the chiton is blue, the
himation red).
PROVENANCE: European art market.

6. PAIR O F ALTARS
South Italian (Tarentum?), circa
400-375 B.C. 6
Terracotta, 1) H : 41.8 cm (16 /i "); W 7
6

(of base): 34.2 cm (13V "); W (of top):

2

31.6 cm (127i6"); D (of top): 27 cm

(lOW); 2) H : 41.8 cm (16 /i "); W (of
7
6

base): 33.2 cm (137i6"); W (of top):

31.5 cm (12 /s"); D (of top): 27.8 cm
3

(10 /l6")
15

86.AD.598

The altars have been broken and as­

7 (86.AE.159)
sembled from fragments, w i t h some
areas missing. Traces o f the original
polychromy remain. The fronts o f both
altars are decorated w i t h low-relief fig­
ures. O n altar 1, three women move
rapidly to the right, looking toward the
figures on the other altar. Two carry
musical instruments, a xylophone and a
tympanum. O n altar 2, an effeminate
young god sits facing left on an irregu­ 7 (86.AE.60)
lar rocky surface. He has his arm around
the shoulders o f a female seated beside
h i m on his right, and he holds one hand
up to the fillet around his head. Two 7 (86.AE.279)
other women are i n attendance, and
both appear i n poses that suggest grief: VASES
one holds her left hand to her forehead;
the other sits w i t h her head downcast 7. C O L L E C T I O N OF 428 GREEK,
and her hands clasped about her right SOUTH ITALIAN, A N D R O M A N
knee. The subject may be identified as VASES A N D VASE F R A G M E N T S
the death o f Adonis, the youthful god o f Including Mycenaean, East Greek,
vegetation and regeneration. The stylis­ Etruscan, Attic, Corinthian,
tic features and a tentative identification Euboean, Chalcidian, Laconian,
o f the clay as Tarentine suggest that the Daunian, Apulian, Campanian,
altars were made i n the area o f Tarentum. Sicilian, Lucanian, and Arretine
PROVENANCE: European art market. fabrics, circa 1300—50 B . C .
Artists represented include the
Boread Painter, the H u n t Painter, the
7 (86.AE.70)
 Antiquities 161

8. 810 F R A G M E N T S OF G R E E K A N D
S O U T H I T A L I A N VASES
East Greek, Attic, and Gnathian fab­
rics, circa 550-300 B . C .
Artists represented include the potter
Euphronios, the Wraith Painter, the
Kyllenios Painter, Epiktetos, Ones-
imos, the Kleophrades Painter,
the Brygos Painter, the Foundry
Painter, the Berlin Painter, the
Eucharides Painter, and the
Penthesilea Painter.
Terracotta, various dimensions
86.AE.482-487; 86.AE.546-570;
86.AE.575-587 and 86.AE.707-709,
presented by Dietrich von B o t h ­
mer; 86.AE.698 (formerly
82.AE.146); 86.AE.735-737
Many o f these pieces belong to, and i n
some cases actually j o i n , fragmentary
vases presently i n the Museum's
collection.
PROVENANCE: European and Los Angeles art
7 (86.AE.286) markets.

Painter o f Vatican 73, the Phineus

Painter, the Heidelberg Painter, the VASES:
BMN Painter, the Swing Painter, the EAST GREEK
Rycroft Painter, the Affecter, mem­
bers o f the Leagros Group, Oltos,
Psiax, Douris, the Briseis Painter, the
Foundry Painter, the Brygos Painter,
the Eucharides Painter, the Aegisthus
Painter, the Black Fury Painter, the
Darius Painter, the Lycurgus Painter,
the D o l o n Painter, the Hoppin
7(86.AE.280) Painter, and the Konnakis Painter.
Terracotta, various dimensions
86.AE.34-462

PROVENANCE: Walter and M o l l y Bareiss,

Greenwich, Connecticut. 9
BIBLIOGRAPHY: One hundred o f the vases ap­
peared i n the Metropolitan Museum o f Art, 9. A R Y B A L L O S
Greek Vases and Modern Drawings from the Col­ Circa 640-625 B . C .
lection of Mr. and Mrs. Walter Bareiss, ex. Terracotta, H : 9.1 cm ( 3 W ) ; L : 14 cm
checklist (New York, 1969); nine o f the vases (5V "); D i a m (spout): 2 cm ( W )
2

are discussed i n Yale University A r t Gallery,

86.AE.696
Greek Vases at Yale, ex. cat. (New Haven,
1975); t w o hundred fifty-seven o f the vases This Proto-Corinthian aryballos is a
are included i n the J. Paul Getty Museum, combination wheel-thrown and mold-
Greek Vases: Molly and Walter Bareiss Collec­ made vessel fashioned i n the shape o f a
7 (86.AE.290) tion (Malibu, 1983). Individual vases from the
mature ram resting on legs tucked up
collection have appeared i n numerous pub­
lications, including D. von Bothmer, "Walter
under his body. Large horns curl behind
Bareiss as Collector," Metropolitan Museum his ears and frame a carefully detailed
of Art Bulletin 28, no. 4 (Dec. 1969), pp. 1-4, face, w i t h stylized locks o f fur falling
ABV, ARV , and Paralipomena. A complete
2

between his eyes and curling around

catalogue o f the collection is currently i n
both corners of his mouth. Once
preparation.
 162 Acquisitions/1986

broken, the aryballos has been

reconstructed from fragments, w i t h
areas o f the body restored.
PROVENANCE: N e w York art market.

VASES:
C O R I N T H I A N

10

10. A R Y B A L L O S
Early sixth century B.C.
Terracotta, H : 6.1 cm (2W); L : 10.1
cm (4"); W : 3.6 cm (lVw")
86.AE.697
Buff-colored clay was pressed into a
two-part mold to create this small
aryballos i n the shape o f a recumbent
lion. The animal's mane is swept back, n
and his head is turned slightly to the
VASES: and a giant keras (drinking horn) is at
right. O n top o f the head is a simple
ATTIC RED-FIGURE his feet.
hole from which the contents o f the
PROVENANCE: European art market.
vessel were poured. O n either side o f
11. K Y L I X TYPE B
the face the lion's r u f f is pierced by holes
Circa 500-490 B.C.
for suspension cords. The aryballos has
Attributed to Onesimos
never been broken.
Terracotta, H (restored): 8.3 cm
PROVENANCE: N e w York art market.
( 3 / / ) ; Diam: 23.5 cm (9V ");
1
4

W (with handles, one restored):

30.5 cm (12")
86.AE.607

The k y l i x has been restored from frag­

ments; the foot and one handle are
missing. W i t h i n the tondo, a satyr
crawls on a large rocky outcropping t o ­
ward the figure o f a sleeping maenad
w h o m he is about to kiss. The maenad 12
reclines to the left on a large striped
cushion; a wineskin hangs i n the back­ 12. K Y L I X T Y P E C
ground above her head. O n each side o f Circa 450-440 B.C.
the exterior, a satyr dances on a short Attributed to the Euaion Painter
groundline. The better preserved o f the Terracotta, H : 13.2 cm (5 /i ");3
6

two satyrs is seen from the back. The Diam: 32.1 cm (12 /s"); W (with
5

head and shoulders o f the other, w h o is handles): 39.5 cm (15 /i ")

9
6

drawn i n profile to the left, are missing, 86.AE.682

 Antiquities 163

T h e c u p has been restored f r o m a n u m ­ o r i e n t e d i n the same d i r e c t i o n , a n d a Terracotta, H : 50.9 c m (20"); D i a m

ber o f fragments. T h e r e is an ancient m u l l e t f a c i n g the o p p o s i t e way. I n the ( m o u t h ) : 28 c m (11"); D i a m ( f o o t ) :
b r o n z e repair w i t h i n the s t e m o f the interstices are three s m a l l creatures— 23.2 c m (9V ") 8

f o o t . O n the i n t e r i o r , a y o u t h h o l d s o u t perhaps n e m a t o d e s — w i t h u n d u l a t i n g 86.AE.611

his k y l i x t o be f i l l e d b y the bearded m a n bodies. K y m a t i a s u r r o u n d the o u t e r T h e vase has been r e c o n s t r u c t e d f r o m
who stands before h i m h o l d i n g an edge o f the plate a n d encircle the central fragments. T h e e n t i r e b o d y o f the vessel
o i n o c h o e . B e h i n d h i m is the large v o l - depression. T h e vase is intact. is t a k e n u p b y scenes o f N e r e i d s b r i n g ­
u t e - k r a t e r that w o u l d have h e l d the PROVENANCE: LOS Angeles art market. i n g a r m s t o A c h i l l e s . A t the t o p left o f
m i x t u r e o f w i n e a n d water. T h e f r o n t the obverse, A c h i l l e s sits at the m o u t h
legs o f a k l i s m o s (chair) are v i s i b l e b e ­
o f a g r o t t o f r a m e d b y waves. Five
h i n d the bearded m a n . O n b o t h sides o f 15. RATTLING BLACK KANTHAROS
N e r e i d s r i d i n g sea creatures (three
the exterior, y o u t h s a n d m e n p a r t i c i p a t e F o u r t h c e n t u r y B.C.
d o l p h i n s , a h i p p o c a m p , a n d a fish)
i n the revelry, c o n v e r s i n g , p l a y i n g i n ­ Terracotta, H ( t o r i m ) : 20.4 c m
approach b e a r i n g pieces o f a r m o r . O n
struments, d r i n k i n g , a n d d a n c i n g . T h e (8V16"); D i a m ( m o u t h ) : 17.5 c m
the reverse, f o u r N e r e i d s c a r r y i n g
l i p o f the k y l i x is offset o n the i n t e r i o r (6 /s"); D i a m ( f o o t ) : 9.6 c m ( 3 W )
7

a r m o r r i d e three d o l p h i n s a n d a h i p p o -
o f the b o w l . T h e p r o f i l e o f the f o o t is 86.AE.702 ( f o r m e r l y 82.AE.152)
camp, respectively.
characteristic o f H . Bloesch's so-called T h e k a n t h a r o s has been restored f r o m
PROVENANCE: European art market.
E u a i o n foot. fragments. A n i n s c r i p t i o n i n g i l t l e t t e r ­
BIBLIOGRAPHY: B. Westcoat, ed., Poets and
PROVENANCE: European art market. i n g dedicates the c u p t o K a s t o r a n d
Heroes: Scenes from the Trojan War, ex. cat.
Polydeukes: KAITQPPOAYAEYIKHI. O n (Emory University Museum, Atlanta, 1986),
b o t h sides o f the b o w l , g i l t garlands are pp. 38-43, no. 9, i l l .
suspended f r o m bucrania; stars f i l l the
spaces above the garlands, a n d a r u n ­
n i n g - w a v e p a t t e r n m a r k s the offset
b e t w e e n b o w l a n d c a l y x . W i t h i n the
h o l l o w l i p are pellets that rattle w h e n ­
ever the c u p is t i l t e d .
PROVENANCE: LOS Angeles art market.
BIBLIOGRAPHY: The Summa Galleries, Inc., auc­
tion cat. (Beverly Hills, September 18, 1981),
lot 16.

13
VASES:
13. R E D - F I G U R E STEMLESS C U P
A P U L I A N
C i r c a 4 5 0 - 4 2 5 B.C.
A t t r i b u t e d t o the M a r l a y Painter
Terracotta, H : 6.4 c m (2V2"); D i a m :
22.3 c m ( 8 A " ) ; W ( w i t h handles):
13
6

29.5 c m (HVs")
86.AE.479
17
R e c o n s t r u c t e d f r o m fragments, the c u p
17. L O U T R O P H O R O S
has an ancient repair i n the f o o t . Inside,
Late f o u r t h c e n t u r y B.C.
o n the left, a m a l e h o l d i n g a spear
A t t r i b u t e d t o the Painter o f L o u v r e
stands f a c i n g a female. T h e e x t e r i o r
MNB 1148
is covered w i t h a lozenge p a t t e r n . Pal-
Terracotta, H : 90.1 c m (35V2"); D i a m
mettes i n s i l h o u e t t e f i l l the areas u n d e r
( b o d y ) : 35.2 c m (13 / "); D i a m ( f o o t ) :
7
8
the handles.
18.7 c m ( 7 W ) ; D i a m ( m o u t h ) : 26 c m
PROVENANCE: N e w York art market.
(IOV2")
86.AE.680
14. FISHPLATE
T h e u p p e r register o f the obverse p o r ­
C i r c a 4 0 0 - 3 5 0 B.C.
trays A s t r a p e h o l d i n g torches, Zeus a n d
Terracotta, H : 3.7 c m (l /i6");
7
Diam:
A p h r o d i t e w i t h E r o s w i t h i n a palace,
16
22.5 c m (8 /s")7

E n i a u t o s , a n d Eleusis. T h e i r names are

86.AE.700 ( f o r m e r l y 82.AE.147)
16. PELIKE i n s c r i b e d : ÁÓÔŃÁĐÇ, ÉĹŐÓ, ÁÖŃĎÄÉÔÇ,
D i s p o s e d a r o u n d the c e n t r a l c a v i t y are End o f the f i f t h c e n t u r y B.C. ĹÍÉÁŐÔĎÓ, ĹËĹŐÓÉÓ. A t the center o f the
three fish, a s c o r p i o n fish a n d a sargus C l o s e t o the G r a v i n a Painter l o w e r register Leda, i d e n t i f i e d b y the
 164 Acquisitions/1986

i n s c r i p t i o n ΛΗΔΑ, a n d t h e swan embrace century B . C . and w i t h a relief garland o f ivy leaves

w h i l e , t o the r i g h t , H y p n o s , inscribed Gilt silver, H : 27 cm ( 1 0 W ) around its upper part. The gilding is
ΥΠΝΟΣ, holds his w a n d over the couple, 86.AM.751 well preserved on the mane and floral
casting a sweet drowsiness o n the scene. The amphora is constructed w i t h a decoration. Garnets are also inlaid i n the
O n either side are female c o m p a n i o n s . spout at the base and thus also func­ centers o f the blossoms among the
A t t h e center o f the reverse the statue o f tioned as a rhyton. The body o f the acanthus fronds and i n the clasps o f the
a w o m a n stands w i t h i n a funerary vessel is decorated w i t h a calyx o f wa­ relief garland on the upper part o f the
m o n u m e n t s u r r o u n d e d b y female ter lily leaves i n relief, and the b o t t o m horn. Two silver hemispherical bowls
attendants. terminates i n a rosette. The handles are ( 8 6 . A M . 7 5 4 . 2 - . 3 ) belong together w i t h
PROVENANCE: European art market. rampant lion griffins, and the mouth the rhyton. Their exterior rims are dec­
and neck are articulated w i t h kymatia. orated w i t h gilded olive wreaths w i t h
The body has been damaged w i t h some inlaid garnet clasps, and five-petal relief
small losses, which are now filled, and gilded rosettes w i t h garnet centers are
GLASS found on the bottoms o f the exteriors.
a horn is missing from one o f the lion
griffin handles. Their interiors are undecorated. The
18. F O U R R O D F R A G M E N T S fourth piece i n the group is a gilt-silver
Elamite (Persian), circa 1250— PROVENANCE: Private collection, New York.
drinking cup (86.AM.754.4), decorated
1200 B . C . on the exterior w i t h acanthus patterns
Glass, 1) L : 3.3 cm (17i "); Diam: 1.6 in high relief and inlays o f glass and
6
20. G R O U P O F FIVE VESSELS
cm ( / " ) ; 2) L : 4.9 cm ( l / i " ) ; Diam:
7 15

stone. This bowl was repaired i n antiq­

8 6
Greek, second—first century B . C .
1.6 cm (7s"); 3) L : 7.2 cm ( 2 / i " ) ; 13

uity. The last vessel is a shallow bowl

6
Gilt silver w i t h inlaid garnets and
D i a m : 1.6 c m ( / ">; 4) L : 8.3 cm
7

(86. AM.754.5), decorated on the inside

8
glass, 1) H : 35.5 cm (13 A");
3

( 3 / / ) ; D i a m : 1.5 cm (Vie")
1

w i t h concentric bands o f gilded incised

2) Diam: 10.2 cm (4"); 3) Diam: 10.2
86.AF.522.1-.4, presented by floral patterns and a central inset garnet.
cm (4"); 4) D i a m : 14 cm ( 5 / / ) ;
1

N . Boas Its original circular shape is now dis­

5) L : 21 cm (8V ")4

The fragments are composed o f alter­ 86.AM.754.1-.5 torted, and the b o w l is cracked.
nating spirals o f blue-and-white glass PROVENANCE: European art market.
The group is composed o f a rhyton, a
canes, twisted to form a thick rod w i t h
cup, and three bowls. The rhyton
a hollow central core. They were used as
(86.AM.754.1) terminates i n a lion pro-
decorative architectural molding around 21. G R O U P OF T H R E E VESSELS
tome w i t h inlaid garnet eyes. The horn
doors. A l l are broken at either end, and Greek, first century B . C .
is decorated at the base w i t h a calyx o f
none joins. Their surfaces are slightly Gilt silver w i t h inlaid garnet,
acanthus leaves and attached blossoms
iridescent and pitted.

GOLD A N D SILVER

19. AMPHORA-RHYTON
Achaemenid (Persian), fifth
21
 Antiquities 165

21

1) H : 41.9 c m ( 1 6 / / ) ; 2) H : 41.9
1

c m (I6V2"); 3) D i a m : 20 c m (7 /s") 7

86.AM.752.1-.3

T h i s g r o u p is c o m p o s e d o f t w o
rhyta and a b o w l . B o t h rhyta
(86.AM.752.1-.2), w h i c h terminate
i n p r o t o m e s o f s n a r l i n g lynxes, have
Aramaic inscriptions incised o n their
r i m s ; these i d e n t i f y the artist responsible
for t h e i r m a n u f a c t u r e a n d state t h e i r
metal weights. T h e shallow b o w l
(86. A M . 7 5 2 . 3 ) is decorated o n the
i n t e r i o r w i t h an elaborate p e n t a g o n a l -
leaf p a t t e r n overset w i t h smaller r e l i e f
flowers i n l a i d w i t h garnets. T h e exterior
is undecorated. T h e b o w l has a f e w
s m a l l areas o f copper c o r r o s i o n a n d 22
p i t t i n g , b u t i t is o t h e r w i s e i n excellent
22. RHYTON 23. F R A G M E N T OF A L A T E
condition.
Greek, first century A . D . A N T I Q U E BELT
PROVENANCE: Private collection, N e w York.
G i l t silver w i t h glass inlays, Roman, fifth century A . D .
H : 46 c m (18V ") 8
G o l d w i t h glass inlay, 2.5 x 2.5 c m
86.AM753 (l"xl")

T h e r h y t o n t e r m i n a t e s i n the p r o t o m e 86.AM.531 (joining 83.AM.224)

o f an an t i e r e d stag w i t h i n l a i d glass T h e obverse o f the g o l d solidus,

eyes. U n i q u e a m o n g a l l preserved r h y t a , m o u n t e d i n a h i n g e d square o f g o l d a n d
the h o r n is c o m p l e t e l y covered w i t h i n l a i d glass, bears a p o r t r a i t o f the e m ­
elaborate floral o r n a m e n t s i n l o w relief. p e r o r V a l e n t i n i a n I (r. 364—375 A . D . )
A n A r a m a i c i n s c r i p t i o n o n the b e l l y o f and the legend D N V A L E N T I N I A N U S
the stag dedicates t h e r h y t o n t o a sanc­ PF A V G . Its reverse shows a s t a n d i n g
tuary. I n spite o f one s m a l l crack above f i g u r e o f the e m p e r o r i n m i l i t a r y dress
the r i g h t l e g o f the stag a n d a f e w m i n o r a n d the l e g e n d R E S T I T V T O R R E I
losses o f g i l d i n g , the r h y t o n is i n e x c e l ­ P V B L I C A E . T h e segment is p a r t o f a
lent condition. b e l t p r e s e n t l y i n the M u s e u m ' s

PROVENANCE: Private collection, N e w York. collection.

PROVENANCE: N e w York art market.

 166 Acquisitions 11986

GEMS VARIA

25. DIMIDIATED RHYTON

M o d e r n i m i t a t i o n o f a later f i f t h -
century-B.c. Attic original
Terracotta, L : 18.4 c m ( W ) ; W : 8.7
cm ( 3 7 i " ) D i a m : 7.5 c m ( 2 / i " )
6 ;
15
6

86. A K . 6 9 9 ( f o r m e r l y 82. AE.146)

H a l f o f t h i s d i m i d i a t e d r h y t o n is
m o l d e d i n the shape o f a ram's head; the
o t h e r side is that o f a d o n k e y . O n the
b r o k e n r i m a m a e n a d r u n s t o the left,
p u r s u e d b y a satyr, o f w h o m o n l y one
leg a n d the t a i l r e m a i n .
PROVENANCE: LOS Angeles art market.

24

24. CAMEO
Roman, first—third century A.D.
S a r d o n y x , H : 1.4 c m ( 7 i " ) W : 2.3
6 ;

cm ( /s")
7

86.AN.739

A l i o n reclines t o the r i g h t , its head

r e s t i n g o n its forelegs. T h e tassel o f
the t a i l , c u r l e d u n d e r the b o d y , shows
beside the v i s i b l e h i n d leg. A m a n e o f
t h i c k , shaggy l o c k s d i s t i n g u i s h e s the
carefully d e t a i l e d face f r o m the t a u t l y
m u s c l e d b o d y . T h e cameo was carved
for i n s e r t i o n i n t o a separate s e t t i n g ,
probably a finger ring.
PROVENANCE: N e w York art market.
MANUSCRIPTS
26. MISSAL
Use o f M a i n z
G e r m a n y ( M a i n z ? ) , early s i x t e e n t h
century
V e l l u m , 250 leaves. C o l l a t i o n : l ( - 5 , 6

before f o l . 5), 2 - 1 5 , 16 (+11, f o l .

8 8 10

128), 1 7 - 1 8 , 1 9 ( + 3 , f o l . 147),
8 8 6

2 0 ( + 3 , + 4 , + 5 , + 6 , fols.
2

154-157), 21 , 22 , 23 , 24 ( + 1 ,
10 8 8 8

fol. 184; +10, fol. 193; + 1 1 , f o l .

194), 2 5 ( + 1 , f o l . 198; + 1 2 , f o l .
1 0

206; +13, f o l . 207; leaves 1 - 3 ,

9—11 appear t o be reattached s i n ­
gles), 2 6 ( + 7 , f o l . 214), 2 7 ( + 2 ,
8 4

fol. 218; + 6 , f o l . 222), 2 8 - 2 9 , 8 8

30 ;
12
39.1 x 28 c m (15V " x 11"). T e x t 8

area 28.4 x 17.9 c m (llVs" x W ) ,

two c o l u m n s , t w e n t y - s e v e n lines
(nineteen i n canon, t h i r t y - t w o i n
calendar). L a t i n t e x t i n G o t h i c
script. O n e f u l l - p a g e m i n i a t u r e , n u ­
m e r o u s decorated borders, n u m e r ­
ous decorated i n i t i a l s . O r i g i n a l
p i g s k i n b i n d i n g b l i n d - t o o l e d and
s t a m p e d w i t h f o l i a t e p a t t e r n over
w o o d e n boards, k n o t t e d leather
fore-edge m a r k e r s , t w o brass clasps;
G e r m a n y , early s i x t e e n t h c e n t u r y .
Ms. 18; 8 6 . M G . 4 8 0

CONTENTS: C a l e n d a r w i t h n u m e r o u s
R h e n i s h saints, i n c l u d i n g G e m i n i a n u s ,
Arbogast, Lubentius, Theonestus,
a n d Severinus (fols. 1—3v, fols. 4—5v
b l a n k ) ; P r o p e r o f T i m e t h r o u g h the
v i g i l o f Easter (fols. 6—127, fols.
127v—1281 b l a n k r u l e d ) ; O r d i n a r y (noted)
and C a n o n o f the Mass (fols. 129—166v,
fols. 157 and 167 b l a n k ) : Crucifixion
(fol. 157v); Mass f r o m the feast o f Saint
B i l h i l d i s (fol. 167v); Proper o f Saints
f r o m the feast o f Saint A n d r e w
26 (fol. 157v)
( N o v e m b e r 30) t h r o u g h the feast o f
M a r y o f E g y p t ( A p r i l 9) (fols.
168—196v); C o m m o n o f Saints (fols.
b e t w e e n Easter a n d A d v e n t . T h e missal 167v). A l t h o u g h the style a n d i c o n o g r a
1 9 7 - 2 4 2 v , fols. 2 4 3 - 2 5 0 v b l a n k r u l e d ) .
is f o r the l i t u r g i c a l use o f the a r c h ­ phy o f the C r u c i f i x i o n m i n i a t u r e are
Ms. 18 is the f i r s t ( s u m m e r ) p a r t o f b i s h o p r i c o f M a i n z , as e x p l i c i t l y n o t e d s t r o n g l y r e m i n i s c e n t o f the w o r k o f
a t w o - v o l u m e missal. T h e o t h e r v o l ­ i n a r u b r i c i n the M ٧ n s t e r v o l u m e . T h e A l b r e c h t D ٧ r e r a n d his w o r k s h o p ,
u m e ( M ٧ n s t e r , B i s c h φ f l i c h e s Priester­ calendar contains m a n y p e c u l i a r l y active i n N u r e m b e r g , the l o c a t i o n o f
seminar, K 1 ° 16) also i n c l u d e s a M i d d l e R h e n i s h saints (see C o n t e n t s ) as e x e c u t i o n o f the missal is u n k n o w n .
calendar, the O r d i n a r y , the C a n o n o f w e l l as B i l h i l d i s ( N o v e m b e r 27), w h o s e PROVENANCE: Count Galen, M٧nster, nine­
the Mass, a n d the C o m m o n o f Saints, c u l t was exclusive t o M a i n z . B i l h i l d i s is teenth century; sale, Christie's, Amsterdam,
but i t has i n the P r o p e r o f T i m e a n d the f u r t h e r emphasized i n M s . 18 b y the May 8, 1985, lot 403; [Bernard Breslauer,
New York],
P r o p e r o f Saints o n l y those feasts f a l l i n g i n c l u s i o n o f a mass f o r her feast day ( f o l .
 168 Acquisitions/1986

27 (fol. 38v)

27. B O O K OF H O U R S
U s e o f Paris
I l l u m i n a t e d b y the M a s t e r o f the
H a r v a r d H a n n i b a l and W o r k s h o p
Paris, circa 1 4 2 0 - 1 4 3 0
V e l l u m , 176 leaves. C o l l a t i o n : l , 2

2 - 9 , 10 , l l - 2 4 , 2 5 ( - 8 , after
8 8 6 8 8 8

fol. 191); c a t c h w o r d s at ends o f m o s t

quires; quires 24 a n d 25 are s i x ­
t e e n t h - c e n t u r y a d d i t i o n s ; 17.9 x 13
cm (7Vi " x 5 V " ) . T e x t area 9.6 x 6.2
6 8

cm ( 3 A " x 2 /\6 ), one c o l u m n ,

3 7 ,r

f o u r t e e n lines. L a t i n a n d F r e n c h t e x t
i n G o t h i c script. F o u r t e e n t h r e e -
quarter-page miniatures, numerous
decorated borders, n u m e r o u s
decorated initials. B l i n d - s t a m p e d
b r o w n leather b i n d i n g over w o o d e n
boards, t w o clasps a n d catches
27 (fol. 45:)
l a c k i n g , g i l t edges; F r e n c h , f i f t e e n t h
century. Pentecost (fol. 104); O f f i c e o f the D e a d , C o r o n a t i o n o f H a n n i b a l prefacing a
M s . 19; 8 6 . M L . 4 8 1 use o f Paris (fols. 113—162v): Funeral m a n u s c r i p t o f L i v y ' s Decades

CONTENTS: Calendar, a n d p o s s i b l y G o s ­ Mass ( f o l . 113); Fifteen Joys o f M a r y ( C a m b r i d g e , Mass., H a r v a r d C o l l e g e

pel Sequences, Obsecro te a n d O intem- (fols. 1 6 3 - 1 6 8 v ) : Virgin and Child En­ L i b r a r y , M s . R i c h a r d s o n 32), t h i s artist

erata l a c k i n g . H o u r s o f the V i r g i n , use throned with Angels (fol. 163); Seven R e ­ a d o p t e d s o m e o f the m o s t d i s t i n c t i v e

o f Paris (fols. 1—72v): Annunciation ( f o l . quests o f O u r L o r d (fols. 1 6 9 - 1 7 3 v ) : features o f the B o u c i c a u t Master's w o r k :

1), Visitation (fol. 26), Nativity (fol. 38v), Last Judgment ( f o l . 169); a d d e d prayers sophisticated i n t e r i o r architecture, s i n ­

Annunciation to the Shepherds (fol. 45), in French and L a t i n (fifteenth-sixteenth uous d r a p e r y c o n t o u r s , c o u r t l y f i g u r e

Adoration of the Magi (fol. 50), Presenta­ c e n t u r y ) ; s i x t e e n t h - c e n t u r y notes c o n ­ types, a n d such details as w a t t l e d fences

tion (fol. 54v), Flight into Egypt (fol. 59), c e r n i n g b i r t h s a n d deaths o f m e m b e r s a n d trees w i t h p o i n t e d b o u g h s . T h e s e

Coronation of the Virgin ( f o l . 67); Seven o f the Passin and D u c r o c q f a m i l i e s (fols. qualities are a m p l y represented i n the

P e n i t e n t i a l Psalms (fols. 7 3 - 8 4 ) : King 1 7 3 v - 1 8 7 , fols. 1 8 7 v - 1 9 1 v b l a n k ) . Museum's unpublished b o o k o f hours.

David in Prayer (fol. 73); l i t a n y i n c l u d i n g T h e M a s t e r o f the H a r v a r d H a n n i b a l PROVENANCE: Ducrocq, sixteenth century;

saints A u d o e n u s , L u b i n , T u g d u a l , C o r e n - Thomas Libby (?); private collection,
was one o f the l e a d i n g f o l l o w e r s o f the
Cambridge, Massachusetts (sale, Oinonen
tine, I v o o f B r i t t a n y , and Genevieve (fols. B o u c i c a u t M a s t e r (active circa
Gallery, Northampton, Massachusetts,
87—93); Short H o u r s o f the Cross (fols. 1 4 0 5 - 1 4 2 0 ) , the p r e m i e r artist o f the January 28, 1986, lot 89); [Heritage B o o k
9 3 v - 1 0 3 v ) : Crucifixion (fol. 93v); Short f i r s t q u a r t e r o f the f i f t e e n t h c e n t u r y i n Shop, Los Angeles, and Laurence Witten
H o u r s o f the H o l y S p i r i t (fols. 1 0 4 - U 2 v ) : Paris. N a m e d f o r a m i n i a t u r e o f the Rare Books, Southport, Connecticut].
 Manuscripts 169

28 (fol. 37) 28 (fol. 74)

28 (fol. 106) 28 (fol. 132)

 170 Acquisitions/1986

28. M O D E L B O O K OF C A L L I G R A P H Y 151 v ) . H e also p r o v i d e d the elaborate

and G U I D E T O T H E d e c o r a t i o n o f the m a i n p o r t i o n o f the
C O N S T R U C T I O N O F LETTERS b o o k . A l t h o u g h n o t signed, the i l ­
Written by Georg Bocskay ( H u n ­ l u m i n a t i o n o f the c a l l i g r a p h i c pages
garian, d . 1575) a n d i l l u m i n a t e d b y ranks w i t h Hoefnagel's finest represen­
G e o r g (Joris) H o e f n a g e l ( F l e m i s h , tations o f n a t u r a l p h e n o m e n a . M a n y o f
1 5 4 2 - 1 6 0 0 ) . Fols. 1 - 1 2 9 w r i t t e n i n its m o t i f s w e r e engraved b y Hoefnagel's
1561—1562, i l l u m i n a t i o n s o n these son Jacob i n the Archetypa studiaque
folia a d d e d after 1590/91; fols. Georgii Hoefnagelii o f 1592.
1 3 0 - 1 5 1 c o m p l e t e d i n 1596. Hoefnagel i l l u m i n a t e d another
V e l l u m a n d paper, v i + 150 leaves M o d e l B o o k o f Calligraphy w r i t t e n
(fol. 8 l a c k i n g ) . D u e t o the t i g h t by B o c s k a y f o r F e r d i n a n d I ( V i e n n a ,
b i n d i n g a n d i n t e r l e a v i n g , the c o l l a ­ Kunsthistorisches M u s e u m , i n v .
t i o n c a n n o t be d e t e r m i n e d ; 16.6 x no. 975).
12.4 c m (67i6" x 4 /s"). T e x t area 13.7
7

PROVENANCE: Emperor Ferdinand I (?);

(varies) x 8.6 c m (5 /s" [varies] x
3

Emperor R u d o l f I I , Prague; Albert Milde,

3W), one c o l u m n , n u m b e r o f lines Vienna, by 1887; to Goldschmied, Frankfurt,
varies. L a t i n , G e r m a n , I t a l i a n , 1907; Louis Koch, Frankfurt, by 1923; private 29 (detail)
collection, Switzerland, by 1942.
G r e e k , a n d H e b r e w texts i n v a r i o u s
BIBLIOGRAPHY: F. Ritter, " E i n Wiener page m i n i a t u r e , one f u l l border.
scripts (such asfraktur, antiqua, can-
Schriftmusterbuch aus dem 16. Jahrhundert Ms. 21; 8 6 . M L . 5 3 7
cellaresca, a n d m i r r o r w r i t i n g ) .
mit Miniaturmalereien," Mitteilungen des k.k.
M o d e l B o o k : 128 half-page m i n i a ­ T h e t e x t b e l o w the m i n i a t u r e , " C o n -
Österreich. Museums für Kunst und Industrie.
tures (fols. 1—129); G u i d e : f o r t y - verte nos deus . . . , " is the b e g i n n i n g o f
Monatschrift für Kunstgewerbe, N . F 2, no. 17
f o u r f u l l - p a g e m i n i a t u r e s (fols. (1887), pp. 336-342; S. Killermann, the r e a d i n g f o r c o m p l i n e i n the H o u r s
130—151). R e d m o r o c c o b i n d i n g "Hoefnagel," Allgemeines Lexikon der bil­ o f the V i r g i n . O t h e r leaves f r o m the
w i t h g o l d - t o o l e d d e n t e l l e border, denden Künstler, U . Thieme and F. Becker, same b o o k o f h o u r s represent The Body
eds. (Leipzig, 1924), vol. 16, pp. 193-195; of Christ Supported in the Tomb by Two
g i l t edges; e i g h t e e n t h century.
E. Kris, "Georg Hoefnagel und der
Ms. 20; 8 6 . M V . 5 2 7 Angels ( L o n d o n , V i c t o r i a a n d A l b e r t
wissenschaftliche Naturalismus," Festschrift
für Julius Schlosser, A . Weixlgδrtner and L. M u s e u m , N o . 3015) a n d Job on the
CONTENTS: T h e texts o f the w r i t i n g
Planiscig, eds. (Vienna, 1927), p. 244; I . Dungheap [ S a m F o g g , L o n d o n ] ; a l e a f
samples are s h o r t excerpts f r o m the
B e r g s t r φ m , Dutch Still-Life Painting in the r e p r e s e n t i n g the C i r c u m c i s i o n a n d
B i b l e a n d v a r i o u s prayer b o o k s a n d
Seventeenth Century (New York, 1956), p. 32, one d e p i c t i n g the F l i g h t i n t o E g y p t m a y
f r o m chancery documents. i l l . fig. 29 (Ms. 20 is incorrectly identified
also c o m e f r o m this m a n u s c r i p t [sale,
there as being i n the Kunsthistorisches M u ­
T h e u n u s u a l h i s t o r y o f the c r e a t i o n o f P h i l l i p s , L o n d o n , S e p t e m b e r 20, 1984,
seum, Vienna); T. Szδntφ, " E i n grosser
this m a n u s c r i p t m a y be reconstructed lots 621 a n d 622 (present w h e r e a b o u t s
Schreibk٧nstler des X V I . Jahrhunderts,"
l a r g e l y f r o m n u m e r o u s references w i t h ­ Gutenberg-Jahrbuch (1963), p. 38; T. Wilberg unknown)].
i n its pages. G e o r g Bocskay, the c o u r t Vignau-Schuurman, Die emblematischen T h e M a s t e r o f M o r g a n 366 was a f o l ­
secretary o f the H o l y R o m a n Emperor Elemente im Werke Joris Hoefnagels (Leiden, l o w e r o f Jean F o u q u e t (circa 1420—circa
F e r d i n a n d I (r. 1556—1564), w r o t e the 1969), vol. 1, p. 9, and vol. 2, p. 11, n. 3; T
1481). H i s e p o n y m o u s w o r k is a b o o k o f
Da Costa Kaufmann, Lecole de Prague (Paris,
M o d e l B o o k i n 1561 a n d 1562; he s i g n e d h o u r s , n o w i n the P i e r p o n t M o r g a n L i ­
1985), pp. 248 - 249, no. 9-9; I . B e r g s t r φ m ,
a n d / o r d a t e d t w e n t y - t w o folios. A l ­ brary, w h i c h was w r i t t e n a n d i l l u m i ­
" O n Georg Hoefnagels manner o f w o r k i n g
t h o u g h the page designs f o r his elegant w i t h notes; on the influence o f the Archetypa n a t e d i n T o u r s , circa 1470, f o r a m e m b e r
s c r i p t v a r y as m u c h as t h e i r i n d i v i d u a l series o f 1592," Netherlandish Mannerism: o f the J o u v e n e l des U r s i n s f a m i l y . J o h n
styles, B o c s k a y left substantial p o r t i o n s Papers given at a symposium in Nationalmuseum
P l u m m e r has i d e n t i f i e d five o t h e r b o o k s
o f m o s t pages b l a n k . A b o u t t h i r t y years Stockholm, September 21—22, 1984, National-
o f h o u r s t h a t w e r e i l l u m i n a t e d b y this
musei skriftserie, n.s. 4, G Cavalli-Bjφrkman,
later, E m p e r o r R u d o l f I I (r. 1576-1612) artist (The Last Flowering, ex. cat. [ N e w
ed. (Stockholm, 1985), p. 177.
a c q u i r e d the m a n u s c r i p t , p r e s u m a b l y b y Y o r k , P i e r p o n t M o r g a n L i b r a r y , 1982],
descent f r o m his g r a n d f a t h e r Ferdinand. no. 59, pp. 4 4 - 4 5 ) .
R u d o l f ' s i n s i g n i a appear repeatedly i n
29. A S S U M P T I O N OF T H E V I R G I N , PROVENANCE: Original coat o f arms w i t h the
the G u i d e t o the C o n s t r u c t i o n o f L e t t e r s
single l e a f f r o m a b o o k o f h o u r s monogram MP supported by t w o ermines (?),
(for e x a m p l e , fols. 1 3 0 v - 1 3 8 v , 151v). unidentified; Evans, Great Britain, 1853; sale,
I l l u m i n a t e d b y the M a s t e r o f
G e o r g H o e f n a g e l , w h o e n t e r e d i n t o the Phillips, London, September 20, 1984, lot
M o r g a n 366
i m p e r i a l service after 1590 o r 1591, de­ 620; [Sam Fogg, London].
T o u r s , early 1470s
signed a n d i l l u m i n a t e d the second sec­
V e l l u m , 17 x 11.6 c m ( 6 W x 4 / i " ) . 9
6

t i o n , for w h i c h a different v e l l u m than

T e x t area 10.9 x 7.8 c m ( 4 / i " x 3 V " ) ,
5
6 8

t h a t o f the M o d e l B o o k was used. H e

one c o l u m n , fifteen lines. L a t i n t e x t
s i g n e d a n d d a t e d the G u i d e 1596 ( f o l .
i n G o t h i c script. O n e t h r e e - q u a r t e r -
 Manuscripts 111

30 (fol. 6, detail)

30. B O O K OF H O U R S
U s e o f Paris
I l l u m i n a t e d b y the W o r k s h o p o f the
B o u c i c a u t M a s t e r (active circa
1405-1420) a n d the W o r k s h o p o f
the R o h a n M a s t e r (active circa
1 4 1 0 - c i r c a 1440)
Paris, circa 1415-1420
V e l l u m , i i i + 281 + i i leaves. C o l ­
l a t i o n : l , 2 - l l , 12 , 1 3 - 1 4 ,
1 2 8 8 2 8 8

15 , 1 6 - 1 9 , 2 0 , 2 1 - 3 1 , 3 2
2 8 8 2 8 8 8
(-2,
after f o l . 235), 3 3 - 3 7 ; catchwords 8 8

at the ends o f m o s t quires; a l p h a ­

b e t i c a l l e a f signatures i r r e g u l a r l y
t h r o u g h o u t ; 20.4 x 14.3 c m (8" x 30 (fol. 72)
5 /s"). T e x t area 10.7 x 6 . 7 - 6 . 9 c m
5

( 4 / i 6 " x 2 / s — 2 / i 6 " ) , one

3 5 u
column,
f o u r t e e n lines. L a t i n a n d F r e n c h t e x t
i n G o t h i c script. Seventeen t h r e e -
quarter-page miniatures, twelve
q u a r t e r - p a g e calendar m i n i a t u r e s ,
decorated borders o n every page,
n u m e r o u s decorated i n i t i a l s , g i l t
edges p a i n t e d w i t h floral designs.
White blind-stamped pigskin bind­
i n g over w o o d e n boards; m o d e r n ,
s i g n e d b y S a n g o r s k i & Sutcliffe,
London.
M s . 22; 8 6 . M L . 5 7 1

CONTENTS: C a l e n d a r i n c l u d i n g Saint I v o
o f B r i t t a n y ( M a y 19) i n g o l d a n d Saint
M a g l o i r e ( O c t o b e r 24) w i t h labors o f 30 (fol. 113, detail)
the m o n t h s a n d zodiacal signs (fols.
1—12v): A Man Warming Himself by a 30 (fol. 254, detail)

Fire (fol. 1), A Man Warming Himself by a

Fire (fol. 2), A Man Pruning Vines (fol.
3), A Falconer on Horseback (fol. 4 ) ,
A Knight on Horseback (fol. 5 ) , A Man
 112 Acquisitions/1986

Scything Hay (fol. 6), A Man Scything T h i s b o o k o f h o u r s is the p r o d u c t o f a

and Baling Hay (fol. 7v), A Man Thresh­ rare c o l l a b o r a t i o n o f the w o r k s h o p s o f
ing Wheat (fol. 8v), A Man Sowing Seeds the B o u c i c a u t and R o h a n masters, the
(fol. 9 v ) , A Man Harvesting Grapes and two l e a d i n g Parisian i l l u m i n a t o r s o f the
Another Man Pressing Them (fol. lOv), A f i f t e e n t h century. O n l y one o t h e r j o i n t
Man Harvesting Acorns (fol. U v ) , A Man effort b y t h e m is k n o w n , a b o o k o f
about to Kill a Wild Boar (fol. 12v); G o s ­ h o u r s o f circa 1420 ( L o n d o n , B r i t i s h L i ­
pel Sequences (fols. 13—20v); H o u r s o f brary, H a r l e y M s . 2940).
the V i r g i n , use o f Paris (fols. 21—94): T h e B o u c i c a u t M a s t e r takes his n a m e
Annunciation (fol. 21), Visitation (fol. 48), f r o m the b o o k o f h o u r s m a d e for Jean le
Nativity (fol. 60v), Annunciation to the M e i n g r e , M a r e c h a l de B o u c i c a u t (Paris,
Shepherds (fol. 67), Adoration of the Magi Musee Jacquemart A n d r e , M s . 2). I n ad­
(fol. 72), Presentation (fol. 76v), Flight d i t i o n t o his elegantly dressed, graceful
into Egypt (fol. 81), Coronation of the Vir­ figures a n d e x p e r i m e n t s w i t h spatial
gin ( f o l . 8 8 v ) ; H o u r s o f the Cross (fols. i l l u s i o n , the B o u c i c a u t M a s t e r is d i s ­ 31 (fol. 205v, detail)
9 5 - 1 0 4 ) : Crucifixion ( f o l . 95); H o u r s o f t i n g u i s h e d b y his i n v e n t i v e palette a n d
the H o l y G h o s t (fols. 1 0 4 v - 1 1 2 ) : s t a r t l i n g c o l o r h a r m o n i e s . T h e large 31. B O O K OF H O U R S
Pentecost ( f o l . 104v); Seven P e n i t e n t i a l m i n i a t u r e s i n M s . 22 represent the m a s ­ ( C r o h i n - L a Fontaine H o u r s )
Psalms (fols. 113—127): King David in ter's late style and are close t o those i n Use o f R o m e
Prayer ( f o l . 113); l i t a n y i n c l u d i n g saints a n o t h e r o f his late w o r k s , a b o o k o f I l l u m i n a t e d b y the M a s t e r o f the
Magloire, Louis, and Ivo o f B r i t t a n y hours i n L o n d o n (British Library, A d d . D r e s d e n Prayer B o o k (active circa
(fols. 1 2 7 - 1 3 6 ) ; Fifteen Joys o f M a r y , i n Ms. 16997). I l l u m i n a t i o n b y the h a n d o f 1 4 7 0 - c i r c a 1515)
F r e n c h (fols. 137—142v): The Patron the B o u c i c a u t Master, w h o h a d a large P r o b a b l y B r u g e s , circa 1485-1495
Presented to the Virgin and Child (fol. 137); w o r k s h o p , is rare; yet the h i g h q u a l i t y V e l l u m , i i i + 214 + i leaves. C o l l a ­
Seven Requests o f O u r L o r d , i n F r e n c h o f the m i n i a t u r e s i n this b o o k indicates t i o n : l - 2 , 3 ( + l , f o l . 13), 4 ( + 8 ,
6 6 8 8

(fols. 1 4 3 - 1 4 6 v ) : Christ in Glory (Last t h e y are either b y the master h i m s e l f o r fol. 29; +10, - 1 0 , added l e a f f o r ­
J u d g m e n t ? ) ( f o l . 143); O f f i c e o f the by his m o s t talented assistant. m e r l y before f o l . 32), 5 - 6 , 8 8

D e a d (fols. 147—199v): Funeral Service T h e w o r k s h o p o f the R o h a n Master, 7 ( + 4 , f o l . 50; - 6 , after f o l . 52),

8

(fol. 147); M a s s o f the T r i n i t y (fols. w h o is n a m e d for a b o o k o f h o u r s once 8 - 9 , 1 0 ( + 1 , f o l . 71), l l

8 8 8 8
(+5,
1 9 9 v - 2 0 4 ) , o f the H o l y S p i r i t (fols. o w n e d b y the R o h a n f a m i l y (Paris, B i b - fol. 84), 1 2 ( + 2 , f o l . 90; + 8 , f o l .
8

2 0 4 v - 2 0 7 v ) , o f the V i r g i n M a r y (fols. l i o t h e q u e N a t i o n a l e , M s . Lat. 9471), e x ­ 96), 1 3 ( + 3 , f o l . 101; + 8 , f o l . 106),

8

2 0 7 v - 2 0 9 v ) , a n d f o r the D e a d (fols. ecuted the calendar m i n i a t u r e s o f the 14 ( - 2 , before f o l . 109 [ t h i s l e a f is

8

209v—212); prayers t o the T r i n i t y (fols. labors o f the m o n t h s . T h e R o h a n M a s ­ n o w fol. 126]; + 6 , f o L 114), 15 8

2 1 2 v - 2 1 5 v ) : The Trinity ( f o l . 212v); ter p a i n t e d g a w k y , expressive figures (+5, f o l . 121; +10, f o l . 126),
v a r i o u s prayers (fols. 216—233); Verses that are m o r e realistic a n d t r u e t o life 1 6 - 1 7 , 1 8 ( + 4 , f o l . 146),
8 8 8

o f Saint B e r n a r d (fols. 2 3 3 v - 2 3 5 ) ; t h a n the o f t e n idealized, c o u r t l y figures 1 9 - 2 5 , 26 , 2 7 ( - 4 , after f o l .

8 8 4 4

prayers f o r w h i c h Pope J o h n offered o f the B o u c i c a u t Master. 214); 13.1-13.3x9.4-9.5 cm

1100 days' i n d u l g e n c e (fols. 235—235v); PROVENANCE: Maj. John Charles Balfour, (5 /i6-5V "
3
4 x 3 1 1
/i6-3 /4").
3
T e x t area
prayers f o r w h i c h Pope B o n i f a c e offered Balbirnie, Markinch, Fife (sale, Sotheby's, 6.8 x 4.1 c m ( 2 / i " x lVs"), one c o l ­ n
6

t w e n t y years' i n d u l g e n c e t o K i n g P h i l i p London, December 18, 1946, lot 567); umn, seventeen lines. L a t i n t e x t i n
(fol. 2 3 5 v ) ; prayers t o the V i r g i n , m o s t Heinrich Eisemann, London; D. and J.
batarde script. T w o f u l l - p a g e m i n i a ­
Zwemmer (sale, Sotheby's, London, June 24,
i n r h y m e d French verse (fols. 236—256v), tures, t w e l v e half-page m i n i a t u r e s ,
1986, lot 100).
l a c k i n g b e g i n n i n g o f f i r s t prayer a n d i n ­ t h i r t y - t h r e e h i s t o r i a t e d borders,
BIBLIOGRAPHY: D. Flower, A Thousand Years of
c l u d i n g O intemerata (fols. 244v—248v), t w e n t y - o n e historiated initials.
French Books, ex. cat. (London, National
the Five Joys o f the V i r g i n , i n F r e n c h Book League, 1948), no. 7, pp. 12-13; M . Blind-tooled b r o w n calf b i n d i n g
(fols. 251—252), a n d Obsecro te (fols. Meiss, French Painting in the Time of Jean de over pasteboard, s i x t e e n t h - c e n t u r y
252v—256v); m e m o r i a l s t o saints i n ­ Berry: The Boucicaut Master (London, 1968), clasp engraved w i t h L a F o n t a i n e
c l u d i n g A l l Saints, M i c h a e l , J o h n the pp. 28, 96, 99-100, 144, n. 33 and 152, n. 9; a r m s a n d i n i t i a l s LF a n d a d o r n e d
figs. 120, 138, 239-244; idem, "La mort et
B a p t i s t , Peter a n d Paul, James, J o h n w i t h a miniature portrait o f Christ
l'office des morts a l'epoque du Maitre de
the Evangelist, B a r t h o l o m e w , George, set u n d e r glass; J. Schavy, Brussels,
Boucicaut et des Limbourg," Revue de Vart,
Lawrence, Cosmas and D a m i a n , Denis, 1-2 (1968), pp. 17-18; idem, French Painting first h a l f o f the n i n e t e e n t h century.
C h r i s t o p h e r , Sebastian, N i c h o l a s , A n ­ in the Time of Jean de Berry: The Limbourgs Ms. 23; 8 6 . M L . 6 0 6
t h o n y , M a u r u s , M a t u r i n , the Five and Their Contemporaries (London,
Saints, M a r y M a g d a l e n e , Catherine, 1974), pp. 261, 402; figs. 839 and 841;
E. Kφnig, Französische Buchmalerei um
A n n e , A p o l l o n i a , Genevieve, a n d M a r ­
1450 (Berlin, 1982), pp. 60, 77.
garet (fols. 2 5 7 - 2 8 0 ) : All Saints ( f o l .
257), Saint Mary Magdalene (fol. 274).
 Manuscripts 173

31 (fols. 121 v-122)

CONTENTS: C a l e n d a r i n c l u d i n g saints 106v), Flight into Egypt (fol. 114v); Seven

B a s i l (June 14), R e m i g i u s a n d B a v o P e n i t e n t i a l Psalms (fols. 1 2 2 - 1 3 4 v ) :
( O c t o b e r 1), and D o n a t i a n u s ( O c t o b e r David and Goliath (fol. 121 v ) ; l i t a n y i n ­
14) i n red; A m a l b e r g a ( J u l y 13) and c l u d i n g saints Q u e n t i n , L i e v i n
L i e v i n ( L i v i n u s ) ( N o v e m b e r 12) i n b l a c k ( L i v i n u s ) , A m a n d u s , Vedast, R e m i g i u s ,
(fols. 1—12v); Arms of Marguerite Crohin Eligius, Egidius, Audomar, Bertin,
(fol. 13); S h o r t H o u r s o f the C r o s s (fols. W i n n o c , Bavo, A m a l b e r g a , a n d
1 4 - 2 1 ) : Crucifixion ( f o l . 13v); S h o r t D y m p n a ( f o l . 1 3 4 v - 1 4 5 v ) ; O f f i c e o f the
H o u r s o f the H o l y S p i r i t (22-28v); D e a d , use o f R o m e (fols. 146v—193v):
Arms of Lois de la Fontaine ( f o l . 29); Mass The Three Living and the Three Dead
o f the V i r g i n (fols. 29v—35): Virgin and (fol. 146v); m e m o r i a l s t o saints (fols.
Child Enthroned (fol. 2 9 v ) ; G o s p e l Se­ 194 - 209v): John the Baptist in the Wilder­
quences (fols. 35—41 v ) : Saint John on ness (fol. 194), Saint Peter a n d Conversion
Patmos (fol. 35), Saint Luke (fol. 3 6 v ) , of Paul (fol. 194v), Saint John the Evangel­
Saint Matthew (fol. 3 8 v ) , Saint Mark ( f o l . ist (fol. 195), Saint James the Greater (fol.
4 0 v ) ; prayers t o the V i r g i n : Obsecro te 196), Saint Christopher (fol. 197), Saint
and O intemerata ( b o t h i n m a s c u l i n e Sebastian (fol. 198), Saint Adrian (fol.
f o r m ) (fols. 4 2 - 4 9 v ) : Virgin and Child 199) , Saint George and the Dragon (fol.
Seated on the Ground (fol. 42); H o u r s o f 200) , Saint Anthony Abbot (fol. 201),
the V i r g i n , use o f R o m e (fols. 51—120): Saint Nicholas (fol. 202), Saint Gregory 31 (fol. 146v, detail)

Annunciation (fol. 5 0 v ) , Visitation (fol. (fol. 2 0 2 v ) , Saint Francis Receiving the

71 v ) , Nativity (fol. 84v), Annunciation to Stigmata (fol. 203v), Mary Magdalene
the Shepherds (fol. 9 0 v ) , Adoration of the (fol. 204), Saint Catherine (fol. 205v),
Magi (fol. 9 6 v ) , Presentation in the Temple Saint Barbara (fol. 207), Saint Margaret
(fol. 101 v ) , Massacre of the Innocents (fol. (fol. 2 0 8 v ) .
 174 Acquisitions/1986

T h e M a s t e r o f the D r e s d e n Prayer B o o k O t h e r leaves f r o m this b r e v i a r y are i n

is n a m e d f o r a b o o k o f h o u r s i n East the J o h n F r e d e r i c k L e w i s c o l l e c t i o n o f
Germany (Dresden, Sδchsische L a n d ­ E u r o p e a n m a n u s c r i p t leaves at the Free
e s b i b l i o t h e k , M s . A . 3 U ) . H e was the L i b r a r y o f P h i l a d e l p h i a ( M 6 4 : 8 ~ 1 0 ) ; the
o n l y m a j o r F l e m i s h i l l u m i n a t o r o f the Pierpont M o r g a n Library, N e w York
late f i f t e e n t h c e n t u r y t o eschew the re­ ( M . 8 8 5 ) ; a n d ex. c o l l . H . P. K r a u s
f i n e d n a t u r a l i s m o f his m o s t f a m o u s (see Fifty Medieval and Renaissance
c o n t e m p o r a r i e s , the M a s t e r o f M a r y o f Manuscripts, sale cat., 88 [1958], i t e m 17.
B u r g u n d y a n d the M a s t e r o f the F i r s t M e t a H a r r s e n ( i n Central European
Prayer B o o k o f M a x i m i l i a n . A s t h e Manuscripts in the Pierpont Morgan
32 (Leaf II, detail)
miniatures i n this manuscript illustrate, Library [ N e w Y o r k , 1958], no. 53, p. 65)

he treated n a t u r e i n a s t y l i z e d m a n n e r ; a t t r i b u t e d t h e m t o an artist w h o s e

his h u m a n figures a n d a n i m a l s have a T y r o l e a n n a t i o n a l i t y was revealed b y the

d o l l - l i k e q u a l i t y . Nevertheless, at a f a i r ­ m i x t u r e o f A u s t r i a n a n d I t a l i a n styles—

l y early m o m e n t i n his career, p r o b a b l y m a n i f e s t e d i n the b o r d e r s a n d figures,

n o later t h a n 1485, i n such prayer b o o k s r e s p e c t i v e l y — w h i c h she discerned i n

as the present one, he a d o p t e d the i l l u - t h e m . A l t h o u g h the v i n e s i n the b o r d e r s

are m o r e abstract t h a n the l u s h foliage
s i o n i s t i c b o r d e r s w h i c h h a d been i n t r o ­
w h i c h u s u a l l y g r o w s i n the m a r g i n s o f
d u c e d a decade earlier b y the afore­
I t a l i a n m a n u s c r i p t s , t h e y are n o t so t h i n
m e n t i o n e d artists a n d h a d b e c o m e a
o r so flat a n d g e o m e t r i c as those t y p ­
hallmark o f Flemish illumination.
ically f o u n d i n A u s t r i a n manuscripts;
T h e s e b o r d e r s o f flowers, g i l t acanthus,
32 (Leaf IV, detail) a n d the script, i n i t i a l s , a n d style o f the
a n d insects o n b r i g h t l y c o l o r e d g r o u n d s
figures are t h o r o u g h l y I t a l i a n . T h e
gave the t w o - p a g e o p e n i n g s o f F l e m i s h
32. F I V E LEAVES F R O M A N O T E D character o f the b o r d e r s p r o b a b l y r e ­
manuscripts a n e w sumptuousness and
B E N E D I C T I N E BREVIARY flects the i m p a c t o f A u s t r i a n i l l u m i n a ­
l u m i n o s i t y . T h e C r o h i n - L a Fontaine
N o r t h e r n I t a l y ( p r o b a b l y f r o m the t i o n o n a n o r t h I t a l i a n artist. S o u t h e r n
H o u r s is r e m a r k a b l e f o r its c o l o r h a r ­
V e n e t o ) , circa 1 4 2 0 - 1 4 3 0 A u s t r i a a n d n o r t h e r n I t a l y h a d enjoyed
m o n i e s , w h i c h u n i f y t h e page d e s i g n o f
V e l l u m , five leaves. 46.5 x 3 4 - 3 4 . 6 close c o m m e r c i a l a n d c u l t u r a l ties since
p i c t o r i a l l y d i s t i n c t , even c o n t r a s t i n g ,
c m (187i6" x 1 3 7 i 6 - 1 3 / " . T e x t area
5
8 at least the early Trecento, a n d I t a l i a n
areas o f b o r d e r a n d m i n i a t u r e . O n e o f
33.8 (varies f r o m 33.3 t o 34.4 c m ) x artists, w h o are k n o w n t o have w o r k e d
the m o s t e n g a g i n g s t o r y t e l l e r s o f his
22.1 c m ( 1 3 / i " [varies f r o m D V s " t o
5
6
i n the T y r o l t h r o u g h o u t the f o u r t e e n t h
day, he c o n v e y e d b e n i g n l y the h u m o r
1 3 / i " ] x 8 /i6"), one c o l u m n , e i g h ­
9
6
٧
a n d f i f t e e n t h centuries, w o u l d c e r t a i n l y
and i r o n y latent i n various biblical and
teen lines ( s o m e t i m e s i n c l u d i n g have been aware o f A u s t r i a n s t y l i s t i c
o t h e r d e v o t i o n a l narratives. F o u r o t h e r
m u s i c a l staves). L a t i n t e x t i n G o t h i c conventions.
m i n i a t u r e s i l l u m i n a t e d b y t h i s artist,
script. Five h i s t o r i a t e d i n i t i a l s , five PROVENANCE: Sale, Sotheby's, London, June
d a t i n g f r o m the e n d o f his career,
decorated borders. 24, 1986, lots 24 and 25; [ H . P. Kraus, N e w
appear i n the M u s e u m ' s S p i n o l a H o u r s York].
M s . 24; 8 6 . M L . 6 7 4
( M s . L u d w i g I X 18, fols. 109v, 110, 119v,
CONTENTS: L e a f I ( o r i g i n a l l y f o l . 73):
a n d 120).
readings f o r m a t i n s o f the second feria,
T h e t w o f u l l - p a g e coats o f a r m s (fols.
i n c l u d i n g Ps. 38 w i t h Benedictine Monk
13 a n d 29) i n M s . 23 are b y o t h e r artists
with His Finger to His Lips Standing in a
a n d w e r e n o t a d d e d u n t i l the m i d d l e o f
Rocky Landscape; L e a f I I ( o r i g i n a l l y f o l .
the s i x t e e n t h c e n t u r y .
109): readings f o r m a t i n s o f the f o u r t h
PROVENANCE: Marguerite C r o h i n (d. 1552);
feria, i n c l u d i n g Ps. 68 w i t h Benedictine
bequeathed to Nicolas, Abbot o f Saint Jan en
Valien; Lois de la Fontaine, by 1575; W i l l i a m Monk Saved from Drowning; Leaf I I I
L o r i n g Andrews; Cortlandt F. Bishop (sale, ( o r i g i n a l l y f o l . 151): readings f o r m a t i n s
American A r t Association, Anderson o f the s i x t h feria, i n c l u d i n g Ps. 95 w i t h
Galleries, N e w York, A p r i l 25-27, 1938, Benedictine Monks Singing at a Lectern;
lot 1434); to Elizabeth P. M a r t i n , Upper
L e a f I V ( o r i g i n a l l y f o l . 170): readings f o r
Montclair, N e w Jersey; bequeathed to
m a t i n s o n Saturday, i n c l u d i n g Ps. 105
Elizabeth K i n g Robbins, Berkeley, Califor­
nia; bequeathed to her children, Deborah, w i t h A Novice Kneels before a Benedictine

Peter, and Daniel Robbins, 1978. Monk; L e a f V ( o r i g i n a l l y f o l . 253): read­

BIBLIOGRAPHY: S. de Ricci and W. J. Wilson, i n g s f o r vespers o n the first Saturday i n

Census of Medieval and Renaissance Manuscripts A d v e n t , i n c l u d i n g the h y m n Conditor
in the United States and Canada (New York, alme syderum w i t h God Creating the
1937), vol. 2, p. 1660, no. 37. World.
 Manuscripts 175

33 (fol. 32v, detail)

33 (fol. 8, detail)

33 (fol. 16v, detail) CONTENTS: F o l . 1: A la l o u a n g e de D i e u ceurent a grandes processions., The En­

et de la V i e r g e souveraine et de tous try into Jerusalem (fol. 5v); fol. 7v:
33. A T T R I B U T E D T O J E A N G E R S O N sains et sainctes de paradis. E t a la re- C o m m e [ n ] t les Juifz a d m e n e r e n t devant
La Passion [de Nostre Seigneur Ihesus queste de excellente et redoubtee d a m e N [ o s t ] r e Seigneur Ih[es]us C r i s t c u i d a n t
Crist]; La Vengence de la Mort et et puissant princesse D a m e Y s a b e l de le s u r p r e n d r e et accuser par ses parolles
Passion de Nostre Vray Sauveur et Bavieres par la grace de d i e u r o y n e de u n e f e m m e p r i n s e et t r o u v e e en a d u l -
Redempteur Ihesucrist France. J'ay tra[n]slate ceste passion de tere. L a responce de Ih[es]us et
I l l u m i n a t e d b y the M a s t e r o f l a t i n en francois sans y adiouster m o r a l i - c o [ m ] m e n t i l d e l i v r a la d [ i ] c [ t ] e f e m m e . ,
Guillaume Lambert and W o r k s h o p tez hystories, exemples o u figures. L'an Christ and the Adulteress (fol. 8); f o l . 9 v :
L y o n s , circa 1 4 8 0 - 1 4 9 0 m i l d e u x [sic] cens quatre v i n g s et d i x - C o m m e n t N o s t r e Sauveur Ihesus C r i s t
V e l l u m , i i + 86 + i i leaves. C o l l a ­ h u i t . , The Raising of Lazarus (fol. 1); f o l . fut assailly o u t e m p l e des maistres de la
t i o n : l - 7 , 8 (1 a n d 6 reattached),
8 8 8

3: D e la cene que M a r i e M a g d a l e n e et l o y h e r o d y a n e saduciene et pharisiene.

9 - 1 0 , I I , 12 ; 30.4 x 21.6 c m
8 8 2 4

M a r i e M a r t h e sa soeur f i r e n t a N o s t r e C o m m e n t i l l e u r r e s p o n d y et de p l u -
( l l / i " x 8V2"). T e x t area 19.6 x 13.1
1 5
6
Seigneur Ihesucrist. E t de l ' o n g u e m e n t isieurs paraboles q u ' i l l e u r p r o p o s a
c m (7 /ie" x 5 /s"), o n e c o l u m n ,
n 3

que M a r i e M a g d a l e n e respandy sur c o m m e i l s'ensuit., Christ Disputing with

t h i r t y - f i v e lines. F r e n c h t e x t i n Ihesus., Supper in the House of Mary and the Pharisees in the Temple (fol. 10); f o l .
batarde script. S i x t e e n t h r e e - q u a r t e r - Martha, Mary Magdalene Anoints the Feet 12v: C o m m e n t la V i e r g e M a r i e s'en ala
page m i n i a t u r e s , n u m e r o u s of the Lord (fol. 3 v ) ; f o l . 5 v : C o m m e n t au devant de son filz q u i avoit b i e n t a r d
decorated i n i t i a l s . N o s t r e Seigneur Ihesus C r i s t a c o m - d e m o u r e en la cite de I h e r u s a l e m . D e
M s . 25; 8 6 . M N . 7 3 0 paigne de ses disciples et appostres entra l'assiette que N o s t r e D a m e fist au s o u p -
en la cite de I h e r u s a l e m assis sur u n e per. E t c o m m e n t elle m i s t et assey Iudas
asnesse. E t c o m m e n t les i u i f z le r e - le t r a h i t t r e a la table o u m i l i e u d'elle et
 176 Acquisitions/1986

de son filz., Judas Seated at a Table be­ C o m m e n t N[ost]re S[ei]g[neu]r porta BIBLIOGRAPHY: C.-G. Le Clerc, Catalogue des
tween Christ and the Virgin (fol. 13); fol. sa c r o i x et de sa d u r e et m e r v e i l l e u s e Livres imprimis et manuscrits de M. Le Comte de
Pont-de-Vesle (Paris, 1774), p. 13, no. 124; P. L.
14: C o m m e n t N o s t r e D a m e fist a son m o r t . , Bearing of the Cross ( f o l . 38); f o l .
Jacob, Bibliotheque dramatique de Monsieur de
filz entre les autres quatre requestes 61: S'ensuit la vengence de la m o r t et
Soleinne (Paris, 1843), vol. 1, p. 89, no. 523;
m o u l t piteuses. D u conseil que les i u i f z passion de N [ o s t ] r e v r a y Sauveur et Anon. (Techener?), "Histoire de la Passion de
t i n d r e n t sur la m o r t de Ihesus C r i s t . E t R e d e m p t e u r I h [ e s ] u c r i s t laquelle Notre Seigneur Jesus-Christ," Bulletin du bib­
c o m m a n t [sic] le mauvais t r a h i t r e Iudas quarante ans apres ce que I h [ e s ] u c r i s t liophile 6th ser., no. 5 (March 1844), pp.
le v e [ n ] d y . , Judas Conspiring with the m o r u t en la c r o i x f u t faicte et demenee 843-846.

Jews, Christ Speaking to the Virgin par les empereurs r o m m a i n s T i t u s et

(fol. 14v); f o l . 16: C o m m e n t N [ o s t ] r e Vaspasianus [sic] sur les Juifz par la
Seigneur mengea l ' a i g n i e l de pasques m a n i e r e q u i s'ensuit., The Destruction of
avecques ses appostres et disciples. Jerusalem (fol. 61).
C o m m e n t i l lava les piez et c o [ m ] m e n t La Passion [de Nostre Seigneur Iheusus
i l l e u r a d m i n i s t r a son p r e c i e u x corps., Crist], a d e v o t i o n a l narrative based o n the
Christ Washes the Feet of His Apostles, The Meditationes vitae Christi, was c o m p o s e d
Last Supper (fol. 16v); f o l . 2 0 v : C o m ­ i n 1398 f o r Isabel o f Bavaria, p o s s i b l y b y
m e n t N o s t r e Seigneur apres la cene s'en Jean G e r s o n (1363—1429), w h o became
ala o u j a r d i n d ' o l i v e t avecques ses d i s c i ­ chancellor o f N o t r e - D a m e a n d o f the
ples p o u r p r i e r D i e u son pere. E t c o m ­ U n i v e r s i t y o f Paris i n 1395 a n d w h o
m e n t Iudas le t r a h i t t r e a c o m p a i g n e des was, f o r m o s t o f his life, a close c o u n ­
serviteurs des maistres de la l o y le v [ i ] n t selor t o the Valois dukes P h i l l i p e le
p r e n d r e a m a i n armee., The Agony in the H a r d i a n d Jean de B e r r y . O n l y one
Garden ( f o l . 21); f o l . 24v: C o m m e n t o t h e r i l l u m i n a t e d c o p y o f this t e x t has
N [ o s t ] r e Seigneur r e l e n q u i de ses d i s c i ­ thus far been i d e n t i f i e d (Paris, B i b l i ­
ples f u t des i u i f z m e n e en l ' o s t e l de A n ­ otheque N a t i o n a l e , M s . Fr. 978), a l ­
nas l'evesque. E t c o m m e n t le d i t A n n a s t h o u g h t w e n t y - t w o b l a n k spaces i n a
le q u e s t i o n n a , i n t e r r o g a et frappa., second m a n u s c r i p t (Paris, B i b l i o t h e q u e
Christ Brought before Annas (fol. 25); fol. M a z a r i n e , M s . 949) w e r e p r e s u m a b l y
27: C o m m e n t Cayphas q u e s t i o n n a et intended for miniatures.
interroga N [ o s t ] r e Seigneur et l u i couppa T h e artist takes his n a m e f r o m his
ses vestemens. C o m m e n t i l f u t i n i u r i e w o r k i n a b o o k o f h o u r s signed b y its
des f a u l x i u i f z et c o m m e n t les f a u l x scribe, G u i l l a u m e L a m b e r t o f L y o n s ,
t e s m o i n g l'accuserent c o m m e h o m m e a n d dated 1484 {Catalogue, B e r n a r d
d i g n e de m o r t . , Christ Brought before Q u a r i t c h , L t d . [ L o n d o n , 1931], no. 47,
Caiaphas ( f o l . 27); f o l . 29: C o m m e n t pp. 34—35; present w h e r e a b o u t s u n ­
N o s t r e Seigneur fut amene devant Pylate k n o w n ) . M o r e than t w e n t y manuscripts
i u g e l e q u e l le q u e s t i o n n a et la c u i d a par have been a t t r i b u t e d t o this artist a n d
pluisieurs fois d e l i v r e r des m a i n s a u x his circle, i n c l u d i n g a b o o k o f h o u r s i n
iuifz. E t c o m m e n t Iudas r e n d y a u x i u i f z the J. Paul G e t t y M u s e u m ( M s . 10) a n d
les t r e n t e deniers, Christ Brought before two copies o f Jean de C o u r c y , Chronique
Pilate, Judas Returns the Thirty Pieces of de la Bouquechardiere (Paris, B i b l i o t h e q u e
Silver (fol. 29); f o l . 32: C o m m e n t Pylate N a t i o n a l e , M s . Fr. 698, a n d Geneva,
envoya N o s t r e Seigneur au r o y H e r o d e s B i b l i o t h e q u e P u b l i q u e et U n i v e r s i t a i r e ,
l e q u e l l u i fist pluisiers demandes. E t ap­ Ms. Fr. 70), w h i c h are close i n f o r m a t t o
res ce q u ' i l l'eust v e s t u de b l a n c q c o m m e the present m a n u s c r i p t .
ung f o l . L e renvoya arriere a Pylate.,
PROVENANCE: Guillaume Mole and his wife,
Christ Brought before Herod (fol. 32v); fol. Simone Le Boucherat, Troyes (married June
33v: C o m m e n t Pylate fist batre N o s t r e 19, 1467; died September 25, 1507, and
Seigneur par d e u x fors h o m m e s a u n e February 17, 1519, respectively); Antoine de
c o l o m p n e et puis par m o c q u e r i e le fist Ferriol, comte de Pont-de-Vesle; Gaignat; de
v e s t i r d ' u n v i e l m a n t e a u de p o u r p r e en Soleinne, Paris, by 1843 (No. 523); [Bernard
Breslauer, N e w York].
guise d ' u n roy. E t c o m m e n t par p l u ­
isieurs fois et par plusieurs [sic] m a n -
ieres le cuida d e l i v r e r des m a i n s a u x
Juifz., The Flagellation, Christ Crowned
with Thorns, Mocking of Christ, Pilate
Washing His Hands (fol. 33v); fol. 37v:
PAINTINGS
D U T C H

34. G E R R I T D O U
D u t c h , 1613-1675
Astronomer by Candlelight, late 1650s
O i l o n panel, 32 x 21.3 c m (127s" x
87s"). Signed: GDov ( G D i n l i g a ­
ture) o n the b o o k at the l o w e r left.
86.PB.732

D o u p a i n t e d several different c o m p o s i ­
t i o n s d e p i c t i n g a s t r o n o m e r s seated i n
w i n d o w s o r niches a n d s u r r o u n d e d b y
the attributes o f t h e i r profession. E x a m ­
ples can be f o u n d i n the H e r z o g A n t o n
U l r i c h - M u s e u m , B r u n s w i c k , and the
Statens M u s e u m for K u n s t , Copenhagen.
PROVENANCE: Possibly Adriaen van Hoek
(sale, Amsterdam, A p r i l 7, 1706, lot 2);
W i l h e l m Six (sale, Amsterdam, May 12,
1734, lot 18); probably W i l h e l m V I I , Land­
graf von Hessen-Cassel; Lapeyriere (sale,
Paris, A p r i l 14, 1817); Joseph Barchard (sale,
London, May 6, 1826); [John Smith, L o n ­
don]; W i l l i a m Beckford, London; Hume,
London, by exchange; R. H . Fitzgibbon (la­
ter T h i r d Earl o f Clare), by 1839 (sale, L o n ­
don, June 17, 1864); W i l l i a m Delafield (sale,
London, A p r i l 30, 1870); Albert Levy (sale,
London, A p r i l 6, 1876, lot 329); Barkley
Field, London, by 1888; Lord Astor o f Hever,
after 1907 (sale, Sotheby's, London, July 6,
1983, lot 80); [Johnny van Haeften, London];
Gerald Guterman, N e w York.

BIBLIOGRAPHY: J. Smith, A Catalogue Raisonne

of the Works of the Most Eminent Dutch,
Flemish, and French Painters (London, 1829),
pt. 1, no. 96 and suppl. no. 15; W. M a r t i n ,
Het leven en der werken van Gerrit Dou be- 34
schouwd in verband met het schildersleven van
zijn tijd (Leiden, 1901), pp. 190, 234, nos. 52, 35. G E R A R D T E R B O R C H
314; C. Hofstede de Groot, Beschreibendes und D u t c h , 1617-1681
kritisches Verzeichnis der Werke der hevor- The Horse Stall, circa 1 6 5 2 - 1 6 5 4
ragensten holländischen Maler des XVII. Jahr­ O i l o n panel, 45.3 x 53.5 c m (lTW
hunderts (Esslingen am Neckar and Paris,
x 21716''). Signed: GTB i n ligature
1907), vol. 1, nos. 63c, 210; Philadelphia M u ­
o n the back o f the panel.
seum o f A r t , Masters of Seventeenth-Century
Dutch Genre Painting, ex. cat. (Philadelphia, 86.PB.631
1984), no. 35. Since H o f s t e d e de G r o o t (1913), this
p a i n t i n g has been considered as a p e n ­
dant t o the M u s e u m ' s The Cow Shed
(83.PB.232; i n GettyMusJ 12 [1984] e n ­
t i t l e d A Maid Milking a Cow in a Barn
and dated circa 1650). H o w e v e r , n e i t h e r
panel can be traced before the late e i g h ­
teenth century, w h e n t h e y were already
separate; moreover, The Horse Stall is
 178 Acquisitions/1986

m o r e t h a n one i n c h s h o r t e r t h a n The Friends at Renaissance, California," Apollo BIBLIOGRAPHY: J. Smith, A Catalogue Raisonne
Cow Shed. C o p i e s o f The Horse Stall that 121, no. 280 (June 1985), pp. 375 - 376; P. Sut­ of the Works of the Most Eminent Dutch,
ton, "The Noblest o f Livestock," GettyMusJ Flemish, and French Painters (London, 1834),
appeared i n e i g h t e e n t h - c e n t u r y auctions
15 (1987) pp. 97-110. pt. 5, no. 144; C. Hofstede de Groot, A Cata­
remain untraced i n m o d e r n times.
logue Raisonne of the Works of the Most Eminent
For a f u l l discussion, see the article b y Dutch Painters of the Seventeenth Century (Lon­
Peter S u t t o n i n this Journal. 36. N I C O L A E S B E R C H E M don, 1926), vol. 9, no. 341.
PROVENANCE: Sale, Amsterdam, August 14, D u t c h , 1620-1683
1771, lot 3, as by Metsu, bought by N y m a n ; Landscape with Figures, circa
Louis-Francois de Bourbon, prince de C o n t i 37. J A C O B V A N R U I S D A E L
1653-1654
(sale, Paris, A p r i l 8-June 6, 1777, lot 832, Dutch, 1628/29-1682
O i l o n canvas, 139.7 x 174 c m (55" x
bought by [Lannoy]; M . Poullain (sale, Paris, The Sluice, circa 1 6 4 8 - 1 6 4 9
March 15-21, 1780, lot 41, bought by [Lan- 68V2"). Signed: Berchem F. at the
O i l o n panel, 39.4 x 55.9 c m (157 " x 2

glier]; Count G. A . Sparre, Sweden; Count lower right.

22"). Signed: JVR i n m o n o g r a m at
G. Wachtmeister, Wδnas, Sweden, by descent 86.PA.731
to about 1980; [Edward Speelman, London, the l o w e r left.
Renate T r n e k dates the p a i n t i n g t o circa 86.PB.597
1981]; Fellowship o f Friends, Renaissance,
California, through [Marco Grassi, 1653—1654 o n the basis o f a c o m p a r i s o n
T h e p a i n t i n g is i l l u s t r a t e d o n the
N e w York]. w i t h the B e r c h e m Landscape i n the M u -
C h o i s e u l G o l d B o x , a b o u t w h i c h see
BIBLIOGRAPHY: F. Basan, Tableaux du cabinet see d u L o u v r e , signed a n d dated 1653. A
F. J. B . W a t s o n (The Choiseul Gold Box
de M. Poullain (Paris, 1780), no. 103; J. Smith, b l a c k - c h a l k s t u d y o f the central female
[ L o n d o n , 1963], p. 9, f i g . 2 ) . T h i s b o x ,
A Catalogue Raisonne of the Works of the Most f i g u r e g a t h e r i n g w o o d is i n the K u p -
Eminent Dutch, Flemish, and French Painters painted by Louis-Nicolas van Blaren-
ferstichkabinet, B e r l i n ( K d Z 8518).
(London, 1833), pt. 4, no. 21; C. Hofstede de b e r g h e circa 1770—1771, depicts r o o m s
PROVENANCE: H . Twent (sale, Leiden, August
Groot, A Catalogue Raisonne of the Works of i n the H o t e l de C h o i s e u l , Paris, a n d
11, 1789, lot 2); Fouquet; Pierre de Grand-Pre
the Most Eminent Dutch Painters of the Seven­ shows the d i s t r i b u t i o n o f the due de
(sale, Paris, February 16, 1809); Alexis De-
teenth Century (London, 1913), vol. 5, no.
lahante (sale, London, July 8, 1828); Edward Choiseul's p a i n t i n g s c o l l e c t i o n . The
464; E. Plietzsch, Gerard ter Borch (Vienna,
Holland (sale, Christie's, London, May 22, Sluice h u n g w i t h the finest pictures i n
1944), no. 33; S. J. Gudlaugsson, Gerard ter
1830, lot 104, bought in); R. C. Gosling, by the " P r e m i e r cabinet," o n the u p p e r
Borch (The Hague, 1959-1960), vol. 1, pp. 96,
1834 (sale, Christie's, London, January 26, t i e r o f the l e f t - h a n d w a l l . T h r e e o t h e r
266, vol. 2, no. 109; Mauritshuis, The Hague,
1920, lot 139); anonymous sale, Christie's,
and Landesmuseum, M٧nster, Gerard ter Ruisdael p a i n t i n g s o f sluices are
London, July 2, 1976, lot 61; [Norbert
Borch, ex. cat. (The Hague and M٧nster, k n o w n : The Sluice (1647, Enschede,
Pokutta, M u n i c h ] ; Gerald Guterman,
1974), no. 31; E. Young, " O l d Master Paint­
N e w York. R i j k s m u s e u m T w e n t h e , H d G 659); The
ings i n the Collection o f the Fellowship o f
Sluice (early 1650s, Christie's, N e w
Y o r k , D e c e m b e r 2, 1983, l o t 28, H d G
674); a n d Wooded Landscape with a Sluice
at a River Bank (circa 1665—1670, T o l e d o
M u s e u m o f Art, H d G 675).

PROVENANCE: Gerard Block, The Hague,

1744; W i l l e m Lormier o f Francken, The
Hague (sale, July 4, 1763, lot 225); due de
Choiseul, Hotel Crozat de Chδtel, later
Hotel de Choiseul, Paris (sale, Hotel de
Choiseul, A p r i l 6, 1772, lot 66); Louis-
Franqois de Bourbon, prince de Conti, Paris
(sale, A p r i l 8-June 6, 1777, lot 406); M o r e l l i
collection (sale, Paris, 1786); [Jean-Baptiste
Pierre Leb run, Paris]; Baron van Brienen
van de Grootelindt, The Hague (sale, H o t e l
Drouot, Paris [Charles Pillet, commissaire-
priseur], May 9, 1865, lot 32); Eugene Secre-
tan, Paris (sale, Sedelmeyer Gallery, Paris,
July 1, 1889, lot 160); Mrs. John W. Simpson,
N e w York, by 1912; [Knoedler Galleries,
N e w York, 1942, on consignment from
Mrs. Simpson]; Harold E. Montag, Atlanta,
from 1943; Georgia Institute o f Technology,
Atlanta; [French and Company, Inc.,
N e w York].
BIBLIOGRAPHY: Metropolitan Museum o f Art,
N e w York, the Hudson-Fulton Celebration,
Exhibition of Paintings by Old Dutch Masters,
36 ex. cat. (New York, 1909), no. 109; C.
Hofstede de Groot, A Catalogue Raisonne of
 Paintings 179

Mδstare i Svensk Ago," ex. cat. (Stockholm,

1967), no. 104; O. Naumann, Frans van Mieris
the Elder (Doornspijk, the Netherlands, 1981),
vol. 1, pp. 6 9 - 70, and vol. 2, pp. 84-87,
no. 71.

37
39
the Works of the Most Eminent Dutch Painters of O i l o n panel, 44 x 33 c m ( I T / / x
the Seventeenth Century (London, 1912), vol. 39. GODFRIED SCHALCKEN
I2V4") (arched t o p ) . Signed and
4, no. 663; J. Rosenberg, Jacob van Ruisdael D u t c h , 1643-1706
dated: Frans Mieris / Ao 1667 o n the
(Berlin, 1928), no. 448; K . E. Simon, Jacob The Annunciation, early 1670s
u p p e r m o s t r u n g o f the chair.
van Ruisdael. Eine Darstellung seiner Ent­ O i l o n panel, 26.3 x 20.5 c m (107s" x
wicklung (Berlin, 1930), p. 26; S. Slive, Jacob 86.PB.634
8Vi6 ); u n p a i n t e d m o d e r n w o o d e n
w

van Ruisdael, ex. cat. (Mauritshuis, The T h i s m a y be the w o r k Balthasar de

strips ( 7 / w i d e ) added t o a l l sides.
Hague, and Fogg A r t Museum, Cambridge,
M o n c o n y s saw the artist p a i n t i n g i n
Mass., 1981), p. 118. Signed: G. Schalcken i n the u p p e r
1663 and also the one A r n o l d
left corner.
H o u b r a k e n says was painted for Cornelis
86.PB.464
P a e d t s — w h i c h C o s i m o I I I de M e d i c i
t r i e d i n v a i n t o b u y f r o m the artist. A T h i s s m a l l panel is i c o n o g r a p h i c a l l y n o ­

n u m b e r o f versions o f the c o m p o s i t i o n table for the w i n g l e s s angel and for the

(a favorite t h e m e i n seventeenth-century V i r g i n , w h o h o l d s a s c r o l l rather t h a n

D u t c h art) are recorded, a l t h o u g h o n l y the m o r e c u s t o m a r y b o o k . A n A n n u n ­

the one i n the M u s e o Frans M a y e r ( f o r ­ c i a t i o n b y the artist was last seen i n a

m e r l y i n the M u s e o de San C a r l o s , b o t h 1900 a u c t i o n i n B e r l i n (Hofstede de

i n M e x i c o C i t y ) , can be traced today. G r o o t [ L o n d o n , 1913], v o l . 5, p. 315,

no. 10).
PROVENANCE: Possibly Philipp W i l h e l m ,
Elector Palatine; Johann W i l h e l m von der PROVENANCE: S. E. Herren von Saint
Pfalz, Elector Palatine, D٧sseldorf, by 1716; Saphorin (sale, Vienna, May 19, 1806, lot
transferred to Mannheim, 1730; Alte 396); Bernard de Mestral, thence by descent;
Pinakothek, M u n i c h , by 1863-1935; [A.G., sale, Christie's, London, A p r i l 19, 1985, lot
Zurich and Eindhoven, 1935-1937]; [ D 98; [Edward Speelman, London, 1985-1986].
Katz, Dieren, 1938]; H . E. ten Cate, Almelo,
the Netherlands, i n 1960; Sidney van den
Bergh, Wassenaar;J. van Duijvendijk,
Scheveningen; H . Kastengren, Stockholm,
by 1967; sale, Sotheby's, London, March 19,
1975, lot 13; [Joseph Leegenhoek, Paris,
1975-1977]; Jean-Louis Dupre, Paris,
38 1977-1986 (sale, Sotheby's, Monte Carlo,
June 19, 1986, lot 26).
38. FRANS V A N MIERIS T H E ELDER
BIBLIOGRAPHY: Alte Pinakothek, M u n i c h ,
D u t c h , 1635-1681
Catalogue (Munich, 1930), no. 549;
Doctor's Visit, 1667 Nationalmuseum, Stockholm, " H o l l δ n d s k a
 180 Acquisitions/1986

FLEMISH

40

40. JACOB V A N HULSDONCK

Flemish, 1582-1647
Still Life with Lemons, Oranges, and a
Pomegranate, circa 1620—1640
O i l o n panel, 42 x 49.5 c m (I6V2" x
19V "). Signed: J.
2 VHVLSDONCK
( V H i n l i g a t u r e ) at the l o w e r left.
86.PB.538

T h e blue-and-white porcelain b o w l
dates f r o m the W a n - L i p e r i o d
(1573-1619) o f the M i n g dynasty. O f
several pentimenti, the m o s t i m p o r t a n t is
a k n i f e , o r i g i n a l l y t o the left o f the
b o w l , w h i c h has been p a i n t e d o u t b u t is
s t i l l v i s i b l e t o the n a k e d eye. T h e k n i f e
41
is present i n t w o s i m i l a r s t i l l lifes, one
signed b y H u l s d o n c k (sale, Palais de 41. A N T H O N Y VAN DYCK face, is i n a p r i v a t e c o l l e c t i o n (Larsen,
C o n g r e s , Versailles, M a y 24, 1972, l o t F l e m i s h , 1599-1641 no. 281). T h e p o r t r a i t was engraved
52), the o t h e r u n s i g n e d (sale, Sotheby's, Thomas Howard, Second Earl three t i m e s i n the n i n e t e e n t h c e n t u r y
L o n d o n , N o v e m b e r 17, 1982, l o t 76). of Arundel, 1620-1621 (by Tardieu, T o m k i n s , a n d Sharp) w h i l e
PROVENANCE: Sale, Hotel Drouot, Paris, O i l o n canvas, 102.8 x 79.4 c m i n the S u t h e r l a n d c o l l e c t i o n .
December 16, 1942, lot 54; [Didier Aaron, (40V " X 31V4")
2 PROVENANCE: Probably commissioned by
Inc., N e w York, 1985]. 86.PA.532 Thomas Howard, Second Earl o f Arundel
BIBLIOGRAPHY: E. Greindl, Les Peintures fla- (1585—1646); said to have been given by h i m
I n 1620 T h o m a s H o w a r d , Second E a r l
mands de nature morte au XVIV siede (Ster- to Georges Villiers, First Duke o f Buck­
o f A r u n d e l — l a n d o w n e r , statesman, ingham, by 1628; Philippe, due d'Orleans
rebeek, Belgium, 1956), p. 256, fig. 143; S. H .
Paviere, A Dictionary of Flower, Fruit, and Still- connoisseur a n d c o l l e c t o r — i n v i t e d the (le Regent), by 1727; by descent to Philippe,
Life Painters (Leigh-on-Sea, England, 1962), y o u n g van D y c k to England. This por­ due d'Orleans (Philippe Egalite), u n t i l 1792;
vol. 1, p. 36. trait, r e f l e c t i n g the painter's allegiance citoyen Robit, Paris (sale, May 11, 1801,
lot 36); Francis, T h i r d Duke o f Bridgewater
to his master Rubens as w e l l as his
(1736-1803), Cleveland House (later
exposure t o s i x t e e n t h - c e n t u r y V e n e t i a n
Bridgewater House), London, from 1801; his
p a i n t i n g i n the earl's c o l l e c t i o n , dates nephew Lord Gower, later Second Marquess
f r o m this first, s h o r t v i s i t . I n his left of Stafford and First Duke o f Sutherland
h a n d , the earl h o l d s the badge o f the (1758-1833); by descent w i t h the dukes o f
O r d e r o f the Garter, awarded h i m i n 1611. Sutherland, Stafford House, London, u n t i l
circa 1913; Frits Gans, Frankfurt; Bachstitz
A small p r e l i m i n a r y study o n "car­
collection, The Hague; Daniel Guggenheim,
ton" b e l o n g e d t o the Robartes f a m i l y i n New York, i n 1929; Mrs. Daniel Guggen­
the n i n e t e e n t h c e n t u r y a n d is last m e n ­ heim, N e w York, i n 1931, u n t i l at least 1939;
t i o n e d b y Rooses (see b e l o w ) ; a later Robert Guggenheim, Washington, D C , i n
v e r s i o n o r c o p y w i t h the same c o m p o s i ­ 1950; Mrs. David Guggenheim, N e w York;
Mr. and Mrs. Francis Lenyon; Rebecca
t i o n , c r o p p e d t o focus o n the sitter's
 Paintings 181

Pollard Logan, Washington, D.C., i n 1980

(sale, Christie's, London, July 8, 1983, lot 92)
[Thomas Agnew and Sons, L t d . ] ; Swiss p r i ­
vate collection; [Thomas Agnew and Sons,
Ltd., 1986].
BIBLIOGRAPHY: L. Cust, Anthony van Dyck
(London, 1900), pp. 23, 268, no. 1; M .
Rooses, Fifty Masterpieces of Anthony van Dyck
(London, 1900), pp. 8 9 - 9 0 ; M . F. S. Hervey,
The Life, Correspondence and Collections of
Thomas Howard, Earl of Arundel (Cambridge,
England, 1921), pp. 187-188; E. Larsen,
Lopera completa di Van Dyck, 1613—1626
(Milan, 1980), p. 105, no. 280; A . M c N a i r n ,
The Young van Dyck, ex. cat. (Ottawa, N a ­
tional Gallery o f Canada, 1980), no. 65;
O. Millar, Van Dyck in England, ex. cat. (Lon­
don, National Portrait Gallery, 1982), no. 2.

FRENCH

42. JEAN-SIMEON CHARDIN

French, 1699-1779
Still Life, circa 1759-1760
O i l o n canvas, 37.8 x 46.7 c m (147s"
42
x 187s"). Signed: Chardin at the left
center.
43. H U B E R T ROBERT
86.PA.544
French, 1733-1808
W h a t appears t o be a later v e r s i o n , o r a A Hermit Praying in the Ruins of a
v e r y s i m i l a r p a i n t i n g , signed and dated Roman Temple, circa. 1760—1764
1761 and p r o b a b l y e x h i b i t e d at the Salon O i l o n canvas, 58 x 70.5 c m ( 2 2 7 / x
o f 1763 (no. 62), was offered b u t t h e n 2 7 7 / ) . I n s c r i b e d : ROBERT / FECIT
w i t h d r a w n f r o m the L e m o y n e sale / FIO . .NT/ PORT. . . 176. . . [last
(Paris, A u g u s t 10, 1778, l o t 10) a n d was d i g i t obscured, perhaps 1760?] i n the
last seen w h e n s o l d i n Paris ( M a y 19, w a l l at center.
1828, l o t 62). Georges W i l d e n s t e i n 86.PA.605
(1963, no. 32) confuses the provenances
I n his article i n this Journal, V i c t o r C a r l ­
o f the t w o p a i n t i n g s . T h e M u s e u m ' s
son dates the p a i n t i n g t o 1760 o n the 43
p i c t u r e is closely related t o a s t i l l life i n
basis o f a c o m p a r i s o n w i t h a d r a w i n g b y
the R e i n h a r t c o l l e c t i o n , W i n t e r t h u r , a n d
R o b e r t i n the L o u v r e , signed a n d dated PROVENANCE: Louis-Frangois de Bourbon,
t o a v e r s i o n o f that p a i n t i n g i n a F r e n c h prince de C o n t i (sale, Paris, A p r i l 8—June 6,
i n that year, i n w h i c h the general ar­
p r i v a t e c o l l e c t i o n ( W i l d e n s t e i n , 1963, 1777, lot 752); Desmarets; Prince Pyotr
r a n g e m e n t o f the a r c h i t e c t u r a l s e t t i n g is
no. 334). Ivanovitch Tufialkin, Paris (sale, Paris, May
s i m i l a r t o that i n the M u s e u m ' s canvas.
PROVENANCE: Aubert, Paris (sale, Paris 2—3, 1845, lot 65); private collection, Paris
T h e d r a w i n g is i l l u s t r a t e d i n Le Louvre (sale, Galerie Sedelmeyer, Paris, March 25,
[Paillet and Hugues, commissaires-priseurs],
d'Hubert Robert (ex. cat. [Paris, M u s e e 1892, lot 53); Georges Berger, Paris; possibly
March 2 - 4 , 1786, lot 56); la comtesse de
Croismare, Folie de Montfermeil; Maurice d u L o u v r e , 1979], f i g . 48). sale, Paris, March 20, 1928, no. 53; Georges
Massignon; Charles Masson, Paris, by 1907; I n the 1777 sale o f the p r i n c e de Wildenstein family collection, Paris, by 1928;
[Wildenstein and Co., N e w York].
Pierre Masson, Paris, by descent, u n t i l about C o n t i ' s c o l l e c t i o n , the M u s e u m ' s p a i n t ­
1935; private collection, England; [Societe i n g was p a i r e d w i t h a p e n d a n t v i e w o f BIBLIOGRAPHY: P. de Nolhac, Hubert Robert,
Spiess, Paris]. 1733-1808 (Paris, 1910), p. 98; Orangerie,
the i n t e r i o r o f a c o l o n n a d e d t e m p l e ,
BIBLIOGRAPHY: A . Dayot andj. Guiffrey, J.-B. Paris, Exposition Hubert Robert, ex. cat. (Paris,
n o w lost, described i n the sales cata­
Simeon Chardin (Paris, 1907), no. 180; Rijks- 1933), no. 2; G. Isarlo, "Hubert Robert,"
l o g u e ( l o t 753) as " . . . u n c h a r r i o t
museum, Amsterdam, Exposition retrospective Connaissance des Arts no. 18 (August 15,
r e m p l i de f o i n , u n h o m m e & u n e 1953), p. 28; H . Burda, Die Ruine in den
d'art francais, ex. cat. (Amsterdam, 1926), no.
18; G. Wildenstein, Chardin (Paris, 1933), no. f e m m e a cheval, d'autres figures & u n Bildern Hubert Roberts (Munich, 1967), p. 80
793; G. Wildenstein, Chardin (Zurich, 1963, t r o u p e a u de m o u t o n s . " and n. 359; A . Corboz, Peinture militante et
rev. ed., Oxford, 1969), no. 321; P. Rosen­ architecture revolutionnaire: A propos du theme
berg, Tout Voeuvre peint de Chardin (Paris, du tunnel chez Hubert Robert (Basel and Stutt­
1983), no. 153. gart, 1978), p. 16, fig. 13; V. Carlson, " A
 182 Acquisitions/1986

Roman Masterpiece by Hubert Robert; 4

Hermit Praying in the Ruim of a Roman
Temple," GettyMwJtt (mi), pp. U7-124.

44. J A C Q U E S - L O U I S D A V I D
French, 1748-1825
The Sisters Zénaïde and Charlotte
Bonaparte, 1821
O i l on panel, 129,5 x 100 cm
(51" x 3 9 W ) . Signed and dated;
L . DAVID, / BRUK, 1821 at the
lower right, Inscribed; H 13. / 9

Philadelphie . , . / mes chères petites

amies, , , / Julie, , , on the letter held
by sitters,
86.PA740
Zénaïde (1801-1854) and Charlotte
(1802-1839) were daughters of Joseph
Bonaparte, brother o f Napoleon. In
1821 both lived w i t h their mother i n
Brussels, also the home in exile o f
Jacques-Louis David, while their
father—who wrote the letter seen i n
Zénaïde's hand i n the Museum's paint-
ing—had taken up residence in Borden-
town, New Jersey, and Philadelphia,
The high quality and substantial penti-
menti o f this little-known portrait, as
well as the presence o f both the signa-
ture and the 1821 date, indicate that it is
the original version documented i n
44
David's June 25,1821, receipt for pay-
ment from the girls' mother. The two
replicas also mentioned i n the receipt
(costing one thousand francs each, as
opposed to four thousand for the origi-
nal) can be identified w i t h the portraits
in Toulon (Musée d'Art et d'Archéolo-
gie, signed and dated 1822) and Rome
(Museo Napoleonico, unsigned), each
of which has at times been called
the original
The Liste des Tableaux de la galerie de
Joseph Bonaparte (undated but apparently
compiled i n the U S . ) mentions under
No, 116 "Les Princesses Zénaïde et
Charlotte, David," valued at four
thousand francs, the price o f the original
version (Bertin, 1893). The painting
returned to Europe w i t h Bonaparte
in 1836,
PROVENANCE; Commissioned by Marie Julie
Bonaparte, comtesse de Survilliers, perhaps
on behalf o f her husband, Joseph, presum-
ably i n 1820 or 1821; their daughter Zénaïde,
Princess o f Canino (1801-1854); her daughter
Julie Charlotte Zénaïde Pauline Laetitia 45
 Paintings 183

Desiree Bartholomee Bonaparte (1830-1900),

wife o f Alcssandro del Gallo, Marchese di
Roccagiovane, Rome; private collection,
Switzerland, by about 1938; [Wildenstein
and Co,, N e w York],
BIBLIOGRAPHY; G, Bertin, Joseph Bonaparte en
Amerique (Paris, 1893), p. 418; D. and G.
Wildenstein, Documents complementaires au
catalogue de Voeuvre de Louis David (Paris,
1973) pp. 220, 222; Philadelphia Museum o f
Art, Federal Philadelphia, 1785-1825: The
Athens of the Western World, ex, cat, (Phila­
delphia, 1987), no. 228; G, Bazin and G,
Wildenstein, catalogue raisonne o f the w o r k
of J,-L, David (forthcoming).

G E R M A N

45, LEO VON KLENZE

German, 1784-1864
Landscape with the Castle of Massa
di Carrara, 1827
Oil on canvas, 76,9 x 101 cm (30V/ 46
x 39-7-0• Signed; LvKle XXVll at
the lower left,
BIBLIOGRAPHY; G, K , Nagler, Neues allge­
86,PA,540 meines Künstler-Lexikon (Munich, 1839),
Leo von Klenze visited Massa near Car­ P- 60; Bayerische Akademie der Schφnen
K٧nste, Leo von Klenze als Maler und
rara i n September 1826 and again from
Zeichner, ex. cat, (Munich, 1977), nos. G5,
late A p r i l to early June 1827 O n the sec­ G30; N . I4eb and F, Hufnagel, Leo von
ond visit he probably made the drawing Klenze Gemälde und Zeichnungen (Munich,
of the landscape w i t h the castle, built by 1979), pp, 101, 170, 242, no, G35,
the Malaspina dukes from the four­
teenth through the sixteenth centuries,
preserved i n his sketchbook ( M ٧ n c h n e r 46, F R A N Z X A V E R W I N T E R H A L T E R

Stadtmuseum, Alte Sammlung, Sketch­ German, 1805/06-1873

book 3, f. 43 recto), A second drawing, Portrait of Leoniila Fürstin m
in which he experimentally moved the Sayn-Wittgenstein-Sayn, 1843 Neue Pinakothek, Munich), A third
castle to the right half o f the composi­ Oil on canvas, 142 x 212 cm Winterhalter portrait o f the princess,
tion and rotated it to the right, may (56" x 83V/), Signed; Winterhalter, painted i n 1849, remains w i t h the fam­
have been executed after his return to Paris, 1843 at the center right, ily The portrait is i n its original frame,
Munich (Munich, Staatliche Graphische 86,PA,534 made by P, Souty fils, Paris,
Sammlung, inv, no. 27,713—mappe The Russian-born Princess Eeonilla PROVENANCE; Commissioned by the sitter;
35/1). Ivanovna Bariatinskaya (1816-1918) by descent to Prince Alexander zu Sayn-
Wittgenstein-Sayn, until 1985; [Artemis,
This painting remained w i t h the art­ married Prince L u d w i g zu Sayn-
London],
ist and subsequently his family, but a Wittgenstein-Sayn i n 1843, the year this
BIBLIOGRAPHY; C, Heilmann, Neue Pinakothek
second, slightly smaller version (28 x 37 portrait was painted i n Paris, Her reclin­
München (Munich and Zurich, 1984), pp. 37,
inches, location unknown) was painted ing pose, reminiscent o f traditional 68-69; ex, cat, forthcoming, London,
for Franz Bolgiano about the same year Venuses and David's Madame Recamier National Portrait Gallery, and Paris, Grand
and may be the View of Massa exhibited of 1800 (Musee du Louvre, Paris), is Palais, 1987,
at the M u n i c h Kunstverein i n 1828, appropriate to the princess' status as an
Klenze exhibited the Museum's land­ international beauty and hostess w i t h
scape at the Berlin Academy i n 1834 political interests. She had sat to
(no, 361). ITALIAN
Winterhalter once before, i n 1833, for an
PROVENANCE; By descent from the artist to oval portrait which also features her
47. I T A L I A N (Naples or Avignon),
Herbert M . von Klenze (b, 1907), Ellenberg, shadowed face, contrasting black hair
Germany (sale, Kunsthaus Lempertz, mid-fourteenth century
and opaline skin, and magnificent pearls
Cologne, November 21-23, 1985, lot 479) The Somatization of Saint Francis of
(Wittgenstein family, on loan to the
bought by [Bruno Meissner, Zurich], Assisi and The Crowning of Saints
 184 Acquisitions/1986

Cecilia and Valerian of Rome,

circa 1330s
T e m p e r a o n panel, each panel:
31.2 x 22.9 cm (12 /i6
5 r /
x 9")

86.PB.490

U n t i l r e c e n t l y this w o r k , s o m e t i m e s
called the A n s o u i s D i p t y c h , has been
a t t r i b u t e d t o an A v i g n o n p a i n t e r a n d
dated t o the 1360s. T h e figures o n the
r i g h t - h a n d panel w e r e t r a d i t i o n a l l y
i d e n t i f i e d as Saint Elzear de Sabran
(1286—1323) a n d his w i f e , the Blessed
D e l p h i n e de Signe ( 1 2 8 4 - 1 3 6 0 ) , rela­
t i o n s o f the c o u n t s o f Sabran. I n his
article i n this Journal, however, C a r l
S t r e h l k e suggests that D e l p h i n e m a y
have c o m m i s s i o n e d the d i p t y c h herself,
f r o m a p a i n t e r active i n Naples i n the
1330s, perhaps the M a s t e r o f the Saint
E l i z a b e t h Stories. M o r e o v e r , the r i g h t -
h a n d panel m a y w e l l depict the saints
C e c i l i a a n d Valerian, w h o s e chaste m a r ­
riage served as the m o d e l for Elzear a n d
Delphine's relationship.
PROVENANCE: Counts o f Sabran, Chateau
d'Ansouis (Vaucluse), France (possibly by
descent from the Blessed Delphine de Signe
[1284-1360]); by descent to the dukes o f
Sabran and Ponteves, Paris; [Wildenstein
and Co., N e w York, 1981-1986].
BIBLIOGRAPHY: P. Girard, Saint Elzear de
Sabran et la Bienheureuse Delphine de Signe
(Paris, 1912), p. 6; G. Duhamelet, Saint
Elzear et la Bienheureuse Delphine (Paris,
1944), pp. 17, 19; J. Dupont, "Quelques ex-
emples de rapports entre le France et l'ltalie
au X I V et au X V Siecles," Cahiers de VAsso-
e e

ciation Internationale des Etudes Francaises

8 (June 1956), p. 36; M . Laclotte and D.
Thiebaut, L'ecole dAvignon (Paris, 1983), 48
pp. 194-195, no. 24; P. Leone de Castris,
Arte di Corte nella Napoli angioma (Florence, 48. F R A N C E S C O SALVIATI PROVENANCE: Marchese Carlo Niccolini di
1986), p. 428; C. B. Strehlke, " A Celebate I t a l i a n ( F l o r e n t i n e ) , 1510-1563 Camugliano, by 1904; [ H e i m Gallery, L o n ­
Marriage and Franciscan Poverty Reflected i n Portrait of a Bearded Man, circa don, circa 1975]; [P. and D. Colnaghi, Ltd.,
a Neapolitan Trecento Diptych," GettyMusJ London and N e w York, 1982]; Daniel Var-
1550-1555
15 (1987), pp. 7 9 - 9 6 . sano, Connecticut; through [Zangrilli and
O i l o n panel, 109 x 85 c m (43" x Brady, N e w York].
33V ")
BIBLIOGRAPHY: I . H . Cheney, Francesco Sal­
2

86.PB.476 viati (1510-1563), unpublished Ph.D. diss.,

S o m e t i m e s a t t r i b u t e d t o B r o n z i n o , this Institute o f Fine Arts, N e w York University,
1963, pp. 421, 483, fig. 412; C. Whitfield, Dis
portrait belongs more appropriately
coveries from the Cinquecento, ex. cat. (New
t o Salviati's second R o m a n p e r i o d
York, P. and D. Colnaghi, Ltd., 1982), no. 7.
(1550—1555), w h e n one w o u l d expect t o
f i n d such an a r r e s t i n g c o m b i n a t i o n o f
M a n n e r i s t p r e c i s i o n , a l o n g w i t h the a n i ­
m a t i o n and interest i n the sitter charac­
teristic o f the m a t u r e Salviati. Its h e a v i l y
r i p p l e d g o l d frame, apparently o r i g i n a l
t o the picture, does n o t appear t o be
Florentine.
 Paintings 185

49

49. L U C A FORTE
I t a l i a n ( N e a p o l i t a n ) , active circa
1625-1655
Still Life with Grapes and Other Fruit,
circa 1630s?
O i l o n copper, 31.4 x 26 c m ( 1 2 W x
l O V / ) . Signed: Luca Forte o n the 50
w a l l at the l o w e r left.
86.PC.517 50. S E B A S T I A N O R I C C I T h e t u r n i n g p o i n t i n the l o p s i d e d battle
I t a l i a n (Venetian), 1659-1734 is the m o m e n t depicted here, w h e n Per­
T h e s t i l l life o f grapes, apples, p o m e ­
Perseus Turning the Companions of seus f i n a l l y displays the head o f M e d u s a
granates, a n d pears m a y have e m b l e m ­
Phineus to Stone, circa 1705—1710 and petrifies three o f P h i n e u s ' h e n c h ­
atic significance, b u t i t is j u s t as l i k e l y
O i l o n canvas, 64 x 77 c m (2574" x m e n (Thescelus, A m p y x , and N i l e u s ) .
that i t s i m p l y p o r t r a y s the b o u n t i e s o f
307 ") PROVENANCE: Ray Livingston M u r p h y
a u t u m n . T h e basket at the l o w e r left 4

86.PA.591 (1923-1953), N e w York (probably acquired

m a y have been used for the harvest
in England); Ray Slater Murphy, mother o f
o f fruit. T h i s p a i n t i n g can be c o m p a r e d closely
R. L. M u r p h y (sale, Christie's, N e w York,
P h o t o g r a p h s t a k e n at the t i m e o f the w i t h Ricci's Battle of the Lapiths and Cen­ January 15, 1986, lot l l 3 , bought by [Thomas
p a i n t i n g ' s sale i n L o n d o n i n 1984 s h o w taurs (circa 1705, H i g h M u s e u m o f A r t , Agnew and Sons, Ltd., London]).
the ghost o f a coat o f arms o n the u p p e r A t l a n t a ) and his frescoes i n the Palazzo
left near the corner o f the w a l l . Recent M a r u c e l l i - F e n z i , Florence, dated
cleaning d e m o n s t r a t e d that the arms 1706—1707. T h e f i g u r e o f Perseus is
p o s t d a t e d the e x e c u t i o n o f the p a i n t i n g , close t o that o f the soldier i n the Death
and i t has been i m p o s s i b l e t o r e c o n ­ of Archimedes (Palazzo V i d m a r - F o s c a r i ,
struct w h a t t h e y l o o k l i k e . Venice) dated circa 1705 b y A . R i z z i
PROVENANCE: Said to have been sold by (Sebastiano Ricci disegnatore, ex. cat.
Leonard Koetser, London; private collection, [ U d i n e , Salla A i a c e d e l C o m m u n e ] ,
Jersey, since about 1955; sale, Sotheby's, L o n ­ 1975).
don, December 12, 1984, lot 31, bought by T h e subject is t a k e n f r o m O v i d ' s
[Thomas Agnew and Sons, Ltd., London].
Metamorphoses (5.1—235). I n the m i d s t o f
c e l e b r a t i n g his w e d d i n g t o A n d r o m e d a ,
Perseus is attacked b y P h i n e u s — t h e
bride's uncle a n d her e r s t w h i l e i n t e n d e d
—assisted b y a t h o u s a n d supporters.
 186 Acquisitions/1986

5k

5ib
 Paintings 187

51. LUGA CARLEVARIJS

Italian (Venetian), 1663-1730
Regatta on the Grand Canal in Honor
of Frederick IV, King of Denmark, 1711
O i l on canvas, 1349 x 2597 cm
(5378" x 10274'% Inscribed:
MDCCXl/L.C. at the bottom center
on the boat
86,PA,599
The Bucintoro Departing from the
Bacino di San Marco, 1710
O i l on canvas, 1347 x 2593 cm
(537ie" x 1027/), Inscribed:
LC MDCCX at the lower left
on the stern o f the boat
86,PA,600
The Bucintoro (Venetian state barge) is
shown on the day o f the "SposalMo del
mare" (Marriage o f Venice and the sea),
an annual Ascension Day ceremony
The regatta i n honor o f Frederick I V 52, GIUSEPPE MARIA CRESP1 PROVENANCE! Commissioned by Abbot
was held March 4, 1709, on the occasion Italian (Bolognese), 1665-1747 Corsi, Florence, circa 1735; Marchese Gino
o f the Danish king's state visit to Ven­ Capponi, Florence, by 1767; sale, Hotel
The Blessed Bernard Tolomei Interced­
Drouot, Paris [Marcel Walter and Tabour«
ice. A second version o f this painting, ing fir the Cessation of the Plague in
deau, commissaires-priseurs], February 7,
w i t h minor differences, is i n Fredericks- Siena, circa 1735 1945, lot 383; private collection* Switzerland;
borg castle, Denmark (inv, no, 3456), O i l on copper, 427 x 66,6 cm [Piero Corsini, New York], 1985 -1986,
PROVENANCE: Baron Michele Lazzaroni, (I6 7ir/'x26 //)
1 1

BiBLtoGPvAPHY! G, Zanotti, Storid deWAe-

Paris, by 1922; Barone Edgardo Lazzaroni, 86,PC,463 cddemid Ctementind di Botognd (Bologna,
Rome, by 1937 and δs late as 1940; Baronessa 1739), vol, 2, p, 64; L, Crespo Pdslna
In his article i n this Journal, John Spike
Lazzaroni, Paris; private collection, Rome, Pittrice, Vitt de* pittori botognesi (Rome,
until 1985; [Thomas Agnew and Sons, Ltd,, connects this recently discovered paint­ 1769), vol, 3, p, 217; M . P, Merriman,
London], ing w i t h a documented commission for Giuseppe Mdrid Cmpi (Milan, 1980), pp, 265,
BIBLIOGRAPHY* N, Tarchiani, Mostra delta two paintings for the O٢vetan Abbot 271-272; J, T, Spike, Giuseppe Mdrid Crespi
pittum itdttdna del Seicento e del Settecento, ex, Corsi, The pendant representing Saint dnd the Emergence of Gerne Painting in ltdiy, ex.
cat, (Florence, Palazzo Pitti, 1922), nos, 209, Francesca Romana Placing the Infant Christ cat, (Fort Worth, Kimbell Art Museum,
210; F, Mauroner, Luca Cdrlevdris, 2nd ed, 1986), p, 162; idem, The Blessed Bemdrd
in the Arms of Her Confessor (Merriman,
(Padua, 1945), pp, 59, 82, pis. 4, 5; Venetian Tolomei Intercedingfirthe Cessation of the
no, 115) is known from workshop rep- Pldgue in Siena: A Rediscovered Painting by
Fighteenth-Century Pdinting, ex, cat, (London,
lkas, which also exist for the Bernard Giuseppe Maria Crespi," GettyMusJiB
Thomas Agnew and Sons, Ltd,, 1985),
nos, 7, 8, Tolomei (Musee des Beaux-Arts, Nimes; (1987), pp, 111-116,
Marchini collection, Rome; Gemδlde­
galerie der Akademie der Bildenden
K٧nste, Vienna; Ilo Nunes-Mauri col­
lection, Rome), Crespi's presentation o f
Tolomei as an intercessor is an innova­
tion i n the iconography o f the four­
teenth-century Olivetan abbot,
DRAWINGS
BRITISH w o m e n executed b y G a i n s b o r o u g h i n I n s c r i b e d (verso): Carracci i n p e n c i l .
the m i d - t o - l a t e 1760s. I t shows a 86.GA.8
d a i n t y y o u n g w o m a n seated and f a c i n g Sustris' activities as overseer o f the
f r o n t , a pose rare i n G a i n s b o r o u g h . artistic u n d e r t a k i n g s at the c o u r t o f
T h e c o s t u m e consists o f a b r o a d - W i l h e l m V o f Bavaria i n M u n i c h i n ­
b r i m m e d m i l k m a i d ' s bonnet, a shawl c l u d e d the d e s i g n i n g o f s c u l p t u r e a n d
d r a w n a b o u t the w o m a n ' s slender decorative objects. T h i s d r a w i n g ,
shoulders, and a l u x u r i a n t l y cascading a m o n g his f e w s u r v i v i n g designs for a
s k i r t , b r o a d l y sketched i n black and decorative piece, was used as the m o d e l
w h i t e chalks. T h i s d r a w i n g descended for one o f the t w e n t y - f i v e etched-glass
i n the artist's f a m i l y t h r o u g h his panels o f a r e l i q u a r y shrine i n the
y o u n g e r daughter, M a r g a r e t , and was Reiche K a p e l l e i n the M u n i c h Resi­
l i t h o g r a p h e d b y his g r e a t - n e p h e w dence. W i t h its e x c e p t i o n a l refinement
R i c h a r d Lane i n 1825. o f l i n e and graceful f i g u r e style, i t is
PROVENANCE: Mrs. Thomas Gainsborough, q u a l i t a t i v e l y superior b o t h t o a n o t h e r
London; by descent to the Gainsboroughs' v e r s i o n i n Budapest, considered b y
daughter Margaret; Sophia and Richard Lane
H e i n r i c h Geissler t o be a c o p y (Szep-
(probably Lane sale, Christie's, London, Feb­
ruary 25, 1831, lot 100); Crompton collection; m ٧ v e s z e t i M u s e u m , i n v . no. 1387;
Spiller collection; Dr. and Mrs. Francis T. Gerszi, Netherlandish Drawings in the
Springell, Portinscale, Cumberland (sale, Budapest Museum [ A m s t e r d a m , 1971],
Sotheby's, London, June 30, 1986, lot 103). no. 259; H . Geissler, "Unbekannte
53 (recto) BIBLIOGRAPHY: J. Hayes, The Drawings of E n t w ٧ r f e v o n F r i e d r i c h Sustris,"
Gainsborough (New Haven and London, Kunstgeschichtliche Studien für Kurt Bauch
1971), vol. 1, nos. 32, 33, vol. 2, pis. 98, 100;
[ M u n i c h - B e r l i n , 1967], p. 154), and t o a
J. Hayes and L. Stainton, Gainsborough
copy i n D ٧ s s e l d o r f (Kunstmuseum, inv.
Drawings, ex. cat. (Washington, D.C.,
National Gallery o f Art; Fort Worth, no. FP 5280).
K i m b e l l A r t Museum; N e w Haven, Yale PROVENANCE: Private collection, Switzerland;
Center for British A r t , 1983), no. 43. [Pamela Gordon, Paris].
BIBLIOGRAPHY: P. Gordon, Pamela Gordon
Presents Old Master Drawings, ex. cat. (New
York, Bob P. Haboldt, Inc., Gallery, 1985),
D U T C H no. 24.

53 (verso)

53. T H O M A S G A I N S B O R O U G H
B r i t i s h , 1727-1788
Study of a Seated Woman (recto);
Study of a Small Girl Seated on a Bank
(verso), circa 1765—1770
54 55
Black chalk and s t u m p and w h i t e
c h a l k o n blue paper (recto); black 55. J A N H A R M E N S Z . M U L L E R
54. F R I E D R I C H SUSTRIS
c h a l k (verso), 31.8 x 23.8 c m D u t c h , 1571-1628
D u t c h , circa 1 5 4 0 - 1 5 9 9
(12V/ x 9 /s")
3

Embracing Couple (Mercury and the

Angels Bearing the Column of the
86.GB.620 Nymph Lara?), 1 5 8 8 - c i r c a 1594
Passion, circa 1 5 8 0 - 1 5 9 0
T h i s is one o f a n u m b e r o f f u l l - l e n g t h Pen a n d d a r k b r o w n i n k and gray B l a c k chalk, p e n and b r o w n i n k ,
studies o f b e a u t i f u l l y c o s t u m e d y o u n g w a s h , 16.6 x 20.6 c m ( 6 7 i " x 6 8W). b r o w n wash, and w h i t e gouache
 Drawings 189

h e i g h t e n i n g o n l i g h t b r o w n paper, This drawing, exemplifying Goltzius'

18.7x217 cm ( 7 / " x 8 W ' ) .
3
8
late, classical style, has o n l y recently
I n s c r i b e d : 145 i n b r o w n i n k at t h e c o m e t o l i g h t . Its c a r t o o n l i k e scale,
bottom. softly m o d e l e d flesh, and angelic subject
86.GG.595 tie i n closely w i t h his late p a i n t i n g s ,

E. K . J. Reznicek recognizes this d r a w ­ suggesting that i t m i g h t have been

i n t e n d e d as a p r e p a r a t o r y study. N o c o r ­
i n g as the w o r k o f M u l l e r , assigning i t
r e s p o n d i n g p a i n t i n g , however, has been
t o the p e r i o d o f 1588 t h r o u g h circa 1594,
discovered. T h e d r a w i n g is p o w e r f u l l y
w h e n the artist practiced the M a n n e r i s t
affecting, o w i n g t o its i m p r e s s i v e size,
f i g u r e style o f the Prague painter
the i m m e d i a c y o f the subject, and t h e
B a r t h o l o m δ u s Spranger and t h e flowing
b r o a d , r i c h a p p l i c a t i o n o f black chalk.
pen w o r k o f Cornells van Haarlem.
C o m p o s i t i o n a l l y , t h e d r a w i n g is q u i t e PROVENANCE: Private collection, M a l m τ ,
close t o M u l l e r s e n g r a v i n g after a d r a w ­ Sweden; private collection, London; [Ars
Libri, Boston].
i n g b y Spranger, The Drunken Lot with
BIBLIOGRAPHY: E. K . J . Reznicek, " A Survey
His Daughters ( W L . Strauss, ed., The
o f Recent Discoveries and o f Bibliography
Illustrated Bartsch, vol. 4 [formerly vol. 56
Concerning Dutch A r t , 1500-1600," i n
3 ] , Netherlandish Artists: Matham, Netherlandish Mannerism, G. Cavalli-
Saenredam, Muller [ N e w Y o r k , 1980], 56. H E N D R I C K G O L T Z I U S B j τ r k m a n , ed. (Stockholm, 1985),
no. 64 [284]), w h i c h is also d o m i n a t e d D u t c h , 1558-1617 pp. 10-11.
by a m u s c u l a r n u d e w o m a n s h o w n f r o m Bust of an Angel, 1609
b e h i n d . T h e b u r n i n g c i t y i n the b a c k ­ B l a c k c h a l k and w h i t e chalk
h e i g h t e n i n g , 55.6 x 39.7 c m 57. R E M B R A N D T V A N RIJN
g r o u n d and various o t h e r s i m i l a r i t i e s o f
( 2 1 / i 6 " x l 5 / 8 " ) . Signed and
D u t c h , 1606-1669
technique and c o m p o s i t i o n o c c u r i n t h e
, 5 5

dated: HG/A.1609 i n black An Artist in a Studio, circa 1632—1633

d r a w i n g Lot and His Daughters i n t h e
chalk i n the r i g h t m i d d l e m a r g i n . Pen and b r o w n i n k , 20.5 x 17 c m
Graphische S a m m l u n g , M u n i c h ( i n v .
86.GB.593 (8Vi6" x 6 / i 6 " ) . C o l l e c t i o n m a r k s o f
u

no. 1037), a t t r i b u t e d t o v a n H a a r l e m b y
C. v a n T h i e l (Katalog der Staatlichen
Graphischen Sammlung München [Berlin,
1973], v o l . 1; W. Wegner, Die Niederlän­
dischen Handzeichnungen des 15.—18.
Jahrhunderts [ B e r l i n , 1973], v o l . 1,
no. 42). J u d g i n g f r o m the b a c k g r o u n d
c o n f l a g r a t i o n , the h e l m e t , and w h a t
seems t o be a caduceus i n the l o w e r
r i g h t corner, the e m b r a c i n g couple
m i g h t w e l l be i d e n t i f i e d as M e r c u r y a n d
the n y m p h Lara, a subject also treated
by M u l l e r i n an e n g r a v i n g ( T h e Illus­
trated Bartsch, v o l . 4, no. 10 [268]).
PROVENANCE: Antonio Morassi, Milan; sale,
Christie's, Amsterdam, November 18, 1985,
lot 10; [Richard Day, London].
BIBLIOGRAPHY: E. K . J. Reznicek, Jan 4

Harmensz. Muller as Draughtsman:

Addenda," Master Drawings 2 (1980), pp.
120-121, 131, pi. 3.

57
 190 Acquisitions/1986

E. Bouverie i n the lower left corner und Handzeichnungen (Leipzig, 1912), pl, 12;
and o f an anonymous collector i n Honderd Teekeningen naar oud hollandsche
meesters (Bloemendaal, n,d,), pl, 15;
the lower right corner.
Handzeichnungen alter Meister der holländ-
86.GA.675
ischen Malerschule (Leipzig, n,d,), vol, 2,
Rembrandt here depicts a solitary young pl, 2; S, Reiss, Aelbert Cuyp (London,
artist, possibly his friend and colleague 1975), p, 90.

Jan Lievens, holding a palette, brushes,

and maulstick, and contemplating a
painting i n progress. Beside the easel
stands a stone on which to prepare
paint* Rembrandt's varied pen w o r k
describes a range o f textures as well as
the shadowy atmosphere pervading the
high-ceilinged interior, The masterful 58. A E L B E R T C U Y P
manipulation o f space and chiaroscuro, Dutch, 1620-1691
combined w i t h the painter's expression A Milkmaid, circa 1640-1650
o f intense concentration as he confronts Black chalk, graphite, and gray 59 (verso)

his painting, make this one o f the most wash, 12 x 14.7 cm (4%" x 5 Vie")
1

59, AELBERT CUYP

powerful and original seventeenth- 86.GG.672
Dutch, 1620-1691
century images o f an artist at work, It was Cuyp's practice to make separate View of the Rhine Valley (recto); View
PROVENANCE: E, Bouverie, Delapr£ Abbey, figure studies which he later used i n his of the Heideberger Mill near Cleves
near Northampton; Lewis H u t h Walters;
landscape paintings, often more than (verso), circa 1651-1652
Dr, and Mrs, Francis Springeli, Portinscale,
once. The present drawing was used i n Black chalk, graphite, and gray
Cumberland (sale, Sotheby's, London, June
30,1986, lot 41), several o f his paintings o f milkmaids, wash, 13,2 x 237 cm ( S V x 9 /ie"),
5

the most important o f which is i n the Inscribed (recto): A Cuyp i n black

BIBLIOGRAPHY: A, M . H i n d , "Rembrandt i n
His Studio/' Old Master Drawings 1 (June Museum Boymans-van Benningen, chalk i n the lower left corner.
1926), p. 9; O. Benesch, Rembrandt: Werk Rotterdam. Cuyp brought this drawing Inscribed (verso): Coll ten Gate 196
und Forschung (Vienna, 1935), p, 28; idem, to an unusually high degree o f finish, in graphite,
Selected Drawings by Rembrandt (Oxford and lavishing particular attention on the
London, 1947), no, 33; idem, The Drawings 86.GG673
many soft folds o f the garment and the
of Rembrandt (London, 1954), v o l 2, no. This drawing belongs to a sketchbook
390; S. Slive, "Rembrandt's 'Self-Portrait fall o f sunlight over the figure,
o f landscapes and townscapes that Cuyp
i n a Studio,' " Burlington Magazine 106 PROVENANCE: L. Dupper (probably) (sale,
made during a trip to the region o f
(November 1964), p, 485, fig, 4; idem, Roos/Engelberts/Roos, Dordrecht, June
The Drawings of Rembrandt (London, 1973), 28-29, 1870, part o f lot 452); Victor de Nijmegen and Cleves i n 1651-1652,
vol, 2, no. 390; I . W. L. Moerman, et al., Stuers, The Hague; private collection, Other examples from this sketchbook
Geschildert tot Leyden anno 1626, ex. cat. the Netherlands; [Ars Libri, Boston], include those i n the Groninger Museum
(Leiden, Stedelijk Museum de Lakenhal, BIBLIOGRAPHY: Aelbert Cuyp: Original- voor Stad en Lande, Groningen (inv.
1976), p, 26, abbildungen nach seiner vorzüglichsten Gemälden no. 1931-146); the British Museum,
London (E.1912, inv, no, 172); and the
Pondation Custodia, Collection Frits
Lugt, Paris (inv. no. 5304), The draw-
ings from this sketchbook are all
executed i n a similar technique, Dark
black chalk appears i n the foreground
and the middle ground, and graphite is
used i n the background; this produces
an effect o f atmospheric perspective.
Cuyp here built up the landscape i n a
succession o f horizontal zones, achiev-
ing a sense o f expansiveness reminiscent
o f the work o f Rembrandt and Philips
Köninck, While the t o w n on the recto
remains unidentified, the sketch on the
verso shows the Heideberger M i l l out«
side Cleves, Van Gelder and Jost note
that it is a continuation o f a drawing i n
the Musee Conde, Chantilly (inv. no,
59 (recto)
 Drawings 191

1085) showing the city o f Cleves from brown wash, and watercolor, 25,7 x
the Galgenberg outside the walls, and it 32 cm (10W x 12%"). Collection
exemplifies Cuyp's habit o f beginning a mark o f Armand Sigwalt i n the
landscape on the recto o f a sheet and lower left margin.
continuing it on the verso o f the 86,GG,17
preceding page, Saftleven here combines his talents as a
fftoVENANGfirtB, Houthakkef, Amsterdam]; painter o f animal drolleries and o f rustic
H, E, ten Gate, Almelo, the Netherlands; interiors, The animals engage i n various
[C. G, Boerner, Düsseldorf]; [ f t M . Light
activities, including giving a concert
and Co,, Boston]; Charles Cunningham,
Massachusetts, and reading books. These are both tra-
ditional themes i n Netherlandish animal
BIBLIOGRAPHY: D, Hannema, Collection of
H, £, ten Cate (Oldenzaal, the Netherlands, painting, occurring, for example, i n the
1955), no, 196, fig, 98; F. W. Robinson, One work o f Jan Brueghel the Elder, W i t h its
Hundred Master Drawings from New England elaborate composition and high degree
Private Collections, ex, cat, (Hartford, Conn,, o f finish, this is one o f the most
Wads worth Atheneum, 1973), no, 26 (entry
accomplished animal drawings i n
by J, G, van Gelder and I, Jost); J, Giltay,
Aeibert Cuyp en Zijn Pamilie, ex. cat,
Saftleven's oeuvre,
61
(Dordrechts Museum, 1977), p, 172, n, 1, PROVENANCE: Sale, Paillet/Delaroche, Paris,
under no, 70, April 25, 1803, lot 236; Armand Sigwalt, 61. ADRIAEN VAN DE VELDE
Paris; Eugene Rodrigues, Pads (sale, Frederik
Dutch, 1636-1672
Muller, Amsterdam, May 27-28,1913, lot
192); sale, Sotheby's, Amsterdam, November Seated Female Nude, circa 1660-1670
60, CORNELtS SAFTLEVEN
15,1983, lot 247; [John Morton Morris, Black chalk and white chalk height-
Dutch, 1607-1681
London], ening on gray paper, 26,5 x 19,6 cm
An Enchanted Cellar with Animals,
BIBLIOGRAPHY: W, Schulz, Cornells Saftleven (10W x Wie")
circa 1655-1670
(Berlin, 1978), no, 353, p, 147, 86,GB,641
Black and red chalk, gray and
Van de Velde was among the finest
Dutch figure draughtsmen o f the late
seventeenth century, This example
derives its charm from the soft and
delicate modeling o f the form i n light
and shadow, combined w i t h the graceful
pose and contemplative expression o f
the young model, It is comparable to a
number o f other drawings by van de
Velde, possibly o f the same model,
including a signed example i n the
Louvre (R Lugt, Musie du Louvre,
Inventaire giniral des dessins des holes du
Nord, Ecole hollandaise [Paris, 1931],
vol, 2, no, 779) and one sold at
Sotheby's, Amsterdam, May 3,1976
(lot 110),
PROVENANCE: C, R, Rudolf, London (sale,
Sotheby's, Amsterdam, April 18,1977, lot
66); private collection, South Africa;
[Richard Day, London],
BIBLIOGRAPHY: C. White, et al,, Old Master
Drawings from the Collection of Mr C. R.
Rudolf, ex, cat, (London, Arts Council, 1962),
no, 144,

60
 192 Acquisitions/1986

62

62. G E R A R D U S V A N V E E N
D u t c h , circa 1 6 2 0 - 1 6 8 3
Standing Ruff (Philomachus
pugnax), 1677
B l a c k chalk, p e n and b r o w n i n k ,
w a t e r c o l o r , a n d gouache o n paper,
23.3x27.1 c m (9 /i " x 3
6 10"/i6").

S i g n e d a n d dated: Gerardus Van

Veenfec:/A° 1611: i n the l o w e r left 63

corner.
FLEMISH 64. PETER P A U L R U B E N S
86.GG.15
Flemish, 1577-1640
Van Veen was a d r a u g h t s m a n w h o f o r 63. D E N Y S V A N A L S L O O T The Adoration of the Shepherds,
the m o s t p a r t p r o d u c e d h i g h l y f i n i s h e d F l e m i s h , 1570-1628 circa 1613-1614
w a t e r c o l o r s o f birds. H i s rare d r a w i n g s Forest Landscape with a Distant Pen a n d b r o w n i n k , b r o w n w a s h ,
are close i n style t o that o f his b r o t h e r Castle, 1608 and w h i t e gouache h e i g h t e n i n g ;
Rochus, also a n a t u r a l h i s t o r y d r a u g h t s ­ Pen and b r o w n i n k and b r o w n a n d i n d e n t e d for transfer, 27.9 x 18.1 c m
m a n ( A . v a n der W i l l i g e n , Les artistes de b l u e - g r a y w a s h , 20.3 x 27.6 c m (8" x (11" x 7Vi6"). I n s c r i b e d : P. Rub... in
Harlem [ H a a r l e m and T h e H a g u e , 1870], 107s"). Signed: D . ab Alsloot. S.A. b r o w n i n k i n the l o w e r left corner.
p. 302). T h i s d r a w i n g shows a species Pic.: i n the b o t t o m r i g h t corner. 86.GA.592
o f s a n d p i p e r n a m e d for the d i s t i n c t i v e D a t e d : 1608 i n the l o w e r left corner.
T h i s is one o f eleven i l l u s t r a t i o n s a n d a
collar o f l o n g black feathers that appears 86.GA.9
o n the n e c k o f the m a l e as part o f its t i t l e page Rubens designed for a n e w
Van A l s l o o t developed a v a r i a n t o f the e d i t i o n o f the Breviarium Romanum,
s u m m e r p l u m a g e . I t is d r a w n a l m o s t
dense forest landscape i n v e n t e d b y G i l l i s p u b l i s h e d b y the P l a n t i n Press i n
e n t i r e l y w i t h the b r u s h , i n a delicate
van C o n i n x l o o , w h i c h c o m b i n e s this A n t w e r p i n 1614. T h e o d o r e Galle re­
and precise t e c h n i q u e i n w h i c h each
t y p e o f scene w i t h v i e w s o f actual cas­ ceived p a y m e n t for c u t t i n g the plate o n
feather is delineated. T h i s is especially
tles a n d abbeys situated i n the e n v i r o n s A p r i l 12, 1614 ( J u d s o n and van de Velde,
noticeable i n the i n t r i c a t e patterns o f
o f his native Brussels, especially i n the A p p e n d i x 3, p. 455, no. 17).
the dorsal p l u m a g e .
r e g i o n o f the forest o f Soignes. T h e T h e d r a w i n g is a m o n g the m o s t h i g h ­
PROVENANCE: [John M o r t o n Morris,
present d r a w i n g m i g h t w e l l represent l y f i n i s h e d i n the series, c o m p a r a b l e i n
London].
one o f these b u i l d i n g s , a l t h o u g h the this respect t o the Adoration of the Magi
site has yet t o be i d e n t i f i e d . T h e treat­ ( N e w York, Pierpont M o r g a n Library,
m e n t o f foliage as delicate, lacy tufts, inv. no. 1,230) and The Resurrection of
c o m b i n e d w i t h the deft h a n d l i n g o f Christ (London, British Museum, inv.
washes, create the effect o f a i r y s u n l i g h t no. 1895.9.15.1049). T h e t e c h n i q u e is r i c h
p e n e t r a t i n g successive glades. and p a i n t e r l y i n its c o m b i n a t i o n o f v i g ­
PROVENANCE: Private collection, Paris; orous h a t c h i n g , w a r m b r o w n washes,
[Richard Day, London]. and extensive w h i t e h i g h l i g h t s . T h e
c o m p o s i t i o n focuses o n the sleeping
C h r i s t c h i l d , w h o radiates h o l y l i g h t .
R u b e n s ' i n t e r p r e t a t i o n o f the t h e m e o f
the A d o r a t i o n o f the Shepherds i n this
e x a m p l e is n o t a b l e for the b e a u t i f u l
 Drawings 193

effects o f n o c t u r n a l l i g h t i n g , the e m ­
phasis u p o n the rustic stable i n t e r i o r ,
and the i n c l u s i o n o f the statuesque
maiden balancing a m i l k pitcher o n
her head—a f i g u r e that appears i n his
later w o r k s .
PROVENANCE: H . Tersmitten, Utrecht (sale,
de Bary and Yver, Amsterdam, September
23, 1754 et seq., lot 43); Pieter Testas the
Younger, Amsterdam (sale, de Leth,
Amsterdam, March 29, 1757, lot 49); Gerard
Hoet, Jr., The Hague (sale, Franken and
Thol, The Hague, August 25-28, 1760, lot
243); Dionis M u i l m a n (sale, de Bosch, Jr.,
Ploos van Amstel, de Winter, Amsterdam,
A p r i l 29, 1773, lot 965); Neyman collection,
Amsterdam (sale, Hotel dAligre, Paris, July
8, 1776, lot 755); A r m a n d Frederic
Ernest Nogaret (sale, Langlier, Antoine,
Thierry, Paris, A p r i l 6, 1807, lot 457); private
collection (sale, Christie's, London, A p r i l 2,
1947, lot 47); L u d w i g Burchard, Berlin and
London; private collection, Switzerland;
[Wildenstein and Co., N e w York].
BIBLIOGRAPHY: M . Rooses, L'Oeuvre de
P. P. Rubens (Antwerp, 1892), vol. 5, p. 60,
no. 1253; E. Haverkamp-Begemann,
Olieverfschetsen van Rubens, ex. cat. (Rotter­
dam, Museum Boymans, 1953), p. 50, under
no. 20; F. Boudouin, "De Aanbidding der
Herders, een Schets van P. P. Rubens," Ant­
werpen 1 (1955), p. 3, fig. 4; L. Burchard and
R.-A. d'Hulst, Tekeningen van P. P. Rubens,
ex. cat. (Antwerp, Rubenshuis, 1956), p. 56;
idem, Rubens Drawings (Brussels, 1963), vol.
1, p. 114, under no. 68; J. R. Judson and C. 64
van de Velde, Corpus Rubenianum Ludwig
Burchard, vol. 21, Book Illustrations and Title p o i n t s o u t , however, that the correct
Pages (London and Philadelphia, 1978), vol. 1, date o f the t r i p is 1586—1587, based
no. 21a, vol. 2, fig. 81. u p o n a g r o u p o f fifteen d r a w i n g s i n
the M u s e e d u L o u v r e ( i n v . nos.
32866-32880), a l l f o r m e r l y a t t r i b u t e d
t o Stella a n d a l l b e a r i n g dates o f
FRENCH
1586-1587 ( " L e Sejour de M a r t e l l a n g e

65. F R A N C O I S STELLA a R o m e en 1586 et 1587 et ses dessins de

French, 1563-1605 jeunesse," Revue du Louvre, 12, no. 5

View of Tivoli, circa 1587 [1962], pp. 205—216). R e c o g n i z i n g ten

65
B l a c k chalk, traces o f r e d chalk, p e n o f these d r a w i n g s as the w o r k o f M a r ­

and b r o w n i n k , and gray a n d b r o w n tellange, V a l l e r y - R a d o t has retained

M u s e u m a n d L o u v r e sheets are a m o n g
w a s h , 26.9 x 41.3 c m (10W x 16V "). Stellas a u t h o r s h i p for f o u r ( i n v . nos.
4 Stellas f e w k n o w n d r a w i n g s .
I n s c r i b e d : Paul Brill i n b r o w n i n k at 32866, 32867, 32869, 32873), w h i c h f o r m
PROVENANCE: Probably Sir Anthony
the b o t t o m o f the m o u n t . C o l l e c ­ a stylistically homogeneous group, all
Westcombe, England; Sir W i l l i a m Forbes,
t i o n m a r k : AW (close t o L u g t 202) s h o w i n g the cascades o f T i v o l i . T h e Bt., Scotland, and by descent (sale,
on the verso. M u s e u m ' s d r a w i n g closely parallels the Christie's, London, A p r i l 10, 1985, lot 30);
g r o u p i n the L o u v r e . N o t o n l y is i t [Galerie de la Scala, Paris].
86.GG.28
t h e m a t i c a l l y related, b u t i t also shows a BIBLIOGRAPHY: Old Master and XlXth Century
Stellas b i o g r a p h e r Jacques P e r n e t t i
similar handling consisting o f broadly Paintings and Drawings, ex. cat. (Paris, Galerie
records that the artist v i s i t e d R o m e i n de La Scala, November 6-29, 1985), no. 32.
applied washes and v a r i e d p e n w o r k ,
1576 w i t h the Jesuit priest a n d architect
i n c l u d i n g frequent parallel h a t c h i n g
E t i e n n e M a r t e l l a n g e (Recherches pour
and sinuous passages a r t i c u l a t i n g the
servir ä Vhistoire de Lyon [Lyons, 1757], cavities o f the tufa stone. T h e G e t t y
v o l . 2, pp. 2 4 - 2 7 ) . J. V a l l e r y - R a d o t
 194 Acquisitions/1986

66

66. NICOLAS POUSSIN

French, 1594-1665
Two Girls Accompanied by Cupid, 67
circa 1625
Pen and brown i n k and brown wash 67 NICOLAS POUSSIN
over black chalk, 145 x 12,4 cm French, 1594-1665
( 5 W x 4 V ) . Collection mark o f The Crossing of the Red Sea,
Baron M i l f o r d on the verso. circa 1634
86.GG.468 Red chalk, 15.5 x 22.6 cm (6W' x
87s")
It has been suggested that the scene may
86.GB.466
represent a bride being led to her bride­
groom by a putto and an attendant, One o f only a handful o f drawings by
while Cupid urges her on. I n general Poussin i n red chalk that is more than
stylistic terms this example is related to a marginal notation, this scene o f the
Poussins drawings made soon after his Crossing o f the Red Sea (Exod. 15) was
68
arrival i n Rome i n 1624 Its theme is made as a composition study for the
perhaps closest, as Friedlδnder and painting o f the same subject i n the Na­ Pen and brown ink, 14,6 x 20.6 cm
Blunt suggest, to depictions o f Bacchus tional Gallery o f Victoria, Melbourne. (5 A" x 8VH"). Collection mark o f
3

and Ariadne or o f a classical marriage Its principal figure groups consist o f a N . Hone at the bottom right.
scene (Friedlδnder-Blunt, vol. 3, nos, turbulent, fleeing crowd above and a Fragment o f a letter, not by
A61 [Leningrad, Hermitage, inv, no. cluster o f praying women i n the lower Poussin, on the verso,
5076], 181,182 [Windsor, Royal Library, foreground. This is among the most 86.GA.470
inv. nos. 11888 verso and 11911]), animated and fluent composition stud­
Depicted here are a putto at the right,
PROVENANCE: Baron Milford, Richard ies i n Poussins drawings oeuvre.
two nymphs and a triton at the center,
Philipps, Pickton Castle, Pembrokeshire; PROVENANCE: J. Isaacs, London (sale,
and a standing marine goddess at the
by descent to Sir John Philipps; Anthony Sotheby's, London, February 27,1964,
Blunt, London; private collection, Zurich; lot 69 [as "Italian School"]); Anthony Blunt, left that is similar to Venus figures i n
[Ars Libri, Boston], London; private collection, Zurich; [Ars other drawings by Poussin, The putto
BIBLIOGRAPHY: W, Friedlδnder and A. Blunt, Libri, Boston], and the group o f two nymphs w i t h a
The Drawings of Nicolas Poussin, catalogue BIBLIOGRAPHY: W, Friedlδnder and A, Blunt, triton appear i n the artist's important
raisonne (London, 1974), vol. 5, p, 115, The Drawings of Nicolas Poussin, catalogue painting o f the mid-1630s, The Birth of
no, 444. raisonne (London, 1974), vol. 5, p, 66, no. Venus (Philadelphia Museum o f A r t ) .
386; A, Blunt, The Drawings of Poussin
PROVENANCE: Nathaniel Hone, London;
(New Haven, 1979), p. 90,
Anthony Blunt, London; private collection,
Zurich; [Ars Libri, Boston],

68. NICOLAS POUSSIN BIBLIOGRAPHY: W. Friedlδnder and A, Blunt,

The Drawings of Nicolas Poussin (London,
French, 1594-1665
1953), vol, 3, p, 34, no, 213,
Study for the Triumph of Neptune
and Amphitrite, circa 1635
 Drawings 195

at the lower right, and A . C h . H . His

de la Salle at the center. Inscribed;
a.65 i n brown ink and 96 i n graphite
on the verso o f the mount,
86.GA.467
A m o n g the various types o f drawings
Poussin made after the antique, this
represents what Blunt calls his "an-
thological" drawings, i n which the artist
brought together a wide range o f motifs
on a single page, Here he depicts a bra­
zier (top left), an Etruscan mirror (top
right), a tripod dedicated to Apollo
(middle row, left), the torso o f a man
wearing several torques (middle row,
right), the bust o f boy wearing a bulla
69 (lower row, left), and a sandaled foot
(lower row, right). This sheet is notable
70 (recto)
69, N I C O L A S P O U S S I N for the beautiful mise-en-page, fine line,
French, 1594-1665 and warm brown washes producing the
Votary of Bacchus, circa 1640 effect o f sunlight on stone reliefs. The
Pen and brown ink and brown verso contains drawings o f a sphinx and
wash, 15,7 x 13,6 cm (6 A " x 5 /ir>").
3
6
5
a woman holding a water pot i n the
Inscribed (recto): 109 i n brown ink lower half and i n the upper half a frieze
at the top right corner and (verso) composed o f swags, an eagle, a ram's
G.F.M. head, and other decorative details.
86,GG469 PROVENANCE; Count Moriz von Fries, Vien­
It has been proposed that this drawing is na; marquis de Lagoy, Aix-en Proyence; Sir
Thomas Lawrence, London; A , C h , H , His
based upon a damaged Roman cameo
de la Salle, Paris; Sir E. J. Poyner (sale,
and thus represents a rare instance o f
Sotheby's, London, A p r i l 25, 1918, lot 225, to
Poussin attempting to reconstruct an Thomas Agnew and Sons, Ltd,); Clark col­
antique artifact, This and a second lection, London; [Thomas Agnew and Sons,
drawing by Poussin (private collection, Ltd.]; Anthony Blunt, London; private col­
London) show the same running figure, lection, Zurich; [Ars Libri, Boston],

except that the two carry different ob­ BIBLIOGRAPHY: A . Blunt, "Poussin et les
jects (in this case a j u g and i n the other, ceremonies religieuses antiques," Revue des
arts 10 (1960), p. 61; W. Friedlδnder and
two torches) and wear differently dis­
A, Blunt, The Drawings of Mcolas Poussin,
posed animal skins. This has led to the 70 (verso) catalogue raisonne (London, 1963), vol, 4,
hypothesis that these drawings repre­ p, 25, no. 247,1974, vol, 5, p. 41, no, 344,
sent alternative "restorations" by 70. N I C O L A S P O U S S I N
Poussin o f a carved figure on a cameo French, 1594-1665
missing its hands and background. Studies of Antiquities (recto and
Features that suggest the cameo shape verso), circa 1645
include the roughly drawn circle i n ­ Pen and brown ink and brown wash
scribing the form, and the shading, (recto); pen and brown ink; later red
which indicates that the figure chalk framing lines (verso), 26,8 x
stands out i n relief from a hollowed- 19,6 cm ( 1 0 V x TVie"). Inscribed
out surface, (recto): hypocrateridium, .. .pasa,
PROVENANCE: Private collection, England and testa di hour by the brazier at top
(circa 1825); Anthony Blunt, London; private left; torques by the draped torso at
collection, Zurich; [Ars Libri, Boston]. the right; in villa Julia on the tripod
BIBLIOGRAPHY; A, Blunt, " N e w l y Identified base, middle left; putto and bulla con
Drawings by Poussin and His Followers," la trabea by the bust, bottom l e f t -
Master Drawings 12 (1974), no. 3, pp. 2 4 3 -
all by Poussin i n brown ink. Collec­
244; idem, "Further N e w l y Identified D r a w ­
tion marks o f Moriz von Fries at the
ings by Poussin and His Followers," Master
Drawings 17 (1979), no, 2, pp, 139-140. upper right, the marquis de Lagoy
 196 Acquisitions/1986

71 (recto)

72

BIBLIOGRAPHY: W. Friedlδnder and A . Blunt,

The Drawings of Nicolas Poussin, catalogue
raisonne (London, 1974), vol. 5, p. 42,
nos. 346, 346a.

72. J A C Q U E S STELLA
French, 1596-1657
71 (verso)
An Apple Harvest, circa 1655
Brush and varying shades o f gray
71 NICOLAS POUSSIN
wash over black chalk; indented
French, 1594-1665
w i t h a stylus throughout; verso
Two Studies of an Ancient Statue
covered w i t h red chalk for transfer,
(recto); Scylla and a Centaur (verso),
24.3 x 324 cm (9 /i " x 12 A")
9 3

circa 1645 6

86.GG.619
Pen and brown i n k and some later
red chalk framing lines, 16.2 x 12.6 Stylus indentations throughout indicate
cm ( 6 W x 4 /i ")
5
6
that this drawing was created as a design
86.GA.471 for a print. It is closely related to the se­
73
The recto shows t w o views o f an ries o f engravings entitled Pastorales, de­
unidentified Roman statue o f a man signed by Stella and executed by his
73. H Y A C I N T H E R I G A U D
in a short toga. The verso is based niece and follower, Claudine Bouzonnet
French, 1659-1743
upon an antique trapezophore (a type Stella, twelve years after his death. A l ­
Portrait of a Man, circa 1710-1720
o f ornate table) w i t h reliefs o f centaurs, though the drawing is not a preparatory
Black chalk, gray wash, and white
Eros, and Scylla, which was i n the Villa study for any o f the works i n Pastorales,
and gray gouache heightening on
Madama, Rome, i n the sixteenth and it is not unlikely that it was made as an
blue-gray paper, 35.4 x 28 cm
seventeenth centuries and is now i n the additional print i n the series. A n es­
(14" x 11")
Museo Nazionale, Naples. B o t h the pecially fine example o f a genre drawing
86.GB.612
recto and verso are characteristic by Stella, it was executed almost en­
tirely w i t h the brush i n delicately m o d ­ When this drawing was sold i n Paris i n
copies by Poussin o f the remains o f
ulated tones that lend weight to the 1971, it was suggested that the sitter
ancient Rome.
figures and produce a lively play o f sun­ was the marquis de Louvois. Rigaud
PROVENANCE: Sale, Sotheby's, London, July 9,
light and shadow. probably drew i t as a copy o f one o f
1968, lot 49; Anthony Blunt, London; private
PROVENANCE: Private collection, Paris;
his paintings, as he did o f the w e l l -
collection, Zurich; [Ars L i b r i , Boston].
[Christopher Comer, Paris]. k n o w n Portrait of Samuel Bernard
 Drawings 197

(1727, Kansas C i t y , M i s s o u r i , N e l s o n -
Atkins M u s e u m o f Art). Such f i n i s h e d
p o r t r a i t d r a w i n g s b y R i g a u d are excep­
t i o n a l l y rare. T h i s e x a m p l e displays a
characteristically i m p r e s s i v e pose
and v i r t u o s o r e n d e r i n g o f velvet, s i l k ,
and lace.
PROVENANCE: Sale, Hotel Drouot, Paris, May
10, 1971, lot 26; private collection, Paris;
[Bruno de Bayser, Paris].

74. A N T O I N E W A T T E A U
French, 1684-1721
The Remedy, circa 1716—1717
Red, black, and w h i t e chalk,
23.4 x 37.1 c m ( 9 / i " x 1 4 W ) .
3
6

I n s c r i b e d : Watteau/Etude de femme
nue couchee sur un lit. Servante
tenant une serigue./F. Villot i n p e n
74
and b r o w n i n k o n the verso o f
the m o u n t .
86.GB.594

O n e o f Watteau's greatest nudes, this

h i g h l y f i n i s h e d d r a w i n g was m a d e i n
p r e p a r a t i o n for the p a i n t i n g Reclining
Nude (circa 1716/17, Pasadena, N o r t o n
S i m o n M u s e u m ) . S o m e w h a t smaller
t h a n the d r a w i n g (572" x 6 A"), the
3

p a i n t i n g has been c u t j u s t above the

knees, m a k i n g i t i m p o s s i b l e t o t e l l
w h e t h e r i t ever s i m i l a r l y c o n t a i n e d a
m a i d a d m i n i s t e r i n g a clyster. T h e c l y s ­
ter was an erotic subject c o m m o n l y
treated b y e i g h t e e n t h - c e n t u r y artists. I n
The Remedy Watteau e x p e r i m e n t e d w i t h
three different placements o f the maid's
head and d i d n o t f i n i s h d r a w i n g her a r m
and shoulder, w h i c h suggests that this
f i g u r e m i g h t have been i n c l u d e d as an
a f t e r t h o u g h t . T h e d r a w i n g ' s m a i n focus
is o n the m a g n i f i c e n t nude, w h o s e
b e a u t y Watteau enhanced b y u s i n g the
trois crayons t o h e l p create a delicate head
and pearly, v o l u m e t r i c flesh.

PROVENANCE: F. Villot, Paris; A . Dumas the P. Rosenberg and M . Grasselli, Watteau, Several p a i n t i n g s b y Watteau c o n t a i n
Younger, Paris; A . Vollon, Paris; C. Groult, 1684-1721, ex. cat. (Washington, D C , figures based o n this d r a w i n g . T h e
Paris; by descent to P. Bordeaux-Groult, National Gallery o f Art, 1984), no. 88, p. 333,
s t a n d i n g w o m a n at the r i g h t appears o n
Paris; John Gaines, Lexington, Kentucky. under no. 37.
the a r m o f a s w a i n i n Assembly in a Park
BIBLIOGRAPHY: H . Adhemar and R. Huyghe, (Paris, M u s e e d u L o u v r e ) . T h i s f i g u r e
Watteau, sa vie, son oeuvre (Paris, 1950), p. 54,
75. A N T O I N E W A T T E A U was also engraved b y J. A u d r a n {Figures
no. 20; K . T. Parker and J. Mathey, Antoine
Watteau: Catalogue complet de son oeuvre dessine French, 1684-1721 de differents caracteres, no. 205) and b y
(Paris, 1957), vol. 2, no. 865; M . Cormack, Studies of Three Women, D e m a r t e a u ( r e p r o d u c e d i n P. M a n t z ,
The Drawings of Watteau (London, 1970), no. circa 1716-1717 Antoine Watteau [Paris, 1892], p. 37). T h e
114; D. Posner, "Watteau's Reclining Nude and Red, black, and w h i t e chalk, seated w o m a n w i t h a fan was e m p l o y e d
the 'Remedy' Theme," Art Bulletin 54
26.8 x 32.7 c m (10 /i " x 12 /s")
9 7
for the f i g u r e i n the r i g h t f o r e g r o u n d
(December 1972), pp. 385-388; D. Posner,
6

86.GB.596 o f b o t h versions o f the Pilgrimage to

Antoine Watteau (London, 1984), pp. 105-106;
 198 Acquisitions/1986

Cythera (Paris, M u s e e d u L o u v r e , a n d
B e r l i n , Schloss C h a r l o t t e n b u r g ) , as w e l l
as i n a l o s t p a i n t i n g b y Watteau k n o w n
through a print by Benoit Audran w i t h
the t i t l e Bon Voyage ( r e p r o d u c e d i n E .
D a c i e r a n d A . Vuaflart, Jean de Jullienne
et les graveurs de Watteau au XVIIF siede
[Paris, 1921], v o l . 4, f i g . 35). T h e s t a n d ­
i n g w o m a n o n the left side o f the sheet
appears i n an e n g r a v i n g after Watteau b y
L a u r e n t Cars, Diseuse de bonne aventure.
T h e trois crayons t e c h n i q u e is here used 77

w i t h great effectiveness, w i t h the h i g h l y

77. J E R O M E - M A R T I N L A N G L O I S
w o r k e d central f i g u r e d o n e p r e d o m i ­ 76
French, 1778-1838
n a n t l y i n black c h a l k a n d the sketchier
76. J E A N - B A P T I S T E PATER Alexander Ceding Campaspe to
flanking p a i r executed p r i m a r i l y i n red.
French, 1695-1736 Apelles, 1819
W i t h its v a r y i n g poses a n d subtle spatial
Study of a Seated Woman, circa 1730 B l a c k chalk, gray w a s h , a n d w h i t e
a r r a n g e m e n t , this sheet exemplifies
R e d c h a l k o n t a n paper, 15.2 x 16.7 gouache h e i g h t e n i n g , 39 x 51.4 c m
Watteau's a b i l i t y t o u n i f y a series o f
cm (6" x I n s c r i b e d : JB. pater (15 / " x 20V4")
3

u n r e l a t e d i n d i v i d u a l studies. 6 /i6").
9 8

i n g r a p h i t e and 25 i n b r o w n i n k i n 86.GG.475
PROVENANCE: Jules-Robert Auguste, Paris
(sale, Paris, May 28, 1850, lots 101-102); the l o w e r left corner. L a n g l o i s m a d e this as a p r e s e n t a t i o n
Baron L. A . de Schwiter, Paris (sale, H o t e l 86.GB.613 d r a w i n g for his p a i n t i n g o f the same
Drouot, Paris, A p r i l 2 0 - 2 1 , 1883, lot 157, to subject o f 1819, w h i c h w o n a first-place
T h i s hitherto unpublished figure study
Larroque); H . - A . Josse, Paris (sale, Galerie
shows a r o b u s t y o u n g peasant w o m a n m e d a l i n the Salon o f 1819. T h e p a i n t i n g
Georges Petit, Paris, M a y 28, 1894, lot 46);
seated o n the g r o u n d . I t was m a d e as a is n o w i n the Galerie M u n i c i p a l e d u
Jacques Doucet, Paris (sale, Paris, 1912, lot
55, to Feral); Donaldson collection, London; p r e p a r a t o r y s t u d y for Pater's p a i n t i n g C h a t e a u de l ' E a u , Toulouse. T h e
Walter Burns; M o r t i m e r L. Schiff, N e w York The Halting Place of the Troops o f circa c o m p o s i t i o n is closely related t o an
(sale, Christie's, London, June 24, 1938, lot u n f i n i s h e d p a i n t i n g o f the same subject
1730, n o w i n a p r i v a t e c o l l e c t i o n , N e w
54, to Leggatt); Lord Wharton, D u b l i n and by L a n g l o i s ' teacher, D a v i d ( L i l l e , M u ­
Y o r k (F. I n g e r s o l l - S m o u s e , Pater [Paris,
Switzerland; heirs o f Lord Wharton,
see des B e a u x - A r t s ) , w h i c h he began
Switzerland. 1921], n o . 417, f i g . 126). T h e f i g u r e i n
a r o u n d 1813 and c o n t i n u e d t o w o r k o n
the p a i n t i n g is s h o w n seated i n the
BIBLIOGRAPHY: E. de Goncourt, Catalogue rais- d u r i n g his exile i n Brussels (1816—1825).
onne de Voeuvre peint, dessine et grave d Antoine f o r e g r o u n d a m o n g the t r o o p s , h o l d ­
L a n g l o i s thus c o u l d have b e c o m e f a m i l ­
Watteau (Paris, 1875), p. 366; G. Dargenty, i n g a baby.
Antoine Watteau (Paris, 1891), p., 47; K . T. iar w i t h the project d u r i n g its i n i t i a l
PROVENANCE: Private collection, Paris;
Parker, The Drawings of Antoine Watteau stages. T h e subject m u s t have h a d p a r ­
[Bruno de Bayser, Paris].
(London, 1931), no. 53; H . Adhemar, t i c u l a r significance for D a v i d and f o r his
L'Embarquement pour Vile de Cythere, p u p i l L a n g l o i s , since the latter p o r t r a y e d
Watteau (Paris, 1947), i l l . no. 12 (no page no.); the aged D a v i d i n the famous p o r t r a i t o f
K. T. Parker and J. Mathey, Antoine Watteau:
1825 (Paris, M u s e e d u L o u v r e ) at w o r k
Catalogue complet de son oeuvre dessine
(Paris, 1957), vol. 2, no. 606; P. Rosenberg o n a d r a w i n g for the L i l l e p a i n t i n g .
and M . Grasselli, Watteau, 1684-1721, ex. PROVENANCE: Private collection, U.S.;
cat. (Washington, D C , National Gallery o f [Zangrilli, Brady and Co., Ltd., N e w York].
Art, 1984), pp. 386, 406.
 Drawings 199

78. T H E O D O R E G E R I C A U L T
French, 1791-1824
Sailboat on the Sea, circa 1818—1819
Watercolor, w a s h , and w h i t e
gouache over traces o f black
chalk o n tan paper, 15.3 x 24.7 c m
(6" x 9 / / ' )
3

86.GG.679

T h i s n e w l y discovered s t u d y for
Gericault's p a i n t i n g The Raft of the
Medusa o f 1819 (Paris, M u s ι e d u L o u v r e )
p r o b a b l y shows the frigate Medusa i n
d i f f i c u l t y w h i l e a n o t h e r ship disappears
o n the h o r i z o n . Gericault's b i o g r a p h e r
C l ι m e n t reports that the artist m a d e a
b r i e f v i s i t t o L e H a v r e i n order t o s t u d y
the sky for his p a i n t i n g ( C . C l ι m e n t ,
Géricault: Etude biographique et critique
78 [Paris, 1879], pp. 3 5 7 - 3 5 8 ) . I t is l i k e l y
that he m a d e this and t w o o t h e r c l o u d
studies d o n e i n the same technique d u r ­
i n g this r e p o r t e d t r i p (Bayonne, M u s ι e
B o n n a t , i n v . nos. N I 800, N I 801). Pos­
sessing a l l o f its o r i g i n a l c o l o r i s t i c
s t r e n g t h and subtlety, this d r a w i n g
ranks a m o n g the m o s t p o w e r f u l o f
Gericault's studies o f nature, c a p t u r i n g
its d r a m a t i c qualities t h r o u g h s t r o n g l y
c o n t r a s t i n g t o n a l effects.
PROVENANCE: Private collection, Paris;
[Richard Day, London].
BIBLIOGRAPHY: P. Grunchec, Master Drawings
by Gericault, ex. cat. (New York, Pierpont
Morgan Library; San Diego Museum o f Art;
Houston, Museum o f Fine Arts, 1985), no.
64; L. Eitner, "Review o f Master Drawings by
Gericault," Burlington Magazine 128 (January
1986), p. 56; H . Luthy, "Review o f Master
Drawings by Gericault," Master Drawings
(in press).

79. T H E O D O R E G E R I C A U L T
French, 1791-1824
The Giaour, circa 1822/23
W a t e r c o l o r over p e n c i l , 21.1 x 23.8
cm ( 8 / I Ô " x 9 / 8 " ) . Inscribed (verso):
5 3

géricault i n b r o w n i n k and le giaour

79 i n black chalk.
86.GC.678

A m o n g Gericault's earliest a n d m o s t
impressive renderings o f a B y r o n i c
theme, this h i g h l y f i n i s h e d w a t e r c o l o r
illustrates B y r o n ' s 1813 p o e m The Giaour.
T h e p o e m is about a C h r i s t i a n o u t l a w
r o a m i n g the T u r k i s h coasts at n i g h t .
Gericault's i m a g e reflects t h e d e s c r i p t i o n
 200 Acquisitions/1986

o f this f i g u r e i n the p o e m w i t h speci­

f i c i t y o f m o o d a n d gesture:
His brow was bent, his eye was glazed;
He raised his arm, and fiercely raised,
And sternly shook his hand on high,
As doubting to return or fly...

T h e w a t e r c o l o r served as a p r e p a r a t o r y
s t u d y f o r the G e r i c a u l t l i t h o g r a p h o f
1823 ( L . D e l t e i l , Le Peintre-graveur
illustre [Paris, 1924], v o l . 18, no. 71)
p u b l i s h e d b y the G i h a u t b r o t h e r s
i n 1823.
PROVENANCE: De la Cressonniere collection,
Lausanne; Hans E. B ٧ h l e r collection,
Winterthur (sale, Christie's, London,
November 15, 1985, lot 58); [ H . Shickman
Gallery, N e w York].
BIBLIOGRAPHY: C. Clement, Gericault, Etude
biographique et critique (Paris, 1879), no. 171
bis; L. Eitner, "Gericault's 'La Tempete',"
Museum Studies 2 (1967), pp. 11, 16, n. 9;
idem, C. Clement, Gericault Supplement (Paris,
1973), p. 472; P. Grunchec, Gericault: Dessins
et aquarelles de chevaux (Lausanne, 1982), pp. 81
138—139; L. Eitner, Gericault: His Life and
Work (London, 1983), pp. 258, 260, 261, pi. 42.8 x 29.2 c m (167s" x ÜV2"). Signed New York; Frederick J. Cummings, Detroit;
215, pp. 262, 359, n. I l l ; P. Grunchec, Master [Zangrilli, Brady and Co., L t d . , N e w York].
and dated: Henri Lehmann.1847. in
Drawings by Gericault, ex. cat. (New York,
black c h a l k i n the l o w e r left corner. BIBLIOGRAPHY: R. Kashey and M . H . Rey-
Pierpont Morgan Library; San Diego M u ­
86.GB.474 mert, Christian Imagery in French Nineteenth
seum o f Art; Houston, Museum o f Fine
Century Art, 1798-1906, ex. cat. (Shepherd
Arts, 1985), p. 161. L e h m a n n p r o d u c e d this h i g h l y f i n i s h e d Gallery, N e w York, 1980), no. 86; J. Foucart
d r a w i n g i n p r e p a r a t i o n for his p a i n t i n g and L.-A. Prat, "Quelques oeuvres inedites
o f 1847 i n the chapel o f the C o m p a s ­ d'Henri Lehmann (1814—1882) au Louvre et
sion, church o f Saint-Louis-en-lTle, au Musee d'Orsay," La revue du Louvre et des
musees de France 33 (1983) no. 1, p. 23, n. 12;
Paris. T h i s was p a r t o f an i m p o r t a n t
M . M . Aubrun, Henri Lehmann, 1814-1882:
c o m m i s s i o n that i n c l u d e d t w o f u r t h e r Portraits et decors Parisiens, ex. cat. (Paris, M u ­
p a i n t i n g s f o r the same c h u r c h , the see Carnavalet, 1983), p. 75, under no. 81;
Assumption (1849) and the Virgin Presents idem, Henri Lehmann, 1814—1882: Catalogue
the Child Jesus (1850). L e h m a n n also raisonne de Voeuvre (Nantes, 1984), vol. 1, no.
D288, p. 113.
e x h i b i t e d the p a i n t i n g o f The Virgin at
the Foot of the Cross i n the Salon o f 1848.
In addition to numerous individual 81. EUGENE DELACROIX
f i g u r e a n d d r a p e r y studies, he d i d at French, 1798-1863
least t w o elaborate d r a w i n g s o f the
The Education of Achilles,
c o m p o s i t i o n as a w h o l e , that i n the
circa 1855-1858
G e t t y M u s e u m a n d one i n a p r i v a t e
Pastel o n paper, 30.6 x 41.9 c m
c o l l e c t i o n i n Paris m a d e at an earlier
(12716" x ^ / z " ) . Signed: Eug
stage i n the e v o l u t i o n o f the c o m p o s i ­
Delacroix at the b o t t o m left.
t i o n ( A u b r u n [1984] no. D.287).
86.GG.728
B e t w e e n the Paris a n d G e t t y d r a w i n g s ,
T h i s large a n d b e a u t i f u l l y preserved
L e h m a n n m a d e a n u m b e r o f changes,
80 pastel represents A c h i l l e s ' i n s t r u c t i o n
retained i n the f i n a l p a i n t i n g . T h e
i n the art o f h u n t i n g b y the centaur
m o s t i m p o r t a n t o f these is the d e l e t i o n
80. H E N R I L E H M A N N (Karl Ernest C h i r o n . D e l a c r o i x p a i n t e d this subject
o f b a c k g r o u n d figures i n favor o f the
Rudolphe Heinrich Salem) i n one o f the pendentives o f the
deserted b a r r e n landscape, w h i c h
French, 1814-1882 P o e t r y c u p o l a i n the B i b l i o t h e q u e d u
heightens the e m o t i o n a l d e s o l a t i o n o f
Lamentation at the Foot of the Palais B o u r b o n , Paris. T h i s i m p o r t a n t
the scene.
Cross, 1847 official c o m m i s s i o n , w h i c h i n v o l v e d
PROVENANCE: Descendants o f the artist;
B l a c k a n d w h i t e c h a l k , graphite, the d e c o r a t i o n o f t w o hemicycles a n d
private collection, Paris; M a r i o Amaya,
a n d gray w a s h o n d a r k t a n paper, five cupolas w i t h m y t h o l o g i c a l scenes
 Drawings 201

r e p r e s e n t i n g various branches o f h u m a n
knowledge, occupied Delacroix f r o m
1838 t o 1847.
T h e M u s e u m ' s pastel is based o n the
p e n d e n t i v e p a i n t i n g o f The Education of
Achilles, w h i c h s i m i l a r l y shows the cen­
taur f r o m b e h i n d , b o u n d i n g f o r w a r d .
T h e d r a w i n g differs m o s t s i g n i f i c a n t l y
f r o m the p a i n t i n g i n its a d d i t i o n o f
the expansive landscape a n d c l o u d -
swept sky—passages that h i g h l i g h t
D e l a c r o i x ' s b r i l l i a n t sense o f c o l o r a n d
bravura h a n d l i n g o f the pastel m e d i u m .
Lee J o h n s o n p o i n t s o u t the d r a w i n g ' s
close c o m p o s i t i o n a l r e l a t i o n t o
D e l a c r o i x ' s o i l p a i n t i n g o f the same
subject ( f o r m e r l y i n the A l e x i s R o u a r t
c o l l e c t i o n ) , w h i c h is dated 1862 (as c i t e d
i n the sale catalogue, Sotheby's, N e w
Y o r k , N o v e m b e r 17, 1986, l o t 29).

PROVENANCE: George Sand (sale 1864); Khalil

Bey (sale, Hotel Drouot, Paris, January 16,
1868, lot 22); Quincy Shaw McKean, Boston;
Richard S. Davis, N e w York and London;
John Gaines, Lexington, Kentucky (sale,
Sotheby's, N e w York, November 17, 1986,
lot 29).
BIBLIOGRAPHY: A. Moreau, E. Delacroix et
son oeuvre (Paris, 1873), p. 323; A . Robaut,
L'Oeuvre complete de Eugene Delacroix (Paris,
1885), p. 218, no. 841; M . Serullaz, Inventaire
general des dessins ecole francaise, Eugene 82
Delacroix (Paris, 1984), vol. 1, p. 164, under
no. 305. G E R M A N Universitδtsbibliothek, Erlangen
(F. W i n z i n g e r , Albrecht Altdorfer/
82. A L B R E C H T A L T D O R F E R Zeichnungen [ M u n i c h , 1952], nos.
G e r m a n , circa 1 4 8 0 - 1 5 3 8 96—99). T h e c i r c u l a r f o r m a t and planar
Christ Carrying the Cross, c o m p o s i t i o n o f the d r a w i n g indicate
circa 1510-1515 that i t was p r o b a b l y m a d e as a design
Pen a n d black i n k and gray w a s h for a stained glass w i n d o w .
over black chalk, D i a m : 30.4 c m PROVENANCE: Gφsta Stenman, Stockholm
(ll /l6").
1 5
(sale, Christie's, London, December 12,
86.GG.465 1985, lot 341, as "Circle o f W o l f Huber");
[Ars Libri, Boston].
T h i s n e w l y discovered d r a w i n g is r e m i ­
BIBLIOGRAPHY: G. R. Goldner and L.
niscent o f the panel Christ Carrying the
Hendrix, " A N e w Altdorfer Drawing," Bur­
Cross f r o m the Saint F l o r i a n A l t a r p i e c e lington Magazine 129 (June 1987), no. 1011, pp.
( A u s t r i a , M o n a s t e r y o f Saint F l o r i a n ) ; 383-387.
b o t h are c o m p o s e d w i t h m o n u m e n t a l ,
relieflike figures c o n c e n t r a t e d near the
f o r e g r o u n d . T h e m o s t s t r i k i n g o f these
figures i n the d r a w i n g is the l i v e l y
s t a n d i n g m a n o n the left, w h o p u l l s at
C h r i s t w i t h his r i g h t a r m . T h e i n d i v i d ­
ualistic, v a r i e d d r a u g h t m a n s h i p , encom­
passing b r o a d o u t l i n e s , meandering
abstracting lines, and d i s t i n c t i v e zigzag
p e n w o r k , is also f o u n d i n a g r o u p
o f d r a w i n g s b y A l t d o r f e r i n the
 202 Acquisitions/1986

83a

84 (recto)

German Masters: Barthel Beham and

Hans Sebald Beham [ N e w Y o r k , 1978],
83b
nos. 1 4 2 - 1 4 3 ) .

83. H A N S S E B A L D B E H A M PROVENANCE: Robert P. Roupell; T. Straus-

Negbaur (sale, Cassirer and Helbing, Berlin,
German, 1500-1550
November 25, 1930, lot 25); private collection
A Peasant Man Holding a Jar, (sale, Christie's, London, December 12, 1978,
circa 1520 lot 232); private collection; [Yvonne Tan
A Peasant Woman Carrying a Jug, Bunzl, London].
circa 1520
Black chalk and pen and b r o w n i n k ,
each 10.7 x 5.8 c m ( 4 7 i " x 2 / i " )
6
5
6

ITALIAN
86.GG.477-478

These d r a w i n g s s h o w a y o u n g laborer 84. L E O N A R D O D A V I N C I

holding ajar and standing i n front o f I t a l i a n , 1452-1519
t w o wheels o f cheese a n d a h o o k - n o s e d Three Sketches of a Child with a Lamb
crone w i t h a pitcher, w a l k i n g f o r w a r d (recto); A Child with a Lamb, Head of
a n d p o i n t i n g . Such a n i m a t e d d e p i c t i o n s an Old Man, and Studies of Machinery
o f peasants are characteristic o f B e h a m . (verso), circa 1503—1506
T h i s p a i r is close i n m a n y details t o Black chalk and pen and b r o w n i n k
Beham's undated w o o d c u t illustration (recto a n d verso), 20.3 x 13.8 c m (8"
o f a Peasant Couple with Jugs and a Goose I n s c r i b e d (recto): jicipit
x5 /i6"). 84 (verso)
7

(R. A . K o c h , ed., The Illustrated Bartsch, liber, endaborum. assauasorda.judeo

v o l . 15 [ f o r m e r l y v o l . 8, p t . 2 ] , Early inebraicho copositfus] et a platone/ti-
 Drawings 203

burtinj inlatin sermone translates]

anno, arabu.dx. mse sap h ar / capi
tulu pimu ingeometrice arihtmetice (p)
vnyversaliaproposita: a n d franco.o dif.
I n s c r i b e d (verso): vedj la testa de[llo]
alto vitj sella tenvto ilfermo / essapi
dal caiano / il zendato invernjca[to e]
stacciatovi.suso la cimatura conuarj
colori / a vso dj gianbellotto.e altre
opere.regie allacqa / essimilmente.
sidebbe.f[a]/re.da potere.rimecter[e] / il
polo.quando.fussi.ch[o] / summato /
[Figura] polo, (s) rimessibile. A l l
i n s c r i p t i o n s i n p e n and b r o w n i n k .
86.GG.725

T h i s d r a w i n g contains elements o f a
n u m b e r o f the diverse aspects o f
Leonardo's artistic a n d i n t e l l e c t u a l
character. T h e p r i n c i p a l i m a g e o f the
c h i l d w i t h a l a m b appears o n the recto
85 (recto)
i n three p e n - a n d - i n k sketches and o n
the verso i n another black c h a l k sketch.
T h e i n f a n t has been a l t e r n a t i v e l y i d e n t i ­
fied as C h r i s t and Saint J o h n the Baptist.
These studies w e r e m a d e i n r e l a t i o n t o a
lost p a i n t i n g b y L e o n a r d o o f the Virgin
with the Two Holy Children, n o w k n o w n
t h r o u g h at least three s t u d i o versions
(Oxford, Ashmolean Museum; Flor­
ence, U f f i z i ; Italy, p r i v a t e c o l l e c t i o n ) .
T h e pose is also q u i t e s i m i l a r t o those
e m p l o y e d i n the various cartoons and
p a i n t i n g s b y L e o n a r d o o f the Virgin and
Child with Saint Anne. T h e i m a g e o f the
c h i l d a n d the l a m b evolves o n the sheet
t h r o u g h several stages, e x e m p l i f y i n g
the spontaneously creative aspect o f
Leonardo's d r a u g h t s m a n s h i p and his
manner o f f o r m u l a t i n g imagery. T w o
closely related studies o f the c h i l d w i t h
a l a m b are i n the R o y a l L i b r a r y at W i n d ­
sor Castle ( C l a r k a n d P e d r e t t i [1968], 85 (verso)
nos. 12539, 12540).
Leonardo's scientific a n d mechanical [Willem Frederik George Lodewijk, Prince of Her Majesty the Queen at Windsor Castle
of Orange], The Hague (sold 1850?); Grand (London, 1968), pp. 98-99, under no. 12540;
interests are e x e m p l i f i e d b y the i n s c r i p ­
Ducal collection, Schlossmuseum, Weimar J. Wasserman, " A Rediscovered Cartoon by
t i o n i n m i r r o r w r i t i n g o n the recto c o n ­
(sold 1929); S. Schwartz, N e w York; Leonardo da V i n c i , " Burlington Magazine 112
cerning a twelfth-century mathematical John Gaines, Lexington, Kentucky (sale, (April 1970), pp. 201, 203; C. Pedretti, et al.,
m a n u s c r i p t and o n the verso b y the Sotheby's, N e w York, November 17, 1986, Leonardo dopo Milano. La Madonna deifusi
sketch o f a l a m i n a t i n g m a c h i n e a n d the lot 3). (1501) (Florence, 1982), p. 82.
a c c o m p a n y i n g e x p l a n a t o r y notes, also BIBLIOGRAPHY: E. Mφller, " D i e Madonna m i t
i n m i r r o r w r i t i n g . H i s fascination w i t h den Spielenden Kindern aus der Werkstatt
Leonardos," Zeitschrift für Bildende Kunst 62 85. CESARE D A SESTO
h u m a n p h y s i o g n o m y is reflected i n the
(1928-1929), pp. 221, 226; T. Borenius, I t a l i a n , 1477-1523
sketch o f the head o f an o l d m a n , also
"Leonardos Madonna with Children at Play," The Swooning Virgin Supported by
on the verso. Burlington Magazine 56 (March 1930), p. 142; Three Holy Women and Three Studies
PROVENANCE: Probably Abbot Luigi Cellotti, C. Pedretti, Studi Vinciani (Geneva, 1957),
of Men (recto); Saint George and the
Venice; Sir Thomas Lawrence, London; pp. 228-229; K . Clark and C. Pedretti, The
Drawings of Leonardo da Vinci in the Collection Dragon (verso), circa 1510—1514
probably K i n g W i l l i a m I I o f Holland
 204 Acquisitions/1986

Pen a n d i n k over r e d c h a l k , 13.6 x 19

cm (5 /s" x 7V2"). I n s c r i b e d (recto):
3

Sfasimo (?) b y Cesare i n b r o w n i n k

o n the left edge near the center. I n ­
scribed (verso): 23 b y a n o t h e r h a n d
i n b r o w n i n k i n the u p p e r r i g h t
corner.
86.GA.1

T h e d r a w i n g a l m o s t c e r t a i n l y once
formed part o f a n o w dismembered
s k e t c h b o o k , o f w h i c h the largest
r e m a i n i n g share is i n the P i e r p o n t
M o r g a n L i b r a r y , N e w Y o r k . Cesare,
who was o r i g i n a l l y f r o m M i l a n , p r o b a ­
b l y m a d e t h i s s k e t c h b o o k d u r i n g his
stay i n R o m e i n the second decade o f
the s i x t e e n t h c e n t u r y . T h e recto o f t h i s
d r a w i n g consists o f several sensitively
d r a w n studies i n d i c a t i v e o f his exposure
to the w o r k o f Raphael i n R o m e , w h i l e
the verso is d e r i v e d f r o m L e o n a r d o da
Vinci's famous interpretations o f
horsemen.
PROVENANCE: Sale, Christie's, London,
December 13, 1984, lot 27; [Ars Libri,
Boston].

86. DOMENICO CAMPAGNOLA

I t a l i a n , circa 1 5 0 0 - 1 5 5 2
Saint Christopher, circa 1520—1525
Pen a n d b r o w n i n k , 33.3 x 23 c m 86
(13V " x 9Vi6"). I n s c r i b e d : 1 i n p e n
8

a n d b r o w n i n k i n the u p p e r r i g h t BIBLIOGRAPHY: H . Tietze, "Venetian Renais­

corner. sance Drawings i n Swedish Collections,"
86.GA.691 Gazette des Beaux-Arts (March 1949),
pp. 178-179 (as Titian); R. Pallucchini,
T h i s d r a w i n g o f Saint C h r i s t o p h e r car­ Tiziano (Venice, 1969), pp. 330, 555
r y i n g the C h r i s t c h i l d across the f o r d is (as Titian).
generally s i m i l a r t o Titian's fresco o f the
same subject o f circa 1523 i n the Palazzo
87. I L S O D O M A (Giovanni Antonio Bazzi)
D u c a l e , Venice. A r e l a t i v e l y early d r a w ­
Italian, 1477-1549
i n g b y C a m p a g n o l a , i t is c o m p a r a b l e t o
The Resurrection (recto); Christ
several others i n the same t e c h n i q u e
Carrying the Cross (verso), circa 1535
w h i c h have also o f t e n been a t t r i b u t e d t o
Pen a n d b r o w n i n k a n d w h i t e
T i t i a n . A t y p i c a l e x a m p l e is the s t u d y o f
gouache h e i g h t e n i n g over black
The Jealous Husband Murdering His Wife
c h a l k o n b r o w n i s h green paper
(Paris, E c o l e des B e a u x - A r t s , i n v . n o .
(recto); b r u s h a n d b r o w n i n k a n d
401). D e s p i t e its p r e v i o u s a t t r i b u t i o n t o
w h i t e gouache h e i g h t e n i n g (verso),
T i t i a n , there can n o w be l i t t l e d o u b t
21.5x18.8 c m (8 /i " x 7 W ) .
7
6
that this d r a w i n g is b y C a m p a g n o l a .
Collection mark o f Alfredo 87 (recto)
M o n u m e n t a l i n f o r m and distinguished
V i g g i a n o o n the verso.
by r i c h l y a n i m a t e d p e n strokes, i t ranks p a i n t e d i n 1535. T h e pentimenti i n v a r i ­
86.GA.2
a m o n g Campagnola's greatest d r a w i n g s . ous places are i n d i c a t i v e o f S o d o m a s
PROVENANCE: Gφsta Stenman, Stockholm T h e recto o f this d r a w i n g , s h o w i n g the
a t t e m p t t o establish the p o s i t i o n s o f
(sale, Christie's, London, December 12, 1985, R e s u r r e c t i o n o f C h r i s t , served as a p r e ­
the arms a n d hands o f C h r i s t , as w e l l as
lot 295); [Yvonne Tan Bunzl, London]. p a r a t o r y s t u d y f o r the fresco o f the same
the placement o f his feet i n r e l a t i o n t o
subject i n the Palazzo P u b b l i c o , Siena,
the o p e n t o m b . T h e verso is executed
 Drawings 205

scale, pose, and technique to a study PROVENANCE: Pierre Crozat, Paris(?); private
of a reclining woman by Salviati i n collection, Switzerland; private collection,
U.S.; [Robert Dance, N e w York].
the Musee du Louvre (C. Monbeig-
Goguel, Vasari et son temps [Paris, 1972],
no. 157).
PROVENANCE: Sale, Sotheby's, London, July 4,
1985, lot 15; [John M o r t o n Morris, London].

87 (verso)

in a more painterly style, w i t h the com­

position focusing on the impassive
image o f Christ—set i n sharp contrast
to his tormentors. The drawing 90. IL MORAZZONE
broadens our knowledge o f this rare (Pier Francesco Mazzuchelli)
draughtsman, as it exemplifies two Italian, 1573-1626
very different yet complementary Angel Musicians, circa 1598—1599
aspects of his style. Black chalk and brown wash and
PROVENANCE: Alfredo Viggiano, Venice; sale, white gouache heightening on blue
Sotheby's, N e w York, January 16, 1985, lot paper, 39.5 x 24.7 cm (15 A " x 9 A").
9
6
3

28; [Ars Libri, Boston]. Inscribed (verso): 164 (?) in brown ink.
BIBLIOGRAPHY: G. Goldner, " A N e w D r a w ­ 86.GG.16
89
ing by Sodoma," Burlington Magazine 127
Nicholas Turner points out that this
(November 1985), pp. 775-776.
89. S A N T I D I T I T O drawing is connected w i t h Musical
Italian, 1536-1603 Angels, One Playing a Cello, one o f the
The Resurrection, circa 1568 four compartments depicting musical
Pen and brown ink over black angels i n the Cappella del Rosario i n
chalk on blue paper, 37.6 x 25.3 cm the church o f San Vittore, Varese.
( 1 4 / i 6 " x 10"). Collection mark o f
13
Morazzone carried out these ceiling
Pierre Crozat(?) at the lower right. frescoes i n circa 1598—1599, soon after
Inscribed (verso): G. Vasari, N10, his return to Lombardy from Rome.
and fis 15000 (?) i n graphite; and two The unusual format o f the drawing—
illegible inscriptions i n graphite and a square w i t h a lunette shape attached
brown ink. to the left side—is repeated i n a
86.GA.18 slightly altered form i n two o f the
This drawing was made as a preparatory ceiling compartments. The angel
study for the painting by Santi di Tito playing the cello, the most prominent
88. F R A N C E S C O S A L V I A T I in the Medici chapel o f the church o f figure i n the drawing, appears
(Francesco dei Rossi) in the fresco behind another angel on
Santa Croce, Florence. It appears to be
Italian, 1510-1563 the left. These and other differences
an early study for the project, since
Reclining Male Nude, circa 1550 between drawing and fresco have led
there are many differences i n detail
Red chalk and white chalk height­ Turner to propose that the drawing
between the drawing and painting.
ening, 27 x 39.7 cm (10W x 15 /s").5 records an early stage i n the planning
Other drawings for this project include
Inscribed (verso): di Fr. Salu...i i n of one o f the scenes.
six preparatory studies i n the Uffizi
light brown ink. (inv. nos. 7687 F, 764 F, 7756 F, 7705 F, PROVENANCE: Sale, Christie's, London, April
86.GB.574 3, 1984, lot 10; [John Morton Morris, London].
2396 S, 2416 S), one i n the Gabinetto
Nazionale delle Stampe, Rome (inv. BIBLIOGRAPHY:N. Turner, "Some Un­
Although not connected w i t h a surviv­
published Drawings by Morazzone," Master
ing fresco, this previously unpublished no. EC. 130629), and one i n the
Drawings 22 (1984), pp. 426-427.
drawing might have been made as a Graphische Sammlung, Munich.
study for one o f a pair o f decorative The definitive modello is i n the Uffizi
figures situated on either side o f a (inv. no. 7687 F).
doorway. The drawing compares i n
 206 Acquisitions/1986

form of Italian Painting around 1590 (London,

1971), vol. 1, p. 66, vol. 2, p. 47, under no.
108; H . Brigstocke, Italian and Spanish Paint­
ings in the National Gallery of Scotland '
(Glasgow, 1978), pp. 40, 42, n. 13; D. De-
Grazia Bohlin, Prints and Related Drawings by
the Carracci Family, ex. cat. (Washington,
D C , National Gallery o f Art, 1979), pp. 470,
472, 474, n. 7.

92 (recto)

91

91. AGOSTINO CARRACCI the r i g h t is f o u n d i n o t h e r d r a w i n g s b y

Italian, 1557-1602 A g o s t i n o , i n c l u d i n g one i n the R o y a l
Sheet of Studies, circa 1 5 9 8 - 1 6 0 0 L i b r a r y , W i n d s o r Castle ( i n v . no.
Pen a n d b r o w n i n k , 40.5 x 30.9 c m 1928). W i t h its decisive, l i v e l y p e n
(15 /i " x 12V "). I n s c r i b e d : An.C
15
6 8 in w o r k a n d subtle i n t e g r a t i o n o f diverse
p e n c i l at the l o w e r left. C o l l e c t i o n f o r m s a n d f i g u r e g r o u p s , this is a m o n g
m a r k s o f the m a r q u i s de Lagoy, Agostino's most impressive drawings.
T h o m a s Lawrence, T h o m a s PROVENANCE: Marquis de Lagoy, A i x - e n -
D i m s d a l e , a n d the D u k e o f Provence; Thomas Dimsdale, London; Sir
S u t h e r l a n d at the b o t t o m . Thomas Lawrence, London; Lord Francis
86.GA.726 Egerton, First Earl o f Ellesmere, London;
by descent to the Fifth Earl o f Ellesmere,
E x e c u t e d circa 1598—1600 d u r i n g Sixth Duke o f Sutherland (sale, Sotheby's,
A g o s t i n o ' s R o m a n p e r i o d , this d r a w i n g London, July 11, 1972, lot 32); John Gaines, 92 (verso)
contains a n u m b e r o f m o t i f s , i n c l u d i n g Lexington, Kentucky (sale, Sotheby's, N e w
York, November 17, 1986, lot 12). 92. G I U L I O CESARE P R O C A C C I N I
the p r i n c i p a l f i g u r e g r o u p o f shepherds
a d o r i n g the C h r i s t c h i l d , heads o f three BIBLIOGRAPHY: H . Bodmer, "Drawings by I t a l i a n , 1574-1625
the Carracci: A n Aesthetic Analysis," Old Head of a Female Figure (recto);
o l d m e n , a caricatured head at the right
Master Drawings 8 (March 1934), pp. 65—66; Female Nude (verso), circa 1610
center, a n d n a t u r a l i s t i c a l l y r e n d e r e d
R. Wittkower, Drawings of the Carracci in the
animals. T h e g r o u p o f shepherds was B l a c k a n d w h i t e chalk, 33.4 x 23.7
Collection of Her Majesty the Queen at Windsor
employed i n a painting by Annibale Castle (London, 1952), p. 110, under no. 89, cm (13 A " x 9 / " ) . I n s c r i b e d (recto):
3
6
3
8

Carracci, n o w k n o w n o n l y t h r o u g h a p. 121, under no. 157 [Supplement, London, Scuola di Carraci i n p e n a n d b r o w n

copy, m a d e circa 1606, b y D o m e n i c h i n o 1971, p. 60, under no. 93]); D. Mahon, Mostra i n k i n the l o w e r r i g h t corner. I n ­
dei Carracci, Disegni, ex. cat. (Bologna, Pal­ scribed (verso): n° 20, S.B. n° 131 and
i n the N a t i o n a l G a l l e r y o f Scotland,
azzo dell'Archiginnasio, 1956), no. 71; D.
E d i n b u r g h . T h e caricatured head at
Posner, Annibale Carracci: A Study in the Re­
 Drawings 207

two illegible inscriptions i n b r o w n

ink.
86.GB.20

T h i s d r a w i n g m a y have been m a d e i n
p r e p a r a t i o n for a p a i n t i n g , a l t h o u g h a
precise c o n n e c t i o n has n o t yet been d i s ­
covered. T h e head finds n u m e r o u s p a r ­
allels i n Procaccini's w o r k , such as the
d r a w i n g o f the Head of a Boy with Curly
Hair i n the A l b e r t i n a , V i e n n a ( i n v . no.
24.984, B . 448; V. B i r k e , et a l , Old Mas­
ter Drawings from the Albertina, ex. cat.
[Washington, D.C., National Gallery
of Art, N e w York, Pierpont M o r g a n
L i b r a r y , 1984], no. 59) a n d the head
o f the V i r g i n i n the altarpiece o f the
Adoration of the Magi ( M i l a n , C a s t e l l o
Sforzesco). T h e n u d e torso o f a w o m a n
o n the verso is c o m p a r a b l e t o the
f i g u r e o f Venus i n the p a i n t i n g Venus
and Amor ( N e w Y o r k , D i d i e r A a r o n , 93
Inc.). The extraordinary l u m i n o s i t y
and t e x t u r a l s u b t l e t y seen i n this d r a w ­ 93. G I O V A N N I B E N E D E T T O Milano [ M i l a n , 1937], p i . 49), f o r m e r l y

i n g result f r o m Procaccini's charac­ CASTIGLIONE Benedict N i c o l s o n collection, L o n d o n

teristic h a n d l i n g o f the t w o chalks, I t a l i a n , circa 1610-1663/65 (Percy, no. 59) and the P. de B o e r

u s i n g black chalk for the u n d e r d r a w i n g Pastoral Journey, circa 1650 c o l l e c t i o n , A m s t e r d a m (Le dessin Italien

f o l l o w e d b y the l i b e r a l a p p l i c a t i o n o f B r u s h and b r o w n o i l p a i n t a n d dans les collections hollandaises, ex. cat.

stunning white highlights. touches o f w h i t e , blue, and rose [Paris, F o n d a t i o n C u s t o d i a , C o l l e c t i o n

gouache, 28.1 x 41.3 c m ( I T A / x Frits L u g t , 1962], no. 172). Percy p o i n t s
PROVENANCE: "Borghese A l b u m " (anony­
1 6 V / ) . I n s c r i b e d (recto): Benedetto o u t that w h i l e these versions repeat the
mous eighteenth-century Venetian collec­
tor?); private collection, Paris; [Bruno de i n black chalk. I n s c r i b e d (verso): central f i g u r e o f the w o m a n astride the
Bayser, Paris]. Benedetto Castiglione a n d 40 x 53 i n donkey, t h e y also c o n t a i n different at­
graphite; and Collection Denon i n t e n d a n t figures and a n i m a l g r o u p i n g s ,
blue pencil. C o l l e c t i o n m a r k o f so that each provides an i n t e r e s t i n g
B a r o n V i v a n t - D e n o n i n the l o w e r v a r i a n t o f the same basic theme.
r i g h t corner o f the recto. PROVENANCE: Baron Dominique Vivant-
86.GG.573 Denon, Paris; private collection, Paris;
[Bruno de Bayser, Paris].
P r i o r t o its recent reappearance, this
BIBLIOGRAPHY: A . Percy, Giovanni Benedetto
d r a w i n g h a d been k n o w n t h r o u g h the
Castiglione: Master Draughtsman of the
l i t h o g r a p h b y J . - B . Mauzaisse i n Monu­
Baroque, ex. cat. (Philadelphia Museum o f
ments des arts du dessin chez les peuples tant Art, 1971), p. 94, under no. 59.
anciens que modernes, v o l . 3 (Paris, 1829),
pi. 232 (also engraved b y Charles M a c e ,
i n C . L e B l a n c , Manuel de Vamateur d'es-
tampes [Paris, 1 8 5 4 - 1 8 9 0 ] , v o l . 2, p. 583)
since passing f r o m the V i v a n t - D e n o n
c o l l e c t i o n i n the early n i n e t e e n t h c e n ­
t u r y . I t is one o f the finest o f a n u m b e r
o f versions o f this c o m p o s i t i o n b y
C a s t i g l i o n e , w h i c h i n c l u d e the
p a i n t i n g o f Rebecca Led by the Servant
of Abraham (?) ( U n i v e r s i t y o f
B i r m i n g h a m , England, Barber
I n s t i t u t e o f Fine A r t s ) a n d b r u s h
d r a w i n g s i n the R a s i n i c o l l e c t i o n ,
M i l a n (reproduced i n A . Morassi,
Disegni antichi dalla collezione Rasini in
 208 Acquisitions/1986

94

94. B A R T O L O M E O B I S C A I N O
I t a l i a n , circa 1632—1657
Mystic Marriage of Saint Catherine,
circa 1655
Red chalk and w h i t e heightening o n
y e l l o w - b r o w n paper, 28.9 x 39.9 c m
(UW x l S W ) . Inscribed: Biscaino
di Genova i n pen and b r o w n i n k i n
the l o w e r r i g h t c o r n e r a n d E and
S.L. n°:65 i n p e n and b r o w n i n k o n
the verso o f the m o u n t .
86.GB.6

T h i s d r a w i n g e x h i b i t s Biscaino's charac­
teristic r i c h c o l o r i s m w i t h its v i b r a n t
effects o f t e x t u r e a n d l i g h t . E x a m p l e s
o f his d r a u g h t m a n s h i p c o m p a r a b l e i n
m a n n e r a n d m e d i u m t o the M u s e u m ' s
d r a w i n g i n c l u d e the Vision of Saint
Augustine (Paris, M u s e e d u L o u v r e , i n v .
no. 9191) a n d the Holy Family with Saint 95

John the Baptist as an Infant (Edinburgh,

95. G I O V A N N I B A T T I S T A P I A Z Z E T T A c o s t u m e and h o l d i n g u p a l e m o n i n his
N a t i o n a l G a l l e r y o f Scotland, i n v . no.
Italian, 1683-1754 r i g h t h a n d , b u t t u r n i n g his head t o the
D1621). Biscaino's e t c h i n g o f the Mystic
A Boy Holding a Pear, circa 1740 left. T h e significance o f the u p h e l d f r u i t
Marriage of Saint Catherine (P. B e l l i n i ,
B l a c k a n d w h i t e chalk o n b l u e - g r a y i n the M u s e u m ' s d r a w i n g has yet t o be
ed., The Illustrated Bartsch, v o l . 47
paper ( t w o j o i n e d sheets), 39.2 x d e t e r m i n e d . T h i s gesture i n o t h e r
[ f o r m e r l y v o l . 21, p t . 2 ] , Italian Masters
30.9 cm ( 1 5 / i 6 " x 12 A ") w o r k s b y Piazzetta has been i n t e r p r e t e d
7 3

of the Seventeenth Century [ N e w York,

6

86.GB.677 as r e p r e s e n t i n g either the sense o f taste

1983], no. 33 [198]) is related t o this
d r a w i n g o n l y i n a f e w isolated details. T h i s d r a w i n g , w h i c h is a m o n g the finest o r an erotic a l l u s i o n (J. B e a n and E
a n d m o s t b e a u t i f u l l y preserved o f Stampfle, Drawings from New York Col­
PROVENANCE: "Borghese A l b u m " (anony­
Piazzettas h a l f - l e n g t h figures d o n e i n lections III: The Eighteenth Century
mous eighteenth-century Venetian collec­
tor?); private collection, N e w York; [Bob black a n d w h i t e chalk, is closest t o in Italy [ N e w Y o r k , 1971], no. 42; A .
Haboldt, N e w York]. Young Woman Holding a Pear ( N e w Y o r k , M a r i u z , Opera completa del Piazzetta

P i e r p o n t M o r g a n L i b r a r y , i n v . no. i v , [ M i l a n , 1982], no. 89).

89) a n d Giacomo Feeding a Dog ( A r t I n ­ PROVENANCE: H . A . Vivian Smith, London

stitute o f C h i c a g o , i n v . no. 1971.326). (sale, Christie's, London, May 20, 1955, lot
45, to Welker); sale, Christie's, London,
A n a u t o g r a p h c o p y o f this d r a w ­
December 12, 1985, lot 269; [John M o r t o n
i n g is i n B e r l i n (Staatliche M u s e e n
Morris, London].
Preussischer K u l t u r b e s i t z , K u p ­
ferstichkabinett, i n v . no. K d Z 5874).
Piazzettas p a i n t i n g o f a Boy with a
Lemon (Hartford, Conn., Wadsworth
A t h e n e u m ; engraved b y M a r c o P i t t e r i )
shows w h a t appears t o be the same
model i n half-length, wearing a similar
 Drawings 209

96

96. C A N A L E T T O (Antonio Canale) PROVENANCE: Possibly the H o n . Charles Gre­

I t a l i a n , 1697-1768 ville; Paul Sandby, London; Lady Eva D u g -
dale, Royal Lodge, Windsor Great Park (sale,
Warwick Castle: The East Front from
Sotheby's, London, November 18, 1920, lot
the Courtyard, circa 1748
42, w i t h pendant); [Sabin Gallery, London];
Pen a n d b r o w n i n k a n d gray w a s h , Adrien Fauchier-Magnan, Neuilly-sur-Seine
31.7 x 57.1 c m (12V " x 22V "). C o l ­
2 2 (sale, Sotheby's, London, December 4, 1935,
l e c t i o n m a r k o f Paul Sandby i n lot 5); A . Tooth, London; Sir George Leon,
the l o w e r left corner o f the recto. Bt.; [E. V. Thaw, N e w York]; John Gaines,
Lexington, Kentucky (sale, Sotheby's, N e w
I n s c r i b e d : Warwick Castle Canalletti
York, November 17, 1986, lot 25).
i n b r o w n i n k o n the verso o f the
BIBLIOGRAPHY: H . F. Findberg, " A Catalogue
m o u n t . A Paris c u s t o m s s t a m p o n
Raisonnι o f Canaletto's English Views," The
the verso.
Walpole Society 9 (1920-1921), p. 68; W G.
86.GG.727 Constable, Canaletto (Oxford, 1962), vol. 1,
p. 142, vol. 2, p. 536, no. 760 (reprinted and
T h i s d r a w i n g depicts the East F r o n t o f
revised by J G. Links [Oxford, 1976], vol. 1,
W a r w i c k Castle as seen f r o m inside the
p. 142, vol. 2, p. 584, no. 760); J. Bean and F.
c o u r t y a r d . Its pendant, i n the R o b e r t Stampile, Drawings from New York Collections
Lehmann collection, M e t r o p o l i t a n III: The Eighteenth Century in Italy (New
M u s e u m o f Art, N e w Y o r k , shows the York, 1971), p. 68, under no. 157; T. Pignatti,
East F r o n t f r o m outside the c o u r t y a r d . Venetian Drawings from American Collections,
ex. cat. (Washington, D C , National
T h i s is a m o n g five p a i n t i n g s (Consta­
Gallery o f Art, 1974), p. 50, under no. 103;
ble, nos. 443—447) a n d five d r a w i n g s A. Bettagno, Canaletto, Disegni-Dipinti-
(Constable, nos. 756—760) o f W a r w i c k Incisioni, ex. cat. (Fondazione Giorgio C i n i ,
Castle that C a n a l e t t o m a d e for Charles Venice, 1982), p. 76, under no. 105.
Greville, Earl o f W a r w i c k , around
1748—1749. C a n a l e t t o here succeeded i n
c o n v e y i n g the i m p r e s s i v e mass a n d b a l ­
ance o f the castle w a l l s — e n l i v e n e d b y
a s c i n t i l l a t i n g play o f l i g h t a n d sha­
d o w across the i r r e g u l a r surfaces o f
the m a s o n r y .
D E C O R A T I V E ARTS
CHINESE sels for curtains a n d upholstery.
PROVENANCE: [Juliette Niclausse, Paris].

99. TAPESTRY, The Offering to Bacchus

f r o m the Grotesques series
French (Beauvais), circa 1685—1730
W o o l and s i l k , 289 x 201 c m
(9' 5 / " x 6' 77 ")
3
4 4

98 (detail)
86.DD.645

The Offering to Bacchus is one o f a series

w o r k e d fringes a n d t r i m that e m b e l ­ o f six tapestries w o v e n at the Beauvais
l i s h e d g r a n d beds o f the B a r o q u e p e r i o d M a n u f a c t o r y after the cartoons o f Jean-
throughout Europe but particularly i n B a p tiste M o n n o y e r (1636-1699). T h e
E n g l a n d a n d France. T r i m s o f this t y p e c o m p o s i t i o n is i n a l i g h t , o p e n style t h a t
w e r e also used t o decorate the i n t e r i o r s was e x t r e m e l y p o p u l a r w i t h the aristoc­
o f coaches and sedan chairs. T h e same racy, w h o w e r e t u r n i n g away f r o m the
craftsmen p r o d u c e d the fringes a n d tas­ s o l e m n a n d majestic tapestries p r o d u c e d
97

97. L I D D E D VASE
C h i n e s e ( K a n g x i ) , circa 1662—1722
H a r d - p a s t e p o r c e l a i n , H : 59.7 c m
(1' IIV2"); D i a m : 37.5 c m ( 1 ' 2 A " ) 3

86.DE.629

Porcelain objects, p a i n t e d i n underglaze

blue w i t h patterns o f s t y l i z e d flowers
a n d figures i n landscapes, w e r e m a n u ­
factured i n large q u a n t i t i e s i n C h i n a
d u r i n g the K a n g x i d y n a s t y (1662—1722)
for e x p o r t t o E u r o p e . T h e wares w e r e
a v i d l y collected b y E u r o p e a n s i n the
second h a l f o f the seventeenth c e n t u r y
and t h r o u g h o u t the e i g h t e e n t h a n d
n i n e t e e n t h centuries. T h e y w e r e
used for decorative purposes, massed
o n cabinets i n g r a n d salons o r i n
Porzellenkammers.
PROVENANCE: [Spink and Son, L t d . , London]

FRENCH

98. L E N G T H OF PASSEMENTERIE
F r e n c h , circa 1670
W i r e , p a r c h m e n t , a n d s i l k thread,
81.9 x 18.5 x 4 c m ( 2 ' 8 V / x 7 W '
x IV2")
86.DD.667

T h i s l e n g t h o f passementerie is a rare
s u r v i v i n g e x a m p l e o f the elaborately
99
 Decorative Arts 211

by the royal manufactory at the Gobelins.

T h i s was the first tapestry series for
w h i c h seat u p h o l s t e r y was designed a n d
w o v e n en suite. T h e b a c k g r o u n d c o l o r
is saffron y e l l o w , called tabac dEspagne.
PROVENANCE: Rothschild collection, Vienna;
(anonymous sale, Christie's, London, June
22, 1939, lot 159); (sale, Christie's, London,
July 1, 1982, lot 3); [Bernheimer Fine Arts,
Ltd., London, 1982].

100

100. C A R P E T
F r e n c h (Beauvais), circa 1700—1725
W o o l and s i l k , 371.5 c m x 246.3 c m
(12' 3" x 8' 1")
86.DC.633

T h i s w o v e n carpet is a t t r i b u t e d t o the
Beauvais M a n u f a c t o r y o n the basis o f its
style a n d color, p a r t i c u l a r l y the b a c k ­
g r o u n d c o l o r o f saffron y e l l o w , w h i c h
was i n t r o d u c e d b y this m a n u f a c t o r y b e ­
fore 1689 a n d k n o w n as tabac d'Espagne. 101 (Terrestrial Globe)
O n e carpet o f the same design a n d d i ­
m e n s i o n s is f o u n d i n the c o l l e c t i o n o f 101. CELESTIAL A N D TERRESTRIAL the celestial globe bears a d e d i c a t i o n

the A r t I n s t i t u t e o f C h i c a g o , a n d e x a m ­ GLOBES t o her n e p h e w the c o m t e de C l e r m o n t

ples o f seat u p h o l s t e r y i n the same style F r e n c h (Paris), circa 1728-1730 (1709-1771) and the date 1730. T h e

are k n o w n i n t w o p r i v a t e collections P r i n t e r paper, p a p i e r - m δ c h e , g i l t stands are p a i n t e d w i t h a y e l l o w vernis

i n France. bronze, and w o o d p a i n t e d w i t h g r o u n d , p o l y c h r o m e flowers, and r e d

vernis Martin, H : 110 c m ( 3 ' 7 V / ) ; reserves w i t h chinoiserie scenes, a l l
PROVENANCE: Sale, Hotel Drouot, Paris,
May 27, 1910, as one o f four lots, (?)131-134; D i a m : 45 c m ( 1 ' 5V "); D i a m .
2
p i c k e d o u t and f r a m e d w i t h g i l d i n g .
Thenadey collection, Paris; [Mayorcas, Ltd., ofglobes:32cm(l'V ") 2
N o l l e t was a fashionable scientist a n d
London, 1985]. 86.DH.705.1-2 a m e m b e r o f the A c a d e m i e des Sciences.
B y 1758 he was n a m e d maitre en physique
T h e globes w e r e designed and as­
sembled b y J e a n - A n t o i n e N o l l e t
des enfants de France.
(1700-1770) a n d the maps p r i n t e d b y PROVENANCE: Guillaume, twelfth marquis
de Biron; due de Talleyrand and by descent
B a l l e u i l le jeune. T h e terrestrial globe
to the due de D i n o Andia y Talleyrand-
bears a d e d i c a t i o n t o the duchesse d u
Perigord; [Maurice Segoura, Paris].
M a i n e (1676-1743) a n d the date 1728;
 212 Acquisitions/1986

102. C O M P O U N D M I C R O S C O P E
W I T H CASE
F r e n c h (Paris), circa 1751
G i l t bronze, m i r r o r glass, e n a m e l ,
and shagreen. T h e case is o f w o o d ,
covered w i t h t o o l e d a n d g i l d e d
leather. I t has brass c l o s i n g f i x t u r e s
a n d is l i n e d w i t h s i l k v e l v e t a n d
silver braids. 48 x 28 x 20.5 c m
(1' 67s" x 11" x 8Vi "); case: 66 x
6

34.9 x 27 c m ( 2 ' 2" x V l V x 10 /s") 5

86.DH.694

T h e mechanical parts o f the m i c r o s c o p e

are a t t r i b u t e d t o A l e x i s M a g n y (1712—
after 1777). A m i c r o s c o p e o f the same
m o d e l i n the M u s e e de N a n c y is i n ­
scribed Magny construsit et fecit Paris anno
1751. T h e n a m e o f the bronzier respon­
sible for the stand is u n k n o w n .
A d r a w e r i n the leather case contains
all the necessary attachments, such as
tweezers, p o i n t e r s , interchangeable
lenses, m i c a slides, a n d nineteenth-cen­
t u r y slides o f v a r i o u s s m a l l specimens,
labeled ailes de mouche, petal de geranium,
cheveaux, a n d ecaille de papillon.
A l e x i s M a g n y described h i m s e l f as
" i n g e n i e u r p o u r T h o r o l o g e r i e , les i n s t r u ­
ments de physique et de mathematiques."
H e l i s t e d a m o n g his clients L o u i s X V ,
Stanislas L e c z i n s k i , a n d the scientists
102
de R e a u m u r (1683—1757) a n d D u h a m e l
du M o n c e a u (1683—1757). A m i c r o s c o p e
o f the same m o d e l once s t o o d i n the
cabinet d'optique o f L o u i s X V at
La M u e t t e . ( I a m grateful t o Jean-Neree
R o n f o r t f o r this i n f o r m a t i o n . — G. W . )
PROVENANCE: (Sotheby's, Monaco, February
23, 1986, lot 901) [Mrs. Kila Kugel,
New York].

103. PAIR OF BUSTS: L O U I S X V A N D

MARIE LECZINSKA
F r e n c h ( L u n e v i l l e ) , circa 1755
E a r t h e n w a r e (faience) b u s t o f
L o u i s X V : 53 x 24 x 25 c m ( 1 ' 8 /s" 7

x 9 /i6"
7
x 9 /s"); b u s t o f M a r i e
7

Leczinska: 53 x 15.5 x 25 c m
(1' 8 / " x 67s" x 9 /s")
7
8
7

86.DE.668

T h e s e p o r t r a i t busts o n socles are o f a

glazed earthenware k n o w n as faience.
T h e y p o r t r a y L o u i s X V (1710-1774) a n d
M a r i e Leczinska (1703—1768) i n t h e i r
p r i m e as k i n g and queen o f France. T h e
busts w e r e pressed m o l d e d at the

103
 Decorative Arts 213

L u n e v i l l e M a n u f a c t o r y ( i n eastern the Palais R o y a l (residence o f L o u i s -

France near S t r a s b o u r g ) , p o s s i b l y b y P h i l i p p e , due d ' O r l e a n s ) after 1756,

P a u l - L o u i s C y f f l e (1724-1806), w h o w h e n the palace was redecorated b y the

was a m o d e l e r w e l l k n o w n f o r f i g u r a l architect C o n t a n t d T v r y (1698-1777).

g r o u p s . T h e p r o u d a n d c o n f i d e n t pose T h e w a l l l i g h t s w e r e executed i n g i l t

o f the k i n g was i n s p i r e d b y a b r o n z e b r o n z e b y the s i l v e r s m i t h F r a n c o i s -

b u s t o f h i m cast i n 1751 b y Jean-Baptiste T h o m a s G e r m a i n (1726-1791) i n 1756.

L e m o y n e (1669-1731). F o u r o f the l i g h t s s u r v i v e , conserved, i n

PROVENANCE: [ M . Vandermeersch, Paris]. the M u s e u m ' s c o l l e c t i o n (81. DF. 9 6 . 1 - 4 ) .

T h e d r a w i n g is i n s c r i b e d (S) Girandolle
de dessus la Chem[inee][. . .?]/ de Jeu dans
VElevation N° 6. i n i n k at the l o w e r r i g h t .

PROVENANCE: F. A . Maglin, 1902; Francois-

Gerard Seligmann, Paris.

j
106. B E D
_ _ j F r e n c h (Paris), circa 1760-1770
105 Gilded beechwood and m o d e r n
105. D R A W I N G FOR A W A L L L I G H T s i l k u p h o l s t e r y , 174 x 264.8 x
F r e n c h (Paris), circa 1756—1783 188 c m ( 5 ' 8 / " x 8 ' 8 / 4 " x 6 ' 2")
1
2
1

Ink a n d paper, 26.5 x 17.1 c m 86.DA.535

(10 /i6" x 6 A " ) . T h e reverse o f the
7 3

T h i s large b e d , k n o w n as a lit ä la
d r a w i n g is i n s c r i b e d Bachelier i n
Turque, was u n d o u b t e d l y m a d e f o r a
p e n c i l and FA. Maglin 1902 i n i n k .
large chambre ä coucher i n a fashionable
Two r e c t a n g u l a r pieces o f d i f ­
a n d g r a n d hotel. I t w o u l d have been
ferent paper w e r e g l u e d t o the
placed against the w a l l , w i t h a draped
reverse, one i n s c r i b e d Ir i n p e n c i l
b a l d a c h i n above. I t is a t t r i b u t e d t o the
and the o t h e r Th . rc
Van Thulden,
104 menuisier Jean-Baptiste T i l l i a r d I I (maitre
also i n p e n c i l .
1752, d i e d 1797), w h o m a d e — a n d
104. F I G U R E 86.GA.692
s t a m p e d — t w o o t h e r lits a la Turque o f
F r e n c h ( M e n n e c y ) , circa 1755—1760 T h i s d r a w i n g is a s t u d y o f one o f a set similar sculptural monumentality.
Soft-paste p o r c e l a i n , 23.9 x 11.5 x o f w a l l l i g h t s w h i c h w e r e h u n g i n the PROVENANCE: [Alexander and Berendt,
10.7 c m ( 9 W x 4 V " x 4 / / ) . T h e
2
1
chambre d'apparat a n d the salon desjeux o f Ltd., London].
base o f the f i g u r e is i n c i s e d w i t h
D F f o r the M e n n e c y M a n u f a c t o r y .
86.DE473

A l t h o u g h the m o d e l e r o f t h i s f i g u r e is
n o t k n o w n , i t can be dated w i t h s o m e
c e r t a i n t y t o the 1750s, the decade w h e n
the M e n n e c y M a n u f a c t o r y p r o d u c e d a
v a r i e t y o f f u l l - l e n g t h figures. I t seems
t h a t figures p o r t r a y i n g m e m b e r s o f the
l o w e r social orders w e r e f o u n d appeal­
ing d u r i n g the R o c o c o p e r i o d , as q u a n ­
tities o f t h e m were made by European
p o r c e l a i n m a n u f a c t o r i e s , based u p o n
e n g r a v i n g s k n o w n as the Cris de Paris
after such artists as E d m e B o u c h a r d o n
(1698-1762).

PROVENANCE: M r . and Mrs. W i l l i a m B r o w n

Meloney, Riverdale, N e w York; [Antique
Porcelain Company, N e w York].
BIBLIOGRAPHY: B. Craven, "French Soft Paste
Porcelain i n the Collection o f Mr. and Mrs.
W i l l i a m B r o w n Meloney," Connoisseur 143
(May 1959), no. 577, p. 142.

106
 214 Acquisitions/1986

107

107. PAIR OF L I D D E D VASES

F r e n c h (Sevres), circa 1768—1770
Soft-paste p o r c e l a i n , e n a m e l e d a n d
gilded, w i t h gilt-bronze mounts,
45.1x24.1x19.1 c m ( l ' 5 A" x 3

9V " x 7V ")
2 2

86.DE.520.1-2

T h e l i d s are i n c i s e d 2 a n d 4, a n d the 109

bases 3 a n d 4. T h e y w e r e m a d e at the
Sevres M a n u f a c t o r y b u t are a p p a r e n t l y 109. PAIR OF C A N D E L A B R A
u n r e c o r d e d i n the e x i s t i n g archives o f F r e n c h (Paris), circa 1785
the m a n u f a c t o r y . T h e bleu Fallot ground G i l d e d and p a t i n a t e d bronze; w h i t e
is covered w i t h g o l d dots i n g r o u p s o f and g r i o t t e marbles, H : 82.2 c m
four. T h e reserves are p a i n t e d i n (2' 8 / / ) ; D i a m : 29.2 c m (IIV2")
3

g r i s a i l l e a n d are s u p p o r t e d b y babies 108 86.DE521.12

s i m i l a r l y p a i n t e d . T h e vases are o f a l ­
108. B A R O M E T E R T h e candelabra are a t t r i b u t e d t o P i e r r e -
m o s t u n i q u e f o r m . O n e o t h e r vase o f
F r e n c h (Paris), circa 1770-1775 P h i l i p p e T h o m i r e (1751-1843). A single
the same m o d e l , w i t h an egg o n its l i d ,
O a k veneered w i t h e b o n y ; set w i t h candelabra o f the same m o d e l appears i n
was at G a t c h i n a Palace, L e n i n g r a d ,
plaques o f e n a m e l e d m e t a l ; glass a d r a w i n g i n the M u s e e des A r t s D e c o -
i n 1914. Its present w h e r e a b o u t s
b a r o m e t r i c a l tube; b o n e p o i n t e r s ; ratifs, Paris, w h i c h illustrates different
are u n k n o w n .
g i l t - b r o n z e m o u n t s , 124 x 24.1 c m decorative proposals for a mantelpiece
PROVENANCE: [Rocheux, Paris], bought w i t h firedogs, a c l o c k , v a r i o u s can­
(4' 1" x 9V ") 2

in 1819 by Sir H a r r y Fetherstonhaugh, delabra, a n d o r n a m e n t a l bronzes. A

86.DB.632
Uppark, Hampshire (I am grateful to Sir
c l o c k o f the same m o d e l is also i n the
Geoffrey de Bellaigue for this information. — T h e m a k e r o f the b a r o m e t e r is u n ­
G.W.); Alfred de Rothschild, Halton, Buck­ Museum's collection (82.DB.2), w h i l e a
k n o w n . E x a m p l e s o f t h i s early phase o f
inghamshire; Lionel de Rothschild, Exbury p a i r o f brüle parfums, also s h o w n i n the
Neoclassicism, k n o w n as goüt grec, are
House, Buckinghamshire; (sale, Christie's, d r a w i n g , are o n l o a n t o the c o l l e c t i o n
c o m p a r a t i v e l y rare. T h e rather heavy
London, July 4, 1946, lot 90); Sir Charles (L.82.DF.56). T w o o t h e r pairs o f can­
Clore, London and Monaco (sale, Christie's, decorative elements i n g i l t bronze, set
delabra o f the same m o d e l are k n o w n ,
Monaco, December 6, 1985, lot 6). o f f against a b a c k g r o u n d o f ebony, are
one i n the Palacio Reale, M a d r i d , a n d
t y p i c a l o f this style.
the o t h e r i n the Husgeradskammaren,
PROVENANCE: Marquis da Foz, Lisbon; (sale, S t o c k h o l m . A later pair, f r o m circa 1810,
Christie's, London, June 10, 1892, lot 65);
w i t h i d e n t i c a l figures b u t c o m p l e t e l y
Mrs. Orme Wilson (sale, Parke-Bernet
g i l d e d , is i n the office o f the directeur de
Galleries, Inc., N e w York, March 2 5 - 2 6 ,
1949, lot 386); Madame Lucienne Fribourg la musique, Paris.
(sale, Parke-Bernet Galleries, Inc., N e w PROVENANCE: [Bernard Barouch Steinitz,
York, A p r i l 19, 1969, lot 189); [Alexander and Paris].
Berendt, L t d . , London]; Frau Quandt,
M u n i c h ; [Jeremy, L t d . , London].
 Decorative Arts 215

G E R M A N celain, p r o b a b l y represents B e l t r a m o d i
M i l a n o , one o f the stock characters o f
the c o m m e d i a dell'arte. T h e n a m e o f
the m o d e l e r is u n k n o w n .
PROVENANCE: Dr. Marcel Nyfeller, Switzer­
land (sale, Christie's, London, June 9, 1986,
lot 21).

Ill

111. LEAF-SHAPED DISH

Porcelain: G e r m a n (Meissen), circa
1715-1720
no
Painted d e c o r a t i o n : G e r m a n
(Breslau), circa 1715-1725
110. B O W L
H a r d - p a s t e p o r c e l a i n , p a i n t e d and
Porcelain: C h i n e s e ( K a n g x i ) ,
g i l d e d , 4 x 8.3 x 11.1 c m ( l / i " x
9

circa 1710 6

3W x 4W)
Painted d e c o r a t i o n : G e r m a n
86.DE.541
(Breslau), circa 1715-1720
H a r d - p a s t e p o r c e l a i n , i n c i s e d and M a d e o f w h i t e B φ t t g e r p o r c e l a i n , the
p a i n t e d i n underglaze blue; p a i n t e d d i s h is m o d e l e d after a C h i n e s e p r o t o ­
and g i l d e d , H : 7.3 c m (2 /s"); D i a m :
7
type. T h e p a i n t e d a n d g i l d e d d e c o r a t i o n
14.9 c m (5 /s")7
is a t t r i b u t e d t o the B o h e m i a n Hausmaler
86.DE.738 Ignaz Preissler (1676-1741).

T h e C h i n e s e b o w l is p a i n t e d i n black PROVENANCE: Dr. Marcel Nyfeller, Switzer­

land (sale, Christie's, London, June 9, 1986,
and g o l d (Schwarzlot) w i t h allegorical
lot 183).
scenes r e p r e s e n t i n g s p r i n g a n d s u m m e r .
BIBLIOGRAPHY: M . Cassidy-Geiger, " T w o
T h e p a i n t i n g is a t t r i b u t e d t o the
Pieces o f Porcelain Decorated by Ignaz
Hausmaler Ignaz Preissler (1676—1741) o f
Preissler i n the J. Paul Getty Museum,"
Breslau, an i n d e p e n d e n t artist w h o was GettyMusJ 15 (1987), pp. 3 5 - 5 2 .
k n o w n for his p a i n t e d d e c o r a t i o n o n
b o t h o r i e n t a l and E u r o p e a n p o r c e l a i n 113
f r o m the M e i s s e n a n d Viennese m a n u ­
factories. O n this b o w l , Preissler used 113. L O N G - C A S E C L O C K
the C h i n e s e underglaze b l u e diaper p a t ­ G e r m a n ( B e r l i n o r P o t s d a m ) , circa
t e r n o n the r i m , the l o w e r section o f the 1755-1760
b o w l , and the f o o t t o frame the scenes O a k , p a i n t e d , silvered, a n d lac­
he added. T h e source o f i n s p i r a t i o n i n quered; m i r r o r glass, enameled
this instance was the cycle o f the f o u r m e t a l , a n d g i l t bronze, 252 x 76 x
seasons p a i n t e d b y Pierre I M i g n a r d 57 c m (8' 3 V " x 2 ' 5 7 " x T IOV2")
2 2

(1612-1695) i n 1677 for the Galerie 86.DB.695

d A p o l l o n i n the C h a t e a u de Saint-
T h e m a k e r o f the c l o c k case is u n ­
C l o u d . T h e plate m a t c h i n g this b o w l ,
k n o w n . T h e c l o c k face is signed
w i t h scenes o f fall and w i n t e r , is c o n ­
Rehnisch, Berlin. R e h n i s c h is recorded as
served i n the M u s e e N a t i o n a l de
h a v i n g been active i n that c i t y i n the
C e r a m i q u e , Sevres.
m i d - e i g h t e e n t h century. I n style, the
PROVENANCE: Octave du Sartel, Paris; (sale, case o f the c l o c k relates closely t o the
Hotel Drouot, Paris, June 4 - 9 , 1894, lot 251);
w o r k o f Johann Michael Hoppenhaupt
Familie von Plupart(?), Berlin; (sale, Lepke,
I I (1709-1769). H e designed i n t e r i o r s i n
Berlin, March 18-22, 1912, lot 488); N o r d ­ 112
b φ h m i s c h e s Gewerbemuseum, Reichenberg the r o b u s t R o c o c o style for Frederick
(now Liberec, Czechoslovakia), 1912; private the Great i n B e r l i n , Potsdam, a n d at
112. F I G U R E
collection, Germany [German dealer]; [Kate Sans Souci. T h e case is p a i n t e d i n faux
G e r m a n (Meissen), circa 1720
Foster, L t d . , London]. hois, a n d the carved d e c o r a t i o n is s i l ­
H a r d - p a s t e p o r c e l a i n , glazed, 16.5 x
BIBLIOGRAPHY: M . Cassidy-Geiger, " T w o vered, o v e r l a i d w i t h y e l l o w v a r n i s h t o
6.8 x 6.5 c m (6V2" x 2 /i6"
n
x 2 /s") 5

Pieces o f Porcelain Decorated by Ignaz resemble g i l d i n g .

Preissler i n the J. Paul Getty Museum," 86.DE.542
PROVENANCE: Herr Michael Kφnig, Munich;
Getty MusJXS (1987), pp. 3 5 - 5 2 . T h i s figure, made o f w h i t e B φ t t g e r p o r ­
[Alexander and Berendt, L t d . , London].
SCULPTURE A N D WORKS OF ART

115

115. P I L G R I M FLASK
I t a l i a n (Florence), circa 1575—1587
P r o d u c e d b y the M e d i c i F a c t o r y
Soft-paste p o r c e l a i n , H : 28.6 c m
( l l W ) . I n s c r i b e d w i t h the d o m e o f
Santa M a r i a d e l Fiore (the cathedral
o f Florence) a c c o m p a n i e d b y the
letter F o n the underside.
86.DE.630
114 T h i s flask is one o f a s m a l l b u t s e m i n a l
g r o u p o f soft-paste p o r c e l a i n w a r e s —
CERAMICS: grotesques o n a p a i n t e r l y w h i t e g r o u n d the earliest examples o f p o r c e l a i n i n
ITALIAN d e c o r a t i n g the basins r i m a n d the c o n ­ E u r o p e — p r o d u c e d i n the F l o r e n t i n e
cave lobes are t y p i c a l o f Fontana s ce­ M e d i c i F a c t o r y ( w h i c h operated b e ­
114. O R A Z I O F O N T A N A r a m i c d e c o r a t i o n ; the grotesques w e r e t w e e n 1574 and 1587) u n d e r Francesco I
I t a l i a n (active U r b i n o ) , 1510-1571 i n s p i r e d b y Raphael's V a t i c a n frescoes d e ' M e d i c i ' s patronage. Since these ce­
Basin (rinfrescatoio), circa w h i c h , i n t u r n , w e r e i n f l u e n c e d b y the ramics o f t e n display signs o f t h e i r e x ­
1561-1571 antique D o m u s A u r e a grottoes. T h i s p e r i m e n t a l nature, the present flask is
T i n - g l a z e d earthenware, Diam: basins glaze p a i n t i n g a n d its h i g h l y dec­ r e m a r k a b l e for its e x c e p t i o n a l l y fine,
46 c m (18V ") 8 o r a t i v e a n d plastic shape reflect the n e w w e l l - f o r m e d , translucent w h i t e body,
86.DE.539 ornate style o f the m i d - s i x t e e n t h c e n ­ decorated w i t h clear b l u e designs.

T h i s basin was p a r t o f a service t r a d i ­ t u r y . A l t h o u g h basins o f this t y p e u s u ­ C h i n e s e h i g h - f i r e ceramics w e r e

t i o n a l l y said t o have been c o m m i s s i o n e d a l l y f u n c t i o n e d as refreshment cisterns m u c h s o u g h t after i n I t a l y f r o m the t i m e

by D u k e G u i d o b a l d o I I della Rovere o f to c o o l w i n e glasses a n d bottles at the o f M a r c o Polo's travels t o the East i n the

U r b i n o (1538-1574). T h e largest g r o u p table, this elaborately m o l d e d and e m ­ late t h i r t e e n t h c e n t u r y ; t h e i r fame a n d

b e l l i s h e d w o r k p r o b a b l y served solely p o p u l a r i t y f u r t h e r spread t h r o u g h the
f r o m this s e r v i c e — t h i r t y - t w o objects—
for display. active trade b e t w e e n Italy, A s i a , and the
is i n the B a r g e l l o , Florence. O r a z i o F o n -
tana c o p i e d a m i d - s i x t e e n t h - c e n t u r y PROVENANCE: Baron Adolphe de Rothschild, N e a r East i n subsequent centuries.

G e r m a n p r i n t i n d e p i c t i n g the scene o f Paris, 1870-1890; Baron Maurice de Roth­ Translucent C h i n e s e p o r c e l a i n was a

schild, Paris, 1890-1916; Duveen, N e w p a r t i c u l a r favorite i n I t a l y p a r t l y because
Deucalion and Pyrrha ( O v i d Meta­
York, 1916; private collection, Stuttgart; it appeared t o c o m b i n e characteristics o f
morphoses, 1.315—415) o n the basins c e n ­
sale, Reimann and Montasberger, Stuttgart,
t r a l boss. A r o u n d this boss, the delicate p o t t e r y a n d g l a s s — t w o crafts mastered
January 1986; [Alain Moatti, Paris].
by I t a l i a n artists b y the late f i f t e e n t h
 Sculpture and Works of Art 217

TUNAE SUAE QUISQUE FABER

(Each m a n is the m a k e r o f his o w n
f o r t u n e ) i n t w o cartouches o n the
obverse.
86.DE.533

T h i s tabletop is p a i n t e d w i t h f o u r elabo­
rate cartouches interspersed w i t h l a n d ­
scape scenes o f b i r d s and hares i n t h e i r
n a t u r a l habitat, i n t e r t w i n i n g v e g e t a t i o n ,
and floral and f r u i t swags. T h e car­
touches—composed o f scrolls, shells,
acanthi, and vegetal m o t i f s — e n c l o s e
M o o r i s h and E u r o p e a n h u n t i n g scenes.
T h e fanciful c u r v i l i n e a r f o r m s , c h a r m ­
i n g pastoral scenes, and exotic depic­
t i o n s o f M o o r s h u n t i n g elephants and
ostriches are t y p i c a l o f the e i g h t e e n t h -
c e n t u r y Rococo.
Francesco Saverio I I M a r i a G r u e was
the last active m e m b e r o f a f a m i l y l o n g
connected w i t h the manufacture o f
p a i n t e d m a i o l i c a at C a s t e l l i i n the
A b r u z z i r e g i o n . I n 1774 he became d i ­
rector o f the r o y a l p o r c e l a i n f a c t o r y at
C a p o d i m o n t e , w h e r e he executed p o r ­
celain statuettes, s m a l l busts, and reliefs
p a i n t e d i n a r e f i n e d style i n s p i r e d b y
116
P o m p e i i a n figures and o r n a m e n t . O n
m a i o l i c a , however, G r u e p a i n t e d m a i n l y
scenic landscape and genre scenes i n a
loose, a l m o s t sketchy style e m p h a s i z i n g
the " r u s t i c " q u a l i t y o f the m e d i u m .
PROVENANCE: Earl o f Warwick, Warwick­
shire; sale, Sotheby's, London, March 4,
1986, lot 24; [Winifred Williams, London].

FURNITURE: ITALIAN

117. T A B L E
117 I t a l i a n (Verona), late s i x t e e n t h
century
century. T h i s flask's f o r m a n d its glaze 116. F R A N C E S C O SAVERIO I I M A R I A Verona marble, 81 x 309 x 123.5 c m
e m b e l l i s h m e n t reflect the influences o f GRUE (317s" x 1217s" x 487s")
Chinese blue-and-white porcelain, c o n ­ I t a l i a n , 1731-1799 86.DA.489
temporaneous maiolica p r o d u c t i o n , and Tabletop, circa 1760
T h e table's r e d d i s h c o l o r and i r r e g u l a r ,
T u r k i s h I s n i k ware. O n l y a b o u t s i x t y T i n - g l a z e d earthenware, Diam:
b r a n c h l i k e v e i n i n g are characteristic o f
pieces o f M e d i c i p o r c e l a i n are k n o w n t o 59.5 c m (2378"). S i g n e d t w i c e w i t h
the rosso di Verona m a r b l e f r o m w h i c h i t
have s u r v i v e d . Saverio Grue's m o n o g r a m , SG, on
was made. T h e carved d e c o r a t i o n o f the
PROVENANCE: W i l l i a m Spence, Florence, u n t i l the horse's h a u n c h i n the scene o f
s u p p o r t slabs, elegant i n its s i m p l i c i t y
1857; Alessandro Foresi, 1857; Giovanni Europeans h u n t i n g deer and FSG
and p r o p o r t i o n , is based o n late s i x ­
Freppa, Florence; Eugene Piot, Paris (sale, o n the horse's h a u n c h i n the scene
t e e n t h - c e n t u r y architectural m o t i f s o f
Paris, March 19, 1860, lot 82, to Baron o f M o o r s h u n t i n g ostriches. I n ­
Alphonse de Rothschild); Baron Alphonse de oval oculus (or oeil-de-boeuf) and d o u b l e
scribed: FLAVA CERES TENUS
Rothschild, Paris, 1860; Baron Edouard de spiral. C a r v e d o n either side o f the cen­
SPICIS REDEMITA CAPILLOS
Rothschild, Paris; Baron Guy and Marie- t r a l pilaster elements, these volutes ap­
Helene de Rothschild, N e w York; [Curarrow ( B l o n d Ceres w h o s e h a i r is e n -
pear t o flatten w i t h the w e i g h t o f the
Corporation N . V., Curasao, Antilles]. w r e a t h e d w i t h grain) and FOR-
 218 Acquisitions/1986

heavy t o p slab t h e y s u p p o r t . A l t h o u g h the influence o f the E m p i r e style, d i s ­ ver (each, u n f r a m e d ) , 17.5 x 23 c m

u n d o c u m e n t e d as t o place o f m a n u f a c ­ s e m i n a t e d i n I t a l y w i t h the i n s t a l l a t i o n (6 /s" x 9"). I n s c r i b e d : L L o n the
7

ture, i t is p r e s u m e d that, because o f its o f the B o n a p a r t e courts. s w o r d i n the Mars plaque a n d

m a t e r i a l , the table was m a d e i n Verona. G a b r i e l e C a p e l l o , k n o w n as M o n - dated 1573 i n the center o f the
PROVENANCE: Baron Edmond de Rothschild, calvo, executed m o s t o f Palagi's f u r n i ­ c l o u d at the left; i n s c r i b e d : L L
Chateau de Pregny, Switzerland, 1930s-1984; ture, a n d he p r o b a b l y m a d e the at the b o t t o m o f the c l o u d i n the
[Sameart, L t d . , Zurich]. M u s e u m ' s daybed. A n i n n o v a t o r i n i n ­ b o t t o m center o f the Juno plaque;
lay technique, C a p e l l o devised a n e w i n s c r i b e d : C DE MEDICIS and
m e t h o d o f c o m p l e t i n g m o r e easily a n d CHARLES IX o n the backs o f b o t h
q u i c k l y the m a n y c o m m i s s i o n s f o r i n l a y plaques at a later date.
w o r k f r o m the C o u r t o f Savoy. T h e 86.SE.536.1-.2
c h i a r o s c u r o effects o f the daybed's so­
L i m o u s i n was the f o r e m o s t master o f
p h i s t i c a t e d i n l a y design are t y p i c a l o f
mid-to-late sixteenth-century Limoges
the I t a l i a n , a n d m o r e p a r t i c u l a r l y the
enamels. T h e M u s e u m ' s plaques are
Emilian, tradition.
allegorical p o r t r a i t s o f Charles I X
PROVENANCE: Made for the Racconigi palace (1550-1574) as M a r s , a n d his m o t h e r ,
118 near Turin; sale, 1922; private collection,
C a t h e r i n e d e ' M e d i c i (1519-1589), as
Switzerland, 1938-1980; [ H e i m Gallery,
Juno. Charles is p o r t r a y e d r i d i n g t r i ­
Ltd., London, 1980-1986].
118. FILIPPO P E L A G I O P A L A G I u m p h a n t l y across the sky, b e a r i n g the
Italian, 1775-1860 s w o r d a n d s h i e l d t h a t are the attributes
Daybed, 1832-1835 o f the R o m a n g o d o f war. H i s c h a r i o t is
D e s i g n e d b y Palagi a n d p r o b a b l y METALWORK: p u l l e d t h r o u g h the clouds b y w o l v e s ,
made by Gabriele Capello FRENCH a n i m a l s considered sacred t o M a r s . I n
M a p l e i n l a i d w i t h mahogany, 80 x the b a c k g r o u n d is a w a r - r a v a g e d l a n d ­
224 x 69 c m (31V " x 88V " x 27 /a").
2 8
1

scape i n w h i c h a w o m a n screams w h i l e
On the back o f the frame: 3421 sten­ her house b u r n s a n d a p i l l a g e r r u n s o f f
c i l e d i n green p a i n t f r o m R a c c o n i g i w i t h her b e l o n g i n g s ; d i r e c t l y above this
i n v e n t o r y o f 1900 (obscured b y u p ­ scene, a m a n beats a n o t h e r m a n w h i l e a
h o l s t e r y ) , Dazio Verificato i n k t h i r d m a n flees. I n the second plaque,
stamp, a n d PPR 3421 i n c i s e d C a t h e r i n e d e ' M e d i c i , queen o f France as
s t a m p ; o n the frame o f the u p h o l ­ the w i f e o f H e n r i I I a n d queen m o t h e r
stered seat: Dazio Verificato i n k o f Charles I X , is l i k e n e d t o J u n o , w h o ,
s t a m p a n d Racconigi Camera da letto as the w i f e o f J u p i t e r a n d m o t h e r o f
degli Augusti Sposi i n p e n c i l across M a r s , was queen o f the heavens. She
the f r o n t ; o n the frame s t r u c t u r e : bears Juno's a t t r i b u t e s : the scepter, s i g ­
37 i n i n k o n p a r t o f the label a n d n i f y i n g her queenship, a n d the w e d d i n g
a p e n c i l d e s i g n f o r inlay. v e i l , s i g n i f y i n g that she was the R o m a n
86.DA.511 goddess o f m a r r i a g e . H e r c h a r i o t is
T h i s d a y b e d was designed b y F i l i p p o p u l l e d across the clouds b y peacocks,
Pelagio Palagi f o r K i n g C a r l o A l b e r t o ' s b i r d s sacred t o J u n o . B e h i n d her is a
(1798—1849) R a c c o n i g i palace (one o f r a i n b o w , s y m b o l o f peace a n d the p e r ­
the residences o f the k i n g s o f Sardinia, sonal device o f C a t h e r i n e d e ' M e d i c i . I n
later k i n g s o f I t a l y ) near T u r i n . Based the b a c k g r o u n d is a peaceful, pastoral
u p o n ancient R o m a n a n d N a p o l e o n i c landscape. Besides b e i n g general a l l e g o ­
p r o t o t y p e s , the d a y b e d f o r m p r o b a b l y ries o f the k i n g a n d the queen m o t h e r , i t
h a d " i m p e r i a l " associations f o r the de­ is possible that these plaques reflect an
signer a n d his p a t r o n . i c o n o g r a p h y dictated b y C a t h e r i n e t o

A n architect, p o r t r a i t painter, f u r n i ­ celebrate t w o t r i u m p h s o f her p o l i t i c a l

t u r e designer, o r n a m e n t a l i s t , a n d c o l l e c ­ career—the Peace o f Saint G e r m a i n

119b
tor, F i l i p p o Pelagio Palagi d e v e l o p e d an (1570) a n d the m a r r i a g e o f Charles I X

interest i n archaeology after a t r i p t o 119. LEONARD LIMOUSIN and Elizabeth o f Austria, b o t h o f w h i c h

R o m e i n 1806. A s i n the M u s e u m ' s French, circa 1 5 0 5 - 1 5 7 5 / 7 7 she h e l p e d arrange.

daybed, Palagi's f u r n i t u r e a n d o r n a m e n t Allegory of Charles IX as Mars, 1573 T h e M u s e u m ' s plaques b e l o n g t o a

designs reveal his interest i n E g y p t i a n , Allegory of Catherine de'Medici as g r o u p o f a b o u t a d o z e n related w o r k s
Greek, Etruscan, and R o m a n antiquity, Juno, 1573 by L i m o u s i n , a l l o f w h i c h depict m y t h ­
w h o s e m o t i f s he i n v e n t i v e l y a n d eclec- Polychrome enamel w i t h painted o l o g i c a l gods o r m e m b e r s o f the F r e n c h
t i c a l l y c o m b i n e d . T h i s w o r k also shows g o l d h i g h l i g h t s o n copper a n d s i l ­ c o u r t as gods. O r i g i n a l l y t h e y p r o b a b l y
 Sculpture and Works of Art 219

w o u l d have been i n c o r p o r a t e d i n t o a
cabinet.
PROVENANCE: Debruge-Dumenil, 1847;
Mentmore collection, 1883(?) (sale, London,
May 20, 1977); Lord Astor, Hever Castle
(sale, London, May 6, 1983, lot 296); [ C y r i l
Humphris, London].

METALWORK:
SPANISH

120

120. PAIR OF C A N D L E S T I C K S
121
Spanish, circa 1650—1670
B r o n z e (each), H : 175 c m (68 /s") 7

SCULPTURE: l o g n a . Instead, as i n the Rearing Horse,

86.DH.601.1-.2 D U T C H t h e y e x h i b i t an increasing p r o t o -
T h e base o f each w o r k bears the arms o f B a r o q u e interest i n m o r e realistic f o r m s ,
the counts o f Benavente, a b r a n c h o f the 121. A D R I A E N D E VRIES o p e n c o m p o s i t i o n s , a n d the play o f l i g h t
P i m e n t e l f a m i l y . A n a p p r o x i m a t e termi­ D u t c h , 1545-1626 a n d shadow.
nus ante quern f o r the candlesticks is s u g ­ Rearing Horse, circa 1613—1622 I n the first decade o f the seventeenth
gested b y Juan de Valdes Leal's p a i n t i n g B r o n z e , 49 x 55 c m {WW x 21 / ").5
8 century, a n u m b e r o f b r o n z e statuettes
In Ictu Oculi o f 1672, i n w h i c h a candle­ Signed: ADRIANUS FRIES o f r e a r i n g horses w e r e b e i n g m a d e b y
stick o f s i m i l a r s o b r i e t y a n d s o l e m n i t y HAGUENSIS FECIT at the rear o f G i a m b o l o g n a a n d his w o r k s h o p , as w e l l
t r i u m p h s over m o r e ornate g o l d and s i l ­ the base. as b y his f o l l o w e r s . B y this t i m e ,
ver artifacts. L i k e the p a i n t i n g , the aus­ 86.SB.488 b r o n z e - c a s t i n g techniques h a d become
tere candlesticks are reflective o f a D e V r i e s was G i a m b o l o g n a s m o s t o r i g ­ m o r e sophisticated a n d the subject was
p r o f o u n d l y s p i r i t u a l m o v e m e n t that i n a l and i n f l u e n t i a l f o l l o w e r , a n d he t e c h n i c a l l y easier t o a c c o m p l i s h . A l s o ,
swept u p m a n y o f Spain's n o b l e patrons played a k e y role i n d i s s e m i n a t i n g that an o p e n c o m p o s i t i o n w i t h f o r m s p r o ­
i n the seventeenth century. W i t h t h e i r sculptor's late M a n n e r i s t style j e c t i n g i n t o space a n d the sense o f a
s i m p l e baluster f o r m s a n d u n a d o r n e d t h r o u g h o u t N o r t h e r n E u r o p e . B y 1593 "captured-fleeting-moment," both o f
surfaces, the M u s e u m ' s candlesticks the artist h a d b e g u n t o w o r k at the w h i c h are basic t o d e p i c t i o n s o f r e a r i n g
contrast w i t h the m o r e elaborately dec­ c o u r t o f Prague for E m p e r o r R u d o l p h horses, w e r e p r i m e concerns o f early
orated w o r k s p r o d u c e d at the same t i m e I I , w h o s e o f f i c i a l c o u r t s c u l p t o r he be­ B a r o q u e sculptors. T h e M u s e u m ' s
i n I t a l y a n d G e r m a n y , r e c a l l i n g , instead, came i n 1601. H e was active u n t i l his Rearing Horse can be dated t o circa
m e d i e v a l a n d Renaissance precedents. death. D e V r i e s ' m a t u r e w o r k s b e g i n t o 1613—1622 o n the basis o f c o m p a r i s o n

PROVENANCE: Commissioned by the counts m o v e away f r o m the abstract p n e u m a t i c w i t h de V r i e s ' o t h e r equestrian

o f Benavente; [Antoine Perpitch, Paris]; (sale, forms and convoluted compositions statuettes.
Christie's, London, A p r i l 24, 1986, lot 34);
w h i c h he h a d learned f r o m G i a m b o -
[Rainer Zeitz, Ltd., London].
 220 Acquisitions /1986

PROVENANCE: Emperor Rudolph I I , Prague; friendship allegory—an i m p o r t a n t t i a n Rauch, the l e a d i n g Neoclassical

Queen Christina o f Sweden; Antoine B r u n , s c u l p t u r a l genre o f m i d - e i g h t e e n t h - s c u l p t o r i n G e r m a n y , was r e i n f o r c e d b y
Baron d'Aspremont, 1658; Claude Ferdinand,
c e n t u r y France. Sculptures o f this t y p e his s t u d y o f a n t i q u e s c u l p t u r e i n I t a l y i n
Marquis de Brun, 1664; Agalange Ferdinand,
— i n c l u d i n g Pigalle's allegorical p o r t r a i t s 1830. H e experienced great success u p o n
Baron de Brun, 1716; descendants o f Baron
de Brun, 1746 (sale, Hotel Drouot, Paris, o f M a d a m e de P o m p a d o u r — d i s p l a y his r e t u r n t o G e r m a n y , r e c e i v i n g a p r o ­
December 12, 1984, lot 78); [Sameart, Ltd., e a r t h l y sensuality and gentle e r o t i c i s m fessorship at the D r e s d e n A k a d e m i e i n
Zurich]. l o o s e l y v e i l e d b y the supposed n o b i l i t y 1832 and a steady stream o f m a j o r s c u l p ­
o f the subjects t h e y represent. T h e o n l y t u r a l c o m m i s s i o n s , i n c l u d i n g those for
o t h e r k n o w n v e r s i o n o f this c o m p o s i ­ p u b l i c m o n u m e n t s dedicated t o famous
t i o n is a terracotta m o d e l for the marble, G e r m a n s such as Lessing, Goethe,
SCULPTURE:
n o w lost, that was e x h i b i t e d at the Schiller, and L u t h e r .
FRENCH
Salon o f 1769. D e s p i t e his r i g o r o u s e d u c a t i o n i n the
PROVENANCE: Michel Ephrussi, Paris, by restrained Neoclassical i d i o m , Rietschel
1877; princesse de Faucigny-Lucinge, Saint i n t r o d u c e d elements o f n a t u r a l i s m i n t o
Biez-en-Belin, 1935-1952; [Wildenstein and his w o r k s ; the M e n d e l s s o h n bust ex­
Co., N e w York].
emplifies the t r a n s i t i o n a l nature o f his
style. T h e l o w e r p o r t i o n o f the bust is
treated i n a Neoclassical fashion, w i t h

SCULPTURE: the shoulders and chest t r u n c a t e d b y

G E R M A N sharp edges above the cartouche and
socle. I n contrast t o this g e n e r a l i z a t i o n
o f f o r m , Rietschel stresses his subject's
i n d i v i d u a l i t y i n his t r e a t m e n t o f the
head b y n a t u r a l i s t i c a l l y r e n d e r i n g
Mendelssohn's large forehead, f u l l lips,
flowing hair, and p e n e t r a t i n g gaze.
PROVENANCE: Mendelssohn-Bartholdy fam­
ily, 1848-1986; [Sam Nystad, The Hague].

122 SCULPTURE:
ITALIAN
122. J E A N - J A C Q U E S CAFFIERI
French, 1725-1792
Hope Nourishing Love, 1769
M a r b l e , H : 72 c m (28 /s"). I n ­
3

scribed: L'ESPERANCE NOURRIT

L'AMOUR o n the f r o n t o f the base
a n d j . j . CAFFIERI. INVENTIT &
SCULPSIT.1769 o n the back o f the 123
base.
86.SA.703 123. ERNST FRIEDRICH AUGUST
RIETSCHEL
Jean-Jacques C a f f i e r i was the last and
German, 1804-1861
m o s t celebrated m e m b e r o f a r e n o w n e d
Bust of Felix Mendelssohn, 1848
f a m i l y o f sculptors. H e established his
M a r b l e , 59.7 x 39.4 x 25.4 c m
fame w i t h a series o f busts executed for
(23V2"xl5V2"xlO").
the Theatre Francais, a n d t h r o u g h o u t
Inscribed: E. rietschel 1848 o n the back.
his career he p r o d u c e d n u m e r o u s p o r ­
86.SA.543
t r a i t b u s t s — o f i m p o r t a n t dead and l i v ­
i n g f i g u r e s — t h a t reflect the s p i r i t o f the T h i s s c u l p t u r e o f the c o m p o s e r F e l i x
Enlightenment i n their combination o f M e n d e l s s o h n (1809—1847) was c o m m i s ­
e x t r e m e r e a l i s m w i t h p s y c h o l o g i c a l acu­ sioned the year after his death b y the
124
ity. For this m a r b l e g r o u p , however, subject's f a m i l y for display i n t h e i r
C a f f i e r i a d o p t e d a m o r e elegant a n d h o m e , a n d i t r e m a i n e d i n the f a m i l y ' s 124. ANTICO
decorative style p e r f e c t l y suited t o his possession u n t i l i t was purchased b y the (Pier Jacopo A l a r i - B o n a c o l s i )
subject matter. Museum. I t a l i a n ( M a n t u a ) , circa 1 4 6 0 - 1 5 2 8
Hope Nourishing Love is a l o v e - a n d - Rietschel's artistic t r a i n i n g , b y C h r i s ­ Bust of the Young Marcus Aurelius,
 Sculpture and Works of Art 221

circa 1520 125. G I R O L A M O C A M P A G N A the b o t t o m center o f the f r o n t .

B r o n z e ; eyes i n l a i d w i t h silver, I t a l i a n (Venice), 1549-1625 86.SE.528
54.7 x 45 x 22.3 c m (21V " x 1 7 / / x
2
3
Infant Christ as Salvator Mundi(?), G e m i t o was the m o s t i m p o r t a n t late
8 A")
3
circa 1605 n i n e t e e n t h - c e n t u r y N e a p o l i t a n sculptor.
86.SB.688 B r o n z e , H : 88 c m (347s") A t the h e i g h t o f his artistic success he
T r a i n e d as a g o l d s m i t h , Pier Jacopo 86.SB.734 became seriously depressed a n d i n 1887
A l a r i - B o n a c o l s i became the p r i n c i p a l C a m p a g n a w o r k e d chiefly i n Venice, was c o m m i t t e d t o a h o m e for the m e n ­
s c u l p t o r at the c o u r t o f M a n t u a i n the w h e r e he was t r a i n e d u n d e r the Tuscan- t a l l y d i s t u r b e d . H e i m m e d i a t e l y escaped
late f i f t e e n t h and early s i x t e e n t h cen­ b o r n Danese C a t t a n e o (1509—1573). H i s and r e t u r n e d t o his o w n h o m e , w h e r e
turies. H i s m a i n p a t r o n s w e r e m e m b e r s style v a r i e d considerably t h r o u g h o u t his for f o u r t e e n years he supposedly re­
o f the Gonzaga f a m i l y , i n c l u d i n g the career, m o v i n g f r o m the restrained m a i n e d h i d d e n i n a single r o o m . I n 1911
w i f e o f Francesco I Gonzaga, Isabella f o r m s o f his teacher t o a d r a m a t i c and he reentered the w o r l d and c o n t i n u e d
d'Este, for w h o m he executed a series o f expressive style w h o s e c o m p o s i t i o n a l w o r k i n g actively u n t i l his death i n 1929.
b r o n z e r e d u c t i o n s and variants o f fa­ sensuousness was i n s p i r e d b y the w o r k s Perhaps i n t e n d e d as a k i n d o f apotropaic
m o u s antique statues. I t is p r e s u m a b l y o f Alessandro V i t t o r i a and G i a m b o l o - s y m b o l , this Medusa was executed j u s t
because o f the close r e l a t i o n o f his gna. B y 1590 he was a l e a d i n g artistic as G e m i t o emerged f r o m his p e r i o d o f
w o r k s t o antique m o d e l s that the artist f i g u r e i n Venice a n d secured c o m m i s ­ seclusion.
was n i c k n a m e d A n t i c o . T h e M u s e u m ' s sions for m a n y m a j o r churches and A l t h o u g h G e m i t o ' s w o r k s generally
bronze, one o f o n l y seven k n o w n busts scuole there, i n c l u d i n g the sculpture for display a v i b r a n t , obsessive response t o
generally accepted as b e i n g b y A n t i c o , the h i g h altar at San G i o r g i o M a g g i o r e the everyday r e a l i t i e s — p a r t i c u l a r l y the
represents the R o m a n e m p e r o r M a r c u s and the A l t a r e d e g l i O r e f i c i i n San p o v e r t y and m i s e r y — o f life i n Naples,
A u r e l i u s as a y o u n g m a n . V e r y s u b t l y Giacometto d i Rialto. T h e infant Christ t h e y are t e m p e r e d b y a search for f o r m a l
m o d e l e d , the Young Marcus Aurelius has s h o w n here is a p p r o x i m a t e l y t w o t o beauty based o n H e l l e n i s t i c ideals and
a less schematic, freer, and m o r e n a t u ­ three t i m e s larger t h a n m o s t Venetian by a m a s t e r y o f craftsmanship r i v a l i n g
ralistic r e n d e r i n g o f f o r m s t h a n is t o be table o r cabinet bronzes, suggesting that that o f Renaissance artists. A l t h o u g h its
f o u n d i n m o s t o f the artist's other busts. the piece m i g h t have f u n c t i o n e d o r i g ­ c o m p o s i t i o n f o l l o w s the design o f the
It is l i k e l y t o have been executed late i n a l l y as p a r t o f an architectural c o m ­ Tazza Farnese, the famous H e l l e n i s t i c
i n A n t i c o ' s career, at the t i m e o f the plex, p r o b a b l y an altar. hardstone object i n the M u s e o A r c h e -
emergence o f the H i g h Renaissance style PROVENANCE: Traditionally said to have been o l o g i c o , Naples, G e m i t o ' s Medusa is
i n Italy. in the collection o f Prince Corleone, Vicenza; h a r d l y a s i m p l e copy. H e t r a n s f o r m e d
A r n o l d Seligman, Paris, circa 1900; Jacques the incised, one-sided design o f the
PROVENANCE: Grimani family, Venice; A n ­
Seligman, Paris; Jean Davray, Paris, before Tazza and e x t e n d e d i t i n t o a three-
tonio Sanquirico, Venice (since at least 1831);
1930; sale, Hotel Drouot, Paris, A p r i l 14-15,
duchesse o f Talleyrand and Sagan, Paris (of­ d i m e n s i o n a l object. I n d o i n g so, G e m i t o
1986, lot 90; [Alain Moatti, Paris].
fered for sale by her heirs through an u n ­ stretched the t r a d i t i o n a l l y neat b o u n d ­
k n o w n auction house i n Paris, June 19—20,
aries b e t w e e n r e l i e f sculpture, t w o - s i d e d
1907, possibly as lot 44 or 45, unsold); Talley­
rand family (sale, Sotheby's, Monaco, Febru­ m e d a l l i o n s , and sculpture i n the r o u n d .
ary 23, 1986, lot 913); [Sameart, Ltd., Zurich]. T h e Medusa appears t o be a c o m p o s i t i o n
that was executed i n o n l y one v e r s i o n ,
as o p p o s e d t o G e m i t o ' s bronzes w h i c h
were o f t e n cast several times.
PROVENANCE: L. Carl and Hazel Bean,
Shriverport, Maine; sale, Skinner's Auction,
no. 709, October 3, 1980, lot 617; Mrs. Piero
Corsini; [Piero Corsini, N e w York].

126

126. V I N C E N Z O G E M I T O
Italian, 1852-1929
Medusa, 1911
Silver, parcel g i l t , D i a m : 24.1 c m
(9V "). I n s c r i b e d : 1911, GEMITO
2 at
125
PHOTOGRAPHS
N o t e : L i s t e d here are the i n d i v i d u a l BONFILS E H R L I C H , F R A N Z A N D LOEW, W. M .
p h o t o g r a p h e r s w h o s e w o r k was ac­ (French: F e l i x , 1831-1885; HEINZ
q u i r e d d u r i n g 1986. E a c h p h o t o g r a p h e r ' s L y d i e , 1837-1918; A d r i e n , ( G e r m a n : E h r l i c h , active
n a m e is f o l l o w e d b y his o r her n a t i o n ­ 1 8 6 1 - 1 9 2 9 ) , 57 ( a l b u m ) 1920s-1930s; L o e w , 1 9 0 3 - 1 9 8 1 ,
ality, life dates (or years f l o u r i s h e d ) , and active E n g l a n d ) , 1
BONFILS, FELIX
b y the n u m b e r o f p h o t o g r a p h s acquired.
(French, 1831-1885, active N e a r EVANS, W A L K E R
T h i s list is f o l l o w e d b y r e p r o d u c t i o n s o f
East), 1 (American, 1903-1975), 1
t w e n t y c h r o n o l o g i c a l l y arranged p h o t o ­
graphs t h a t are h i g h l i g h t s o f the year's B O R R I , V. E FIGLIO
F E I N I N G E R , T[heodore]. L U X (Lucas)
c o l l e c t i n g a c t i v i t y . T h e r e f o l l o w s a sec­ (Italian, active Greece 1870s-1907), 3
( A m e r i c a n , b. G e r m a n y 1910), 11
t i o n o n s i x o f the p h o t o g r a p h e r s w h o s e BOTH, KATT
FEIST, W E R N E R D A V I D
w o r k was a c q u i r e d i n d e p t h d u r i n g the ( G e r m a n , active 1930s, Bauhaus), 1
( G e r m a n , b. 1909), 1
year, c o n s i s t i n g o f a b r i e f c o m m e n t a r y
BOURKE-WHITE, MARGARET
o n each a n d selected r e p r o d u c t i o n s . F E N T O N , ROGER
( A m e r i c a n , 1904-1971), 1
( B r i t i s h , 1819-1869), 8
BRANCUSI, CONSTANTIN
FERREZ, M A R C
(French, b. Romania, 1876-1957), 1
( B r a z i l i a n , 1 8 4 3 - 1 9 2 3 ) , 165
PHOTOGRAPHERS BRANDT, BILL
(album)
( B r i t i s h , 1 9 0 4 - 1 9 8 3 ) , 11
ADAMS, ANSEL FRITH, FRANCIS
BRASS A I (Gyula Halδsz)
( A m e r i c a n , 1 9 0 2 - 1 9 8 4 ) , 11 (British, 1822-1898), 3
( H u n g a r i a n , 1899-1984,
A L I N A R I BROTHERS FUNKAT, WALTER
active France), 13
(Italian, active Florence: Giuseppe, ( G e r m a n , b. 1906), 1
1836-1890; Leopoldo, 1832-1865; C A M E R O N , H E N R Y HERSCHEL H A Y
Romualdo, 1830-1891), 3 GENTHE, ARNOLD
( B r i t i s h , 1852-1911), 15
( A m e r i c a n , b. G e r m a n y ,
ARNDT, GERTRUDE CAMERON, JULIA MARGARET
1869-1942), 2
( G e r m a n , b. 1903), 1 ( B r i t i s h , b. I n d i a , 1815-1879), 10
GOOD, FRANK M A S O N
ATGET, E U G E N E C A M E R O N S T U D I O ( H . H . H . Cameron)
( B r i t i s h , active L o n d o n and N e a r
(French, 1 8 5 7 - 1 9 2 7 ) , 2 ( B r i t i s h , active late 19th c e n t u r y ) , 2
East 1860s-1890s), 3
A U E R B A C H , E L L E N (Studio Ringl and Pit) CLIFFORD, C H A R L E S
( A m e r i c a n , b. G e r m a n y 1906), 1
( B r i t i s h , 1819/20-1863, active HAGEMEYER, J O H A N
Spain), 1 ( A m e r i c a n , b. H o l l a n d ,
BALZER, GERD
COLLEIN, E D M U N D 1884-1962), 1
( G e r m a n , active 1930s, Bauhaus), 1
( G e r m a n , b. 1906), 1 HAJO, ROSE
B A R D O U , A.
CONSTANTIN, DIMITRIOS (Bauhaus, 2 0 t h c e n t u r y ) , 1
(active I t a l y 19th c e n t u r y ) , 1
(Greek, active A t h e n s HAWARDEN, LADY CLEMENTINA
BATZ, E U G E N
1858-1860s), 1 (British, 1822-1865), 1
( G e r m a n , b. 1905), 1
COPPOLA, H O R A C I O HENRI, FLORENCE
BAYER, H E R B E R T
( A r g e n t i n i a n , b. 1906), 1 ( A m e r i c a n , 1 8 9 5 - 1 9 8 2 , active
( A m e r i c a n , b. A u s t r i a ,
France and G e r m a n y ) , 1
1900-1985), 1
D A N A STUDIOS,
HOPKINS, T H U R S T O N
BAYER-HECHT, IRENE ( A m e r i c a n , active 1880s), 1
( B r i t i s h , b. 1913), 1
( A m e r i c a n , b. 1898), 1
DEGAS, E D G A R
B E D F O R D , SIR F R A N C I S (French, 1834-1917), 3 JACKSON, W I L L I A M H E N R Y
( B r i t i s h , 1815/16-1894), 1 (American, 1843-1942), 1
DEGAS, E D G A R A N D B A R N E S S T U D I O
BEESE, L O T T E (active France 19th c e n t u r y ) , 1 JACOBI, L O T T E
( G e r m a n , b. 1903), 1 ( A m e r i c a n , b. G e r m a n y 1896), 1
D E L A M O T T E , PHILIP H E N R Y
B I S S O N FRERES ( B r i t i s h , 1821-1889), 1
KALES, A R T H U R
(French: A u g u s t e - R o s a l i e ,
( A m e r i c a n , 1 8 8 2 - 1 9 3 6 ) , 103
1826-1900; Louis-Auguste, EAKINS, T H O M A S
1814-1876), 1 (American, 1844-1916), 4
 Photographs 223

KEMMLER, FLORENCE PAP, G Y U L A WATKINS, HERBERT

(American, 1900-1972), 9 ( H u n g a r i a n , b. 1899), 1 ( B r i t i s h , 19th c e n t u r y ) , 4

KERTESZ, A N D R E WEEGEE (Arthur H . Fellig)

R E J L A N D E R , O S C A R GUSTAF
( A m e r i c a n , b. H u n g a r y , ( A m e r i c a n , b. H u n g a r y ,
( B r i t i s h , b. Sweden, 1813-1875), 1
1 8 9 4 - 1 9 8 5 ) , 46 1899-1968), 11
RICE, C H E S T E R
K O R T H , F R E D G. WESTON, EDWARD
( A m e r i c a n , active 1890s), 1
( A m e r i c a n , b. G e r m a n y , ( A m e r i c a n , 1886-1958), 833 (795
1 9 0 2 - 1 9 8 3 ) , 21 ROBINSON, HENRY PEACH a l b u m photographs, i n c l u d i n g
( B r i t i s h , 1830-1901), 2 a b o u t 150 o f u n d e t e r m i n e d
KRULL, GERMAINE
authorship)
(Polish, b. 1897, active G e r m a n y ,
SANDER, A U G U S T
H o l l a n d , a n d France), 64 ( b o o k ) WESTON, EDWARD A N D MATHER,
(German, 1876-1964), 1
MARGRETHE
LE GRAY, GUSTAVE S C H N E I D E R , DR. R O L A N D ( A m e r i c a n : W e s t o n , 1886-1958;
(French, 1 8 2 0 - 1 8 8 2 ) , 2 (American, 1884-1934), 4 M a t h e r , 1885-1952), 2

L O N D O N STEREOSCOPIC CO. S M I T H , LEWIS W I L S O N , GEORGE W A S H I N G T O N

( B r i t i s h , active 1850s-1890s ( A m e r i c a n , active circa 1921), 1 ( B r i t i s h , 1823-1893), 54 ( b o o k )
B r i t a i n , Canada, and U . S.), 1 SOMMER, FREDERICK W I N O G R A N D , GARRY
L O U G H T O N , A L F R E D J. ( A m e r i c a n , b. I t a l y 1905), 1 ( A m e r i c a n , 1928-1984), 1
( B r i t i s h , 19th c e n t u r y ) , 1 STEICHEN, EDWARD W O L C O T T , M A R I O N POST
LYNES, GEORGE P L A T T ( A m e r i c a n , b. L u x e m b o u r g , ( A m e r i c a n , b. 1910), 8
(American, 1907-1955), 3 1879-1973), 5
WORTLEY, C O L . H . S T U A R T
STERN, GRETE ( B r i t i s h , 1832-1890), 1
M A N RAY (Emmanuel Radnitsky) ( A r g e n t i n i a n , b. G e r m a n y 1904), 1
( A m e r i c a n , 1 8 9 0 - 1 9 7 6 ) , 26
STIEGLITZ, ALFRED
M A R T I N , I R A W. (American, 1864-1946), 7
( A m e r i c a n , active N e w Y o r k 2 0 t h
STORY-MASKELYNE, M . H . N E V I L
century), 5
( B r i t i s h , 1823-1911), 1
MATHER, MARGRETHE
S T R A N D , PAUL
(American, 1885-1952), 6
( A m e r i c a n , 1890-1976), 119
MAULL A N D POLYBANK
STRAUB, K A R L
( B r i t i s h , active 1850s), 34
( G e r m a n , active 1930s, Bauhaus), 1
M E L V I L L E , R. LESLIE
STRUWE, CARL
( B r i t i s h , 1 8 3 5 - 1 9 0 6 ) , 132 ( a l b u m )
( G e r m a n , b. 1898), 10
MODOTTI, TINA
S U D E K , JOSEF
(Italian, 1 8 9 6 - 1 9 4 2 , active U.S.,
(Czech, 1896-1976), 1
M e x i c o , and G e r m a n y ) , 7
SUTCLIFFE, F R A N K M E A D O W
MOFFETT STUDIO
( B r i t i s h , 1853-1941), 1
(active C h i c a g o circa 1913), 1

MOHOLY, LUCIA TABARD, MAURICE

(German/Swiss, b. B o h e m i a 1899), 1 (French, 1897-1984), 1
MOON, KARL TALBOT, W I L L I A M H E N R Y FOX
(American, 1878-1948), 8 ( B r i t i s h , 1800-1877), 2
MORAITES T E Y N A R D , FELIX
(Greek: Petros, 1 8 3 5 - 1 9 0 5 ; (French, 1817-1892), 160 ( b o o k )
G e o r g i o s , active 1 8 7 4 - 1 9 0 0 ) , 5
T H A L E M A N N , ELSE
M U C H A , GEORG ( G e r m a n , active 1930s), 13
( G e r m a n , b. 1895), 1
THOMSON, JOHN
MUNKACSI, MARTIN ( B r i t i s h , 1837-1921), 27
( A m e r i c a n , b. H u n g a r y ,
1896-1963), 5 VALLOU-DE-VILLENEUVE, JULIEN
(French, 1795-1866), 3
N I N C I , GIUSEPPE
(Italian, 1 8 2 3 - 1 8 9 0 ) , 1
 224 Acquisitions/1986

SELECTED ACQUISITIONS

127

127. W I L L I A M HENRY FOX TALBOT

B r i t i s h , 1800-1877
Leaves of Orchidea, 1839
Photogenic drawing,
17.1x20.8 c m ( 6 / / x 8 A " ) .
3 3
6

I n s c r i b e d : HF Talbot photogr./April
1839. o n the verso.
" 86.XM.621
PROVENANCE: Robert Shapazian; [Daniel
Wolf, Inc., N e w York].

128. GUSTAVE L E GRAY

F r e n c h , 1820-1882
Seascape with Steamboat and Three-
Masted Ship, circa 1856
A l b u m e n p r i n t , 30 x 41.2 c m (117s"
x I6V4"). P h o t o g r a p h e r ' s w e t s t a m p
i n r e d i n k i n the l o w e r r i g h t c o r n e r
o f the i m a g e ; p h o t o g r a p h e r ' s b l i n d
s t a m p o n t h e m o u n t at the center
b e l o w the i m a g e .
86.XM.604.1
PROVENANCE: French private collection; 129. R. LESLIE M E L V I L L E 130. F R A N K M E A D O W SUTCLIFFE
Robert Hershkowitz, London; [Charles B r i t i s h , 1835-1906 B r i t i s h , 1853-1941
Isaacs, Philadelphia]. Going to the Portree Ball, f r o m the The Dock End, Whitby, 1880
M e l v i l l e A l b u m o f 138 p h o t o ­ C a r b o n p r i n t , 23.6 x 29.2 c m
graphs (86. X A . 2 1 . 1 - 1 3 7 ) , circa ( 9 A " x ٢V2"). Signed i n i n k at the
5
6

1860s l o w e r left.
A l b u m e n p r i n t , 18.5 x 23.3 c m 86.XM.518.1
( 7 / i " x 9 / i " ) . I n s c r i b e d : Miss
5
6
3
6 PROVENANCE: European vendor; [Robert
Willoughby, Sophy L.M., R.L.M., Klein Gallery, Boston].
Jack Thorold, Applecross, Lady Mid-
dleton, Going to the Portree Ball.
Bingy Lawley. o n the m o u n t b e l o w
the i m a g e .
86.XA.21.103
PROVENANCE: Heirs o f R. Leslie Melville;
[Howard Ricketts, Ltd., London].
 Photographs 225

131

131. E D G A R DEGAS A N D
BARNES STUDIO
French
Degas: 1834-1917
Barnes S t u d i o : active 19th c e n t u r y
Apotheose de Degas (after I n g r e s '
L'apotheose d'Homere), 1885
A l b u m e n p r i n t , 8.2 x 9.5 c m
(37/ x 3 //) 3

86.XM.690.4
PROVENANCE: Madame Joxe-Halevy; Estate o f
Francois Braunschweig, Paris.

132. A L F R E D S T I E G L I T Z
A m e r i c a n , 1864-1946
Portrait of Eva Hermann, circa 1894
P l a t i n u m p r i n t , 25.2 x 20.2 c m
(9 1 5
/i "x7
6
1 5
/i6")

86.XM.622.4
PROVENANCE: K u r t Hermann; [Daniel Wolf,
Inc., New York]. 133. E U G E N E ATGET
French, 1857-1927
Vieille Cour, 22 rue Quincampoix,
1908
A l b u m e n p r i n t , 22.2 x 17.7 c m
(S h6
n ,f
x 67s")
86.XM.628.1
PROVENANCE: Elias Antinopoulis, Paris;
[Brent Sikkema, Boston].

133
 226 Acquisitions/1986

137

137. T I N A M O D O T T I
I t a l i a n (active U . S . , M e x i c o , a n d
G e r m a n y ) , 1896-1942
Dog and Tree, 1924
G e l a t i n silver p r i n t , 8.3 x 11.9 c m
(3 /s" x
3
4 /i6").
1 1
S i g n e d a n d dated o n
the m o u n t b e l o w the i m a g e .
86.XM.722.4
PROVENANCE: Edward Weston; by descent,
Cole Weston, Carmel.

134

134. K A R L M O O N 1879-1973
A m e r i c a n , 1878-1948 Untitled, 1915
The Peace Pipe, circa 1909 M o c k gum-bichromate print,
Sepia-toned g e l a t i n silver p r i n t 21.2 x 16.6 c m ( 8 W x 6V2"). Signed
w i t h a d d i t i o n s i n o i l ; squared a n d dated at the u p p e r r i g h t .
i n p e n c i l , 34.6 x 43.2 c m 86.XM.625.1
(13W x 17") PROVENANCE: John Simpson; [Mack Lee];
86.XM.472.6 [Daniel Wolf, Inc., N e w York].
PROVENANCE: Estate o f Karl M o o n ; 138
[Argonaut Bookshop, San Francisco].
138. J O H A N H A G E M E Y E R
A m e r i c a n (b. H o l l a n d ) , 1 8 8 4 - 1 9 6 2
Lily, 1926
G e l a t i n silver p r i n t , 16.2 x 22.4 c m
(6 /s" x 8 / i 6 " ) . Signed a n d dated o n
3 13

the m o u n t b e l o w the i m a g e .
86.XM.724.1
PROVENANCE: Edward Weston; by descent,
Cole Weston, Carmel.

136

136. M A R G R E T HE MATHER
A m e r i c a n , 1885-1952
Edward Weston, 1921
P l a t i n u m p r i n t , 19.1 x 24.1 c m
(7 2" x 9'/2"). Signed and dated o n
1/

the m o u n t b e l o w the i m a g e .
135
86.XM.721.5

135. E D W A R D S T E I C H E N PROVENANCE: Edward Weston; by descent,

A m e r i c a n (b. L u x e m b o u r g ) , Cole Weston, Carmel.
 Photographs 227

and corrections i n b l a c k - a n d -
w h i t e i n k , 22.4 x 16.5 c m
(8 /i6"
1 3
x 6V2"). Designer's scaling
marks and Studio Deberny-Peig-
n o t s t a m p o n the verso.
86.XM.627.1
PROVENANCE: Paul Pavel family; [Brent
Sikkema, Boston].

139

139. A N S E L A D A M S
American, 1902-1984
Group Portrait, circa 1930
G e l a t i n silver p r i n t , 17 x 22.7 c m
(6 he" x 8 /i ")
n 15
6

86.XM.588.10
141
PROVENANCE: Donald Tressider; Oliene Tres-
sider Mintzer; Butterfield and Butterfield; 141. L O T T E JACOBI
[Paul M . Hertzmann, Inc., San Francisco].
A m e r i c a n (b. G e r m a n y ) , 1896
Modern Monk Cleaning in Cloister,
early 1930s
G e l a t i n silver p r i n t , 21.8 x 13.4 c m
(87i6" x 5 / i " ) . Signed i n p e n c i l at
5
6

the r i g h t ; p h o t o g r a p h e r ' s w e t
s t a m p o n the verso.
86.XM.642.1
143
PROVENANCE: Folkwang-Auriga Archive,
Berlin, West Germany; [Mathias Schroeder, 143. BRASSAI (Gyula Halδsz)
Radbruch, West Germany].
H u n g a r i a n (active France),
1899-1984
Odalisque, 1934-1935
Cliche-verre, g e l a t i n silver p r i n t ,
39.4 x 29.3 c m ( 1 5 7 / x l l / i " )
9
6

86.XM.3.5
PROVENANCE: Louis Stettner, N e w York.

140

140. M A R T I N M U N K A C S I
A m e r i c a n (b. H u n g a r y ) ,
1896-1963
Motorcycle, circa 1930
G e l a t i n silver p r i n t ,
33.9 x 26.9 c m (137s" x 107i ") 6

86.XM.529.5
PROVENANCE: Joan Munkacsi; [Howard
Greenberg, N e w York].
142

142. M A U R I C E T A B A R D
French, 1 8 9 7 - 1 9 8 4
Schön ist ein Zylinderhut, 1931
G e l a t i n silver p r i n t w i t h a d d i t i o n s
 228 Acquisitions/1986

145

144

144. W E E G E E (Arthur H . Fellig)

A m e r i c a n (b. H u n g a r y ) ,
1899-1968
Their First Murder, circa 1936
G e l a t i n silver p r i n t , 25.6 x 27.9 c m
(lOVie" x 11"). T w o p h o t o g r a p h e r ' s
w e t stamps o n the verso.
86.XM.4.6
PROVENANCE: Louis Stettner, N e w York.

145. JOSEF S U D E K
Czech, 1896-1976
Panorama of Prague, circa 1946
G e l a t i n silver p r i n t , 15.9 x 50.7 c m
(6V4" x 20")
86.XM.516.1
PROVENANCE: Victor Musgrove, London;
[David Dawson and Paul Kasmin, London].

146. B I L L B R A N D T
British, 1904-1983
Girl on Boat, circa 1946
G e l a t i n silver p r i n t , 25.4 x 20.1 c m
(10" x 7 / i " ) . P h o t o g r a p h e r ' s w e t
15
6

s t a m p o n the verso.
86.XM.618.4
PROVENANCE: Noya Brandt, London;
[Marlborough Fine A r t , Ltd., London];
146
[ E d w i n H o u k Gallery, Chicago].
 Photographs 229

A S E L E C T I O N OF able c r i t i c a l a c c l a i m a n d m o d e s t c o m ­ craftsmen o f the A u t o t y p e C o m p a n y

PHOTOGRAPHERS m e r c i a l success. C a m e r o n m a d e f e w o f L o n d o n . T h e y restored the o r i g i n a l
COLLECTED I N DEPTH p h o t o g r a p h s after 1875, the year she d a m a g e d negative a n d s o m e w h a t
a n d her h u s b a n d r e t u r n e d t o C e y l o n ; e n l a r g e d the i m a g e , w h i c h received its
JULIA MARGARET CAMERON. D u r i n g
she d i e d there i n 1879. H e n r y H e r s c h e l present t i t l e , Ellen Terry at the Age of
1986 the M u s e u m a c q u i r e d a g r o u p o f
Hay Cameron's p o r t r a i t o f his m o t h e r Sixteen, w h e n i t was p u b l i s h e d b y A l f r e d
twenty-seven photographs made by or
(no. 147) shows her e n v e l o p e d i n one Stieglitz i n his j o u r n a l Camera Work i n
r e l a t i n g t o the E n g l i s h p h o t o g r a p h e r
o f the shawls that w e r e p a r t o f her usual January 1913. ( A r e c t a n g u l a r v e r s i o n o f
J u l i a M a r g a r e t C a m e r o n (1815-1879),
garb. T h i s sedate i m a g e gives l i t t l e this subject exists w h i c h shows even
who was the subject o f the D e p a r t m e n t
indication o f Mrs. Cameron's i n d e f a t i ­ m o r e o f the damage t o the negative. I n
o f Photographs' inaugural exhibition,
gable nature. i t the i m a g e is also reversed.) T h e d e c o l -
Whisper of the Muse, h e l d i n the f a l l . T e n
The Museum's holding o f Mrs. letage a n d l o o s e d hair, w h i c h are
o f this g r o u p are p o r t r a i t s b y C a m e r o n
Cameron's w o r k , n o w the m o s t e x t e n ­ e x t r a o r d i n a r y for the p e r i o d , serve t o
herself; seven o f these are a l b u m e n
sive a n d i m p o r t a n t o u t s i d e E n g l a n d , emphasize the v u l n e r a b i l i t y o f the sitter,
p r i n t s , t w o are c a r b o n p r i n t s , a n d one is
is c o m p l e m e n t e d b y a p r o v o c a t i v e as does the carefully c o n t r o l l e d l i g h t .
an a u t o t y p e . T h e y range i n date f r o m
g r o u p o f C a m e r o n f a m i l y papers b e ­ L u m i n o u s p o r t r a i t s such as t h i s one
1865 t o 1875, t h u s c o v e r i n g n e a r l y a l l o f
l o n g i n g t o the A r c h i v e s o f the H i s t o r y exerted a great influence o n the later
her w o r k i n g life. T h e people d e p i c t e d
o f A r t , a d e p a r t m e n t o f the G e t t y development o f pictorial photography
i n c l u d e three o f M r s . Cameron's five
C e n t e r for the H i s t o r y o f A r t a n d the a n d secured for C a m e r o n a p r o m i n e n t
sons, the essayist Sir H e n r y Taylor, a n d
H u m a n i t i e s . B o t h the A r c h i v e s ' h o l d i n g place i n the h i s t o r y o f p h o t o g r a p h y .
a Singhalese g i r l .
a n d the p h o t o g r a p h s r e p r o d u c e d here
Fifteen o f the p h o t o g r a p h s w e r e m a d e
derive f r o m H a r d i n g e H a y C a m e r o n .
b e t w e e n 1870 a n d 1900 b y the y o u n g e s t
Her w o r k has been characterized as
o f Mrs. Cameron's five sons, H e n r y
t y p o l o g i c a l . T h a t is, i n the characteristic
H e r s c h e l H a y C a m e r o n (1852-1911),
C a m e r o n i m a g e the m o d e l stands b o t h
who was a successful p o r t r a i t p h o t o g r a ­
for h i m - o r h e r s e l f a n d f o r a f i g u r a l t y p e
pher i n his o w n right. These are a l b u ­
drawn f r o m a literary or religious
men a n d g e l a t i n silver p r i n t s . A l l fifteen
source. I n thus r e p r e s e n t i n g her sitters,
are p o r t r a i t s except one, w h i c h is a p h o ­
she h o p e d t o i m b u e her p h o t o g r a p h s
tograph o f a portrait o f Julia Margaret
w i t h b o t h p h y s i c a l a n d s p i r i t u a l beauty.
C a m e r o n p a i n t e d b y G e o r g e Frederic
I n s h o r t , her i n t e n t was t o m a k e
Watts (1817-1904).
p h o t o g r a p h y an art o f m o r a l p u r p o s e .
T h e t w o remaining photographs i n
T h e r e was also a genre aspect t o her
t h i s g r o u p are b y u n k n o w n makers.
w o r k . T h i s is seen, f o r e x a m p l e , i n the
O n e is an u n s i g n e d a l b u m e n p r i n t o f
s t u d y o f a b o u t 1872 she e n t i t l e d May
the 1860s w h i c h depicts M r s . Cameron's
Prinsep (The Letter) (no. 148). T h e s u b ­
house o n the Isle o f W i g h t a n d w h i c h
j e c t o f letters b e a r i n g p o r t e n t o u s news,
m a y be b y her. T h e subject o f the last,
w h e t h e r f r o m lovers, f a m i l y , o r friends,
a g e l a t i n silver p r i n t f r o m the 1880s, is
appeared o f t e n i n V i c t o r i a n images. T h e
a p a i r o f chess players; one o f t h e m is 147
m o d e l here is M a y Prinsep, a niece o f a
H a r d i n g e H a y C a m e r o n (1846-1911),
b r o t h e r - i n - l a w o f C a m e r o n , w h o also
a n o t h e r o f her sons, w h o m a y have 147. HENRY HERSCHEL H A Y
p o s e d o f t e n f o r G. F. Watts. C a m e r o n
m a d e t h i s study. CAMERON
cast her as E l a i n e i n the p h o t o g r a p h s
J u l i a M a r g a r e t C a m e r o n is the m o s t B r i t i s h , 1852-1911
she m a d e as i l l u s t r a t i o n s f o r Tennyson's
i m p o r t a n t p o r t r a i t p h o t o g r a p h e r i n the Portrait of Julia Margaret Cameron,
Idylls of the King (1875). T h e p o i g n a n t
history o f English photography. B o r n 1874
1864 s t u d y o f the y o u n g E l l e n T e r r y
J u l i a M a r g a r e t Pattle i n C a l c u t t a a n d A l b u m e n p r i n t , 25.6 x 21.6 c m
(no. 149) is M r s . Cameron's first m a s t e r ­
raised a n d educated i n Paris, she l i v e d (10" x 8 7 2 " ) . I n s c r i b e d : Photograph
piece. T h e sitter is the celebrated actress,
again i n I n d i a a n d C e y l o n f o r a decade from the life taken by my youngest son
who h a d m a r r i e d the p a i n t e r Watts the
after her m a r r i a g e t o the d i s t i n g u i s h e d Henry Herschel Hay Cameron. Taken
year before the c o l l o d i o n negative f o r
A n g l o - I n d i a n j u r i s t Charles H a y in 1874. Tor my cherished son
the p h o t o g r a p h was made. A l b u m e n
C a m e r o n (1795-1880). T h e y m o v e d Hardinge with the love and blessing
p r i n t s d a t i n g f r o m 1864—and p r i n t e d i n of his mother Julia Margaret Cameron.
to E n g l a n d i n 1848 a n d settled o n the
reverse—were e n t i t l e d Sadness, suggest­ March 10th, 1877. o n the m o u n t b e ­
Isle o f W i g h t i n 1860. T h e r e , at the age
i n g the result o f an u n h a p p y u n i o n ; l o w the i m a g e .
o f f o r t y - e i g h t , she t o o k u p p h o t o g r a ­
Watts a n d T e r r y w e r e later d i v o r c e d . 86.XM.637.1
phy. She p u r s u e d the m e d i u m w i t h
T h i s carbon print, commissioned by
great energy, and i t b r o u g h t her consider­ PROVENANCE: Hardinge Hay Cameron;
Mrs. C a m e r o n , was m a d e a b o u t 1875 b y Adeline Blake (Mrs. Hardinge Hay)
 230 Acquisitions/1986

Cameron; Geraldine Blake Thomas (a sister

o f Adeline Blake Cameron); Neville H i c k ­
man, B i r m i n g h a m , England.

148

148. JULIA MARGARET CAMERON

B r i t i s h , 1815-1879
May Prinsep (The Letter), circa 1872
A l b u m e n p r i n t , 31.7 x 22.3 c m
(12 /l6" X 8 / l 6 " )
9 13

86.XM.636.5
149
PROVENANCE: Hardinge Hay Cameron;
Adeline Blake (Mrs. Hardinge Hay) F E L I X T E Y N A R D . A French civil e n g i ­ temples, b u t t h e y also i n c l u d e d A r a b
Cameron; Geraldine Blake Thomas (a sister
neer, T e y n a r d (1817—1892) m a d e p h o t o ­ houses, mosques, a n d cemeteries, the
of Adeline Blake Cameron); Neville
graphs i n E g y p t i n 1851 a n d 1852 u s i n g a N i l e a n d its cataracts, a n d studies o f
Hickman, B i r m i n g h a m , England.
paper negative process. B e g i n n i n g i n p a l m trees a n d m o u n t a i n s . A t each o f
1853 a n d c o n t i n u i n g u n t i l 1858, p r i n t s the m a n y archaeological sites t o w h i c h
149. JULIA MARGARET CAMERON w e r e p r o d u c e d i n France f r o m his nega­ T e y n a r d traveled he m a d e at least one
B r i t i s h , 1815-1879 tives one at a t i m e a n d m o u n t e d b y general v i e w o f the r u i n s , such as the
Ellen Terry at the Age of Sixteen, h a n d one t o a page a n d t h e n issued i n v i e w o f the t e m p l e at E d f u (no. 152),
circa 1875, f r o m a negative o f 1864 s m a l l g r o u p s . W h e n these fascicles w e r e then framed more particularized c o m ­
C a r b o n p r i n t , D i a m : 24.2 c m gathered t o g e t h e r i n 1858, the c o m ­ p o s i t i o n s , a n d f i n a l l y p h o t o g r a p h e d an
( 9 / i 6 " ) . I n s c r i b e d : H. H.
9
Cameron, p l e t e d set o f p h o t o g r a p h s c o m p r i s e d a a r c h i t e c t u r a l d e t a i l o r t w o . A s the v i e w
100 Holywell o n the verso. t w o - v o l u m e set c o n t a i n i n g 160 plates, o f the capitals o f the t e m p l e at Esna
86.XM.636.1 e n t i t l e d Egypte et Nubie, sites et monu­ (no. 150) indicates, T e y n a r d occasionally
PROVENANCE: Hardinge Hay Cameron; ments les plus interessants pour Vetude de d e c o n t e x t u a l i z e d a r c h i t e c t u r a l details.
Adeline Blake (Mrs. Hardinge Hay) Vart et de l'histoire. Fewer t h a n a d o z e n H e treated t h e m w i t h soft-focus t o
Cameron; Geraldine Blake Thomas (a sister
c o m p l e t e copies s u r v i v e , one o f w h i c h l e n d t h e m a sense o f m y s t e r y w i t h o u t ,
o f Adeline Blake Cameron); Neville
the M u s e u m has n o w acquired. however, d e t r a c t i n g f r o m the sense he
Hickman, B i r m i n g h a m , England.
A l t h o u g h Teynard's p h o t o g r a p h s gave o f the e x t r a o r d i n a r y s o l i d i t y o f
were published w i t h accompanying E g y p t i a n m o n u m e n t a l architecture.
plans o f some o f the m o n u m e n t s o f H e is n o t e d for his m a s t e r y o f the use
E g y p t i a n antiquity and explanatory o f s h a d o w i n p a t t e r n i n g his w o r k , as
notes t o the p h o t o g r a p h s , his i n t e n t was the p h o t o g r a p h o f the r o c k - c u t t e m p l e
not s i m p l y to record antiquity but at A b u S i m b e l (no. 151) clearly d e m o n ­
rather t o depict the o v e r a l l beauty o f strates. I t is u n u s u a l a m o n g n i n e t e e n t h -
E g y p t i a n architecture a n d its s e t t i n g . c e n t u r y p h o t o g r a p h s o f this subject i n
His subjects w e r e p r e d o m i n a n t l y r u i n e d t h a t i t shows the temple's r e l a t i o n t o
 Photographs 231

the N i l e . Teynard's response t o the at­ PROVENANCE: Private collection, Los Angeles; W e s t o n ; however, a b o u t one h u n d r e d
m o s p h e r e o f E g y p t was a m i x t u r e [Zeitlin and Ver Brugge, Los Angeles]. f i f t y are o f u n d e t e r m i n e d a u t h o r s h i p .
o f m e l a n c h o l y a n d w o n d e r and, as T h e c o l l e c t i o n also contains m a n y
such, e p i t o m i z e s nineteenth-century i n d i v i d u a l W e s t o n p h o t o g r a p h s that
romanticism. are central t o his art before 1925 and
w e r e p r i n t e d f o r e x h i b i t i o n purposes.
M a s t e r p r i n t s f r o m the A r m c o Steel
series, p o r t r a i t s o f his l o n g t i m e m o d e l
and friend T i n a M o d o t t i , and figure
studies o f the dancer B e r t h a W a r d e l l are
i n c l u d e d , as w e l l as those i l l u s t r a t e d
here: Plaster Works (no. 156), Chandler
Weston (no. 155), a n d Chandler Weston
in His Shop (no. 157).
T h e a l b u m photographs provide i n ­
s i g h t f u l g l i m p s e s i n t o Weston's t r a n s i ­
tion f r o m a promising juvenile to a f u l l -
152. F E L I X T E Y N A R D
fledged artist. I n a d d i t i o n t o the 762
F r e n c h , 1817-1892
photographs included i n informal
150 Pylon, Temple of Horus, Edfu, 1852
a l b u m s , a b o u t t h i r t y others w e r e
Salt p r i n t , 2 3 7 x 30.5 c m
o r i g i n a l l y m o u n t e d i n a l b u m s and
150. F E L I X T E Y N A R D ( 9 W x 12")
subsequently r e m o v e d before t h e y ar­
French, 1817-1892 86.XB.693.1.75
rived at the M u s e u m . O n e such p r i n t is
Capitals, Shafts, and Architrave,
PROVENANCE: Private collection, Los Angeles;
Temple of Knum, Esna, 1852 the Back Entrance of Edward Weston's First
[Zeitlin and Ver Brugge, Los Angeles].
Salt p r i n t , 24.9 x 30.8 c m Studio, Tropico (no. 154). C o n s t r u c t e d f o r

( 9 / i " x 12V ")

13 a m e r e six h u n d r e d dollars i n the s m a l l
6 8

86.XB.693.1.71 t o w n o f T r o p i c o (today p a r t o f G l e n -
E D W A R D W E S T O N . I n 1986 the Mu­ dale), t h i s s t u d i o served W e s t o n for the
PROVENANCE: Private collection, Los Angeles;
[Zeitlin and Ver Brugge, Los Angeles]. s e u m a c q u i r e d a c o l l e c t i o n o f 821 p h o t o ­ e n t i r e early phase o f his career, f r o m
graphs b y a n d a b o u t E d w a r d W e s t o n 1911 t o the early 1920s. Its p a r e d - d o w n ,
(1886-1958) a n d his f a m i l y , plus f o u r ­ u n p r e t e n t i o u s facade is e m b l e m a t i c o f
teen i m a g e s b y artists associated w i t h his l i f e l o n g d e v o t i o n t o m a i n t a i n i n g an
W e s t o n . T h e e n t i r e g r o u p was p u r ­ u n c o m p l i c a t e d , b o h e m i a n existence.
chased f r o m the artist's s o n C o l e . A l l F o r s a k i n g the f i n a n c i a l rewards and
m a d e at the t i m e o f the negatives, these g l a m o u r that m i g h t have been his h a d
p h o t o g r a p h s c h r o n i c l e Weston's early he f u l l y p u r s u e d c o m m e r c i a l p h o t o g r a ­
career, f r o m 1906 w h e n he m o v e d f r o m phy, he m a d e a choice t o w o r k o u t o f
C h i c a g o t o L o s A n g e l e s t o the 1920s his s i m p l e r u r a l s t u d i o rather t h a n one
w h e n he g r a v i t a t e d f i r s t t o M e x i c o a n d i n the center o f L o s A n g e l e s .
t h e n t o N o r t h e r n C a l i f o r n i a . For the Weston's Self Portrait (no. 153), also
m o s t part, the i n d i v i d u a l p r i n t s a n d a f o r m e r l y m o u n t e d i n an a l b u m , shows
m i n o r i t y o f a l b u m p r i n t s are signed a n d the a m b i t i o u s artist as he l o o k e d at
t i t l e d b y the artist. T h e g r o u p i n g i n ­ twenty-four or twenty-five. A r m s
cludes p r i m a r i l y g e l a t i n silver a n d p l a t i ­ f o l d e d , sleeves r o l l e d up, a n d s t a r i n g
num prints, w i t h some p a l l a d i u m and d i r e c t l y a n d self-assuredly at the
c y a n o t y p e p r i n t s ; a l l range i n size f r o m camera, he appears ready t o g o t o w o r k .
T/8-by-l /s t o lT/ -by-14Vi6 inches.
5
8
I n d e e d , W e s t o n w o r k e d v e r y h a r d at his
N e a r l y e i g h t h u n d r e d o f these i m a g e s craft d u r i n g these early years.
151 come f r o m f a m i l y albums c o m p i l e d and D u r i n g the f i r s t p a r t o f his career,
t i t l e d b y the artist's f i r s t w i f e , F l o r a W e s t o n w o r k e d p r i m a r i l y i n his s t u d i o .
151. F E L I X T E Y N A R D B e t w e e n c o m m e r c i a l assignments, he
C h a n d l e r W e s t o n . M o s t o f these f a m i l y
F r e n c h , 1817-1892 h o n e d his skills as a p o r t r a i t i s t . T h e fine
p r i n t s , w h i c h are p r i m a r i l y b i o g r a p h i c a l
Colossi in Profile, Great Temple, p l a t i n u m p r i n t Chandler Weston is one
and a u t o b i o g r a p h i c a l i n nature, are
Abu Simbel, 1852 o f a series o f sensitive p o r t r a i t s o f his
m o u n t e d o n pages w h i c h have been
Salt p r i n t , 30.8 x 25.3 c m
gathered, s o m e t i m e s u n b o u n d , i n t o a l ­ eldest son; the n e w l y a c q u i r e d c o l l e c t i o n
(1278" x 10")
b u m s . T h e m a j o r i t y o f the a l b u m p h o ­ includes several o t h e r p h o t o g r a p h s from
86.XB.693.2.154
tographs have been a t t r i b u t e d t o t h i s series, such as Chandler Weston in
 232 Acquisitions/1986

His Shop. Weston's earlier p o r t r a i t s w e r e

t y p i c a l l y executed i n the p i c t o r i a l i s t
style, o f w h i c h he was a n i m p o r t a n t
West C o a s t e x p o n e n t . I n its f l a t t e n i n g
o f space a n d p l a y f u l g e o m e t r y o f
shadow, Chandler Weston, f r o m 1920,
shows signs o f Weston's m o d e r n i s t
explorations.
Five years later, d u r i n g a p e r i o d o f
travel a n d after his artistic r e n e w a l i n
M e x i c o d u r i n g 1923-1924, W e s t o n p h o ­ 154. E D W A R D W E S T O N
t o g r a p h e d Plaster Works. T h i s e x t r a o r ­ American, 1886-1958
155
dinary p l a t i n u m photograph, made on a Back Entrance of Edward Westons
r e t u r n v i s i t t o L o s Angeles, invites First Studio, Tropico, circa 1915 155. E D W A R D W E S T O N
c o m p a r i s o n w i t h Chandler Weston i n its G e l a t i n silver p r i n t , 11.9 x 20.3 c m American, 1886-1958
soft, evocative use o f l i g h t a n d f o r m . ( 4 / i 6 " x 8"). I n s c r i b e d :
u
(?) ed Chandler Weston, 1920
U t i l i z i n g the subtle g e o m e t r i c abstrac­ Studio, Glendale, Calif, i n an u n ­ P l a t i n u m p r i n t , 19.2 x 23.6 c m
t i o n o f a plaster m i l l , W e s t o n goes k n o w n h a n d o n the verso. (7 /i6" x 9 / i 6 " ) . Signed, dated,
9 5
and
b e y o n d his early f l i r t a t i o n w i t h m o d e r n ­ 86.XM.719.27 i n s c r i b e d Chandler, o n the recto o f
i s m t o achieve a m a s t e r f u l m e r g i n g o f PROVENANCE: By descent, Cole Weston, the m o u n t b e l o w the i m a g e .
the softness o f p i c t o r i a l i s m w i t h the d y ­ Carmel. 86.XM.710.10
namism o f Constructivist painting.
PROVENANCE: B y descent, Cole Weston,
Carmel.

153

153. E D W A R D W E S T O N
American, 1886-1958
Self-Portrait, circa 1910-1911
G e l a t i n silver p r i n t , 16.5 x 10.1 c m
(6V2" x 3 /l6")
1 5

86.XM.719.4
156
PROVENANCE: B y descent, Cole Weston,
Carmel.
 Photographs 233

156. EDWARD WESTON M A N R A Y . I n 1986 t h e M u s e u m T r i s t a n T z a r a , A n d r e B r e t o n , Francis

American, 1886-1958 acquired a g r o u p o f t w e n t y - s i x p h o t o ­ Picabia, a n d o t h e r p a r t i c i p a n t s i n t h e
Plaster Works, 1925 graphs r a n g i n g i n date f r o m 1917 t o 1951 D a d a i s t m o v e m e n t . I n Paris i n 1917
P l a t i n u m p r i n t , 19.2 x 24 c m by t h e A m e r i c a n artist M a n R a y he p h o t o g r a p h e d D u c h a m p w i t h h i s
( 7 / i 6 " x 9 / i 6 " ) . S i g n e d , dated, a n d
9 7
(ne E m m a n u e l R a d n i t s k y , 1 8 9 0 - 1 9 7 6 ) . Glissiere contenant un moulin ä eau en me-
i n s c r i b e d Los Angeles o n t h e verso. V a r y i n g i n size f r o m 3 / s - b y - 2 / i 6 t o
7 15
taux voisins (1913—1915, a s t u d y for h i s
86.XM.710.5 U / i 6 - b y - 9 / i 6 inches, these p r i n t s are
13 3
Large Glass), the most impressive Dada-
PROVENANCE: B y descent, Cole Weston, the earliest o r best s u r v i v i n g ones f r o m object f r o m D u c h a m p ' s Paris years.
Carmel. the negatives a n d w e r e m a d e b y h i m at M a n Ray's p h o t o g r a p h (no. 158) i n t r o ­
the t i m e t h e negatives w e r e made. T h i s duces elements o f spatial i l l u s i o n a n d
g r o u p o f images, assembled f r o m a v a r i ­ portraiture t o Duchamp's sculpture via
ety o f sources b y t h e N e w Y o r k dealer- the b a c k g r o u n d , w h i c h includes w i r e s
c o l l e c t o r D a n i e l W o l f , is p a r t i c u l a r l y f r o m an electric m e t e r that appear t o be
s t r o n g i n w o r k s f r o m t h e f i r s t decade attached t o t h e t o p edge o f the s c u l p ­
o f M a n Ray's career. ture. D u c h a m p is s h o w n stretched a m ­
M a n R a y — t h e painter, w r i t e r , a n d b i g u o u s l y o n a table s u p p o r t i n g t h e
m a k e r o f objects—was also an excep­ object i n a w a y t h a t confuses w h a t is u p
tionally inventive photographer. B o r n w i t h w h a t is d o w n . B e t w e e n t h e m ,
a n d educated i n t h e U n i t e d States, he M a n Ray a n d D u c h a m p created a w o r k
first w o r k e d as a c o m m e r c i a l artist i n that bridges t h e gap b e t w e e n t h e cre­
N e w Y o r k C i t y d u r i n g t h e early teens ative act a n d p u b l i c p e r c e p t i o n o f a
o f the c e n t u r y . H i s visits t o A l f r e d w o r k o f art.
Stieglitz's 291 g a l l e r y acquainted h i m It was t h r o u g h t h e f i l t e r o f M a n Ray's
w i t h t h e idea o f e x p e r i m e n t a l art, a n d eye that t h e w o r l d saw D u c h a m p ' s
he s o o n m e t S t a n t o n M a c D o n a l d - w o r k . D u c h a m p ' s celebrated altered
W r i g h t , M o r g a n Russell, a n d M a r c e l ready-made, L.H.O.O.Q. (a c o l o r
D u c h a m p . ( H e m e t t h e last i n 1915, postcard o f da V i n c i ' s Mona Lisa, t o
and the t w o developed a friendship that w h i c h D u c h a m p added d r a w i n g a n d
lasted n e a r l y f i f t y years.) D u r i n g m u c h t e x t ) , was p r o p a g a t e d v i a M a n Ray's
157
o f his career M a n Ray w o r k e d s i m u l ­ p h o t o g r a p h La Joconde vue par Duchamp
157. EDWARD WESTON taneously at p a i n t i n g , collage, a n d (no. 159). E v e n t h o u g h D u c h a m p h a d
American, 1886-1958 p h o t o g r a p h y . I n h i s a u t o b i o g r a p h y he the idea o f m a n i p u l a t i n g t h e celebrated
Chandler Weston in His Shop, 1920 described h o w n a t u r a l i t was f o r h i m t o p a i n t i n g , M a n Ray i n i t i a l e d t h e p h o t o ­
P l a t i n u m p r i n t , 23.7 x 19 c m create i n several m e d i a . " I h a d never g r a p h o f i t , thus i d e n t i f y i n g h i m s e l f
(9 A " x 7V "). S i g n e d a n d dated
5
6 2
shared t h e c o n t e m p t s h o w n b y o t h e r w i t h t h e idea. T h e M u s e u m ' s p r i n t is
o n t h e recto o f the m o u n t b e l o w painters f o r p h o t o g r a p h y , " he w r o t e . b e l i e v e d t o be t h e earliest s u r v i v i n g
the i m a g e . " T h e r e was n o c o m p e t i t i o n i n v o l v e d , M a n Ray replica o f L.H.O.O.Q., the one
86.XM.710.12 rather t h e t w o m e d i u m s [ p a i n t i n g D u c h a m p v a l u e d over t h e " o r i g i n a l "
PROVENANCE: B y descent, Cole Weston, a n d p h o t o g r a p h y ] w e r e engaged i n altered postcard.
Carmel. different paths." S o o n after a r r i v i n g i n Paris, M a n R a y
A b o u t 1915, D u c h a m p i n v i t e d M a n began a r o m a n t i c r e l a t i o n s h i p w i t h K i k i
Ray t o v i s i t his w o r k space i n a c o m ­ o f M o n t p a r n a s s e (nee A l i c e P r i n i n B r i t ­
m e r c i a l l o f t b u i l d i n g t h a t h o u s e d such t a n y ) , w h o was a p o p u l a r artist's m o d e l .
t r a d e s m e n as p r i n t e r s a n d t i r e v u l - She i n s p i r e d M a n Ray's artistic interest
canizers. I n D u c h a m p ' s quarters he i n t h e female f i g u r e . Le violon dTngres
f o u n d n o t h i n g t h a t r e s e m b l e d a painter's (no. 160), M a n Ray's altered p h o t o g r a p h
s t u d i o . " I n t h e far c o r n e r near t h e w i n ­ o f her, was h i s answer t o D u c h a m p ' s
d o w , " he later recalled, " s t o o d a p a i r L.H.O.O.Q. W i t h o u t t h e i n k design
o f trestles o n w h i c h lay a large piece r e p r e s e n t i n g t h e s o u n d holes o f a
o f heavy glass covered w i t h i n t r i c a t e v i o l i n t h a t has been s u p e r i m p o s e d o n
patterns l a i d o u t i n fine lead w i r e s . " the m o d e l ' s back, t h e p h o t o g r a p h w o u l d
T h e piece h a d a deep influence o n M a n resemble an academic s t u d y ; w i t h t h e
Ray, w h o soon q u i t his j o b as a c o m m e r ­ design, there is a w i t t y reference t o
cial artist t o dedicate h i m s e l f e x c l u ­ Ingres' hobby o f playing the v i o l i n and
sively t o p h o t o g r a p h y . to t h e f i g u r e i n his celebrated p a i n t i n g

M a n Ray s o o n f o l l o w e d D u c h a m p The Turkish Bath (1859-1863, n o w

to Paris a n d was i n t r o d u c e d there t o i n the Musee d u Louvre).

 234 Acquisitions/1986

158

158. M A N RAY
American, 1890-1976
Duchamp avec son verre (Duchamp
w i t h [a s t u d y f o r h i s ] Large Glass),
1917
G e l a t i n silver p r i n t , 8.6 x 15.2 c m
(3W x 6Vi6"). Signed, dated, i n ­
scribed, a n d m a r k e d w i t h a p h o ­
t o g r a p h e r s w e t s t a m p o n the
verso.
86.XM.626.4
PROVENANCE: A r t u r o Schwarz; [Daniel Wolf,
N e w York].

159. M A N RAY
American, 1890-1976
La Joconde vue par Duchamp (Mona
Lisa as seen b y D u c h a m p ) , 1921/22
( f r o m a r e a d y - m a d e o f 1914)
G e l a t i n silver p r i n t , 16.9 x 10.5 c m
(6 /s" x 4V ")
5
8

I n i t i a l e d at the l o w e r r i g h t .
86.XM.626.1
PROVENANCE: A r t u r o Schwarz; [Daniel Wolf,
N e w York].
159

160. M A N RAY
American, 1890-1976
Le violon dTngres, 1924
G e l a t i n silver p r i n t , 29.5 x 22.8 c m
(llW x 9"). Signed a n d dated at the
lower right; photographer's wet
s t a m p o n the verso.
86.XM.626.10
PROVENANCE: [Robert Kasmin, London]; Paul
Kasmin; [Daniel Wolf, N e w York].

160
 Photographs 235

P A U L STRAND. D u r i n g 1986 the I n 1919 S t r a n d m e t Rebecca Salsbury, Ghost Town (St. Elmo?) Colorado (no.
M u s e u m acquired a g r o u p o f 117 p h o t o ­ a teacher w h o w o u l d later b e c o m e a 163), a s m a l l b r o m i d e p r i n t o f 1931, is
graphs r a n g i n g i n date f r o m 1913 t o 1955 painter; i n 1922 t h e y w e r e m a r r i e d . an exquisite m i n i a t u r e r e n d e r i n g o f the
by the A m e r i c a n artist Paul S t r a n d T h r o u g h Strand, Rebecca m e t a n d b e ­ edifice o f a deserted p u b l i c b u i l d i n g set
(1890-1976). These photographs, came friends w i t h A l f r e d S t i e g l i t z a n d against v i g o r o u s h i l l s a n d clouds, l i t b y
v a r y i n g i n size f r o m 4V2-by-5 /4 t o 3
his w i f e , G e o r g i a O'Keeffe. Rebecca at a b r i g h t f u l l sun a n d p h o t o g r a p h e d
13V8-by-7 A inches, are the best s u r v i v ­
3
Dr. Stieglitz's, Mamaroneck, New York s t r a i g h t o n . T h r o u g h Strand's h o n e s t v i ­
i n g p r i n t s m a d e at the t i m e the negatives (no. 162) was m a d e i n 1920, the year s i o n the o n e t i m e c i t y h a l l is s h o w n as a
w e r e made. Strand, a master p r i n t e r , S t r a n d began c o m p i l i n g a " p o r t r a i t " majestic A m e r i c a n r u i n . T h e M u s e u m ' s
e m p l o y e d p l a t i n u m , p a l l a d i u m , satista, o f his w i f e . T h i s series also c h r o n i c l e d p r i n t is i n d e e d a m u c h m o r e accurate
C y k o r a , b r o m i d e , a n d g e l a t i n silver t h e i r t w e l v e - y e a r m a r r i a g e . I n 1932, r e c o r d o f the c i t y h a l l t h a n the m o r e f a ­
papers i n c r e a t i n g these p h o t o g r a p h s . after e x h i b i t i n g t o g e t h e r at Stieglitz's m i l i a r h o r i z o n t a l v e r s i o n o f this p h o t o ­
T h i s comprehensive g r o u p o f prints A n A m e r i c a n Place g a l l e r y i n N e w g r a p h , w h i c h h a r k s back t o Strand's
spans Strand's career f r o m before his Y o r k , t h e y separated. T h e 1986 a c q u i s i ­ e x p e r i m e n t s o f the teens. I n the h o r i ­
first c r i t i q u e w i t h A l f r e d S t i e g l i t z i n t i o n includes e i g h t o f Strand's p o r t r a i t s z o n t a l i m a g e the s t r u c t u r e is isolated

1915 t o his later years a n d expatriate life o f Rebecca. H i s series is s o m e t i m e s f r o m any c o n t e x t , n a t u r a l o r m a n -

i n France. compared to that made b y Stieglitz, made, a n d the f i n a l effect is o f a m o r e

Still Life with Matchboxes (no. 161) is e n t i t l e d Georgia O'Keeffe, A Portrait, abstracted facade w i t h b o l d b l a c k ­

one o f a series o f experiments i n abstrac­ b e t w e e n 1917 a n d 1930. Stieglitz's idea ened w i n d o w s .

t i o n p r o d u c e d b y the artist at his family's o f one p o r t r a i t m a d e o f m a n y parts

s u m m e r cottage at T w i n Lakes, C o n ­ m a y have i n s p i r e d Strand's series; o n
n e c t i c u t , i n 1916. A l t h o u g h the i m a g e the o t h e r h a n d , i t m a y have been an
m o s t l i k e l y o r i g i n a t e d as a 3V4-by-4V4- e x t e n s i o n o f the intense i n v e s t i g a t i o n
i n c h negative m a d e w i t h Strand's h a n d ­ o f p o r t r a i t u r e he h a d b e g u n several
h e l d E n s i g n camera, the large satista years earlier i n his " c a n d i d " N e w
p r i n t was p r o b a b l y contact p r i n t e d Y o r k street p h o t o g r a p h s .
f r o m a negative enlarged b y the l a n t e r n - S t r a n d seems t o have b e c o m e aware
slide p r o j e c t i o n m e t h o d . A t this t i m e o f architecture as an i m p o r t a n t subject
S t r a n d was m a k i n g his c a r e f u l l y crafted for p h o t o g r a p h y v e r y early i n his career.
p r i n t s at the C a m e r a C l u b o f N e w W h e n he established h i m s e l f as a c o m ­
Y o r k , w h e r e he h a d been u s i n g a d a r k ­ m e r c i a l p h o t o g r a p h e r i n 1912 he set o u t
r o o m since g r a d u a t i n g f r o m the E t h i c a l t o earn an i n c o m e b y d o c u m e n t i n g the
C u l t u r e S c h o o l i n 1909. I n the s u m m e r architecture o f college campuses a n d
o f 1916, perhaps w i t h the e n c o u r a g e ­ s e l l i n g the f i n a l h a n d - c o l o r e d p l a t i n u m
m e n t o f Stieglitz, the artist p u s h e d his p r i n t s t o d e p a r t i n g seniors as souvenirs.
modernist instincts to their l i m i t s . A l t h o u g h t h i s enterprise d i d n o t p r o v e
S t i e g l i t z h a d r e v i e w e d Strand's w o r k i n particularly lucrative, i t d i d provide h i m
1915 and, i n M a r c h 1916, h a d g i v e n h i m w i t h the excuse t o travel a r o u n d the
a o n e - m a n show, Photographs of New c o u n t r y , t o l o o k at v a r i o u s k i n d s o f
York and Other Places by Paul Strand, at b u i l d i n g s , a n d t o develop an eye f o r the
his gallery, 2 9 1 . T h a t s u m m e r , S t r a n d forms and potential iconography o f
was l o o k i n g n o t at the c i t y b u t rather a r c h i t e c t u r a l p h o t o g r a p h y . Strand's
at c o m p o s i t i o n s o f his o w n m a k i n g , set Wall Street (1915) s h o w s his a b i l i t y t o
u p o n the p o r c h o f the T w i n Lakes c o t ­ use a r c h i t e c t u r a l f o r m s expressively, b u t
tage. B o t t l e s , b o w l s , chairs, f r u i t , a n d White Fence, Port Kent, New York (1916),
m a t c h b o x e s p r o v i d e d the r a w m a t e r i a l m o r e s i g n i f i c a n t l y , foreshadows his
for i m a g e r y t h a t f i n a l l y r a n g e d f r o m the m a t u r e w o r k and, i n p a r t i c u l a r , his
n e a r l y realistic t o the t o t a l l y abstract. I n persistent a t t e n t i o n t o the f o r m s o f
Still Life with Matchboxes, subject m a t t e r vernacular architecture.
is s t i l l recognizable, a l b e i t u n e x p e c t e d , B e t w e e n 1930 a n d 1932 the Strands
b u t the sense o f space a n d scale is frac­ spent s u m m e r s i n Taos, N e w M e x i c o ,
t u r e d a n d a m b i g u o u s . T h e w a r m grays u s i n g as t h e i r base one o f the cottages
o f the p r i n t range b e a u t i f u l l y t h r o u g h o w n e d b y the art p a t r o n M a b e l D o d g e
the solids a n d s h a d o w s f r o m the w h i t e L u h a n . F r o m there S t r a n d e x p l o r e d the
b o w l at the u p p e r left t o the a l m o s t - a r c h i t e c t u r a l r e m n a n t s o f the r e g i o n t h a t
b l a c k b o t t l e at the l o w e r r i g h t . was once f r o n t i e r A m e r i c a . City Hall,
 236 Acquisitions/1986

163

163. P A U L S T R A N D
A m e r i c a n , 1890-1976
City Hall, Ghost Town (St. Elmo?),
Colorado, 1931
Silver b r o m i d e p r i n t , 14.6 x 11.3 c m
(5 A" x 4 7 i " ) . I n s c r i b e d : Paul
3
6 Strand
HS. b y H a z e l S t r a n d o n the verso.
86.XM.683.64
PROVENANCE: The Aperture Foundation,
New York.

161
A N D R E K E R T E S Z . I n 1986 the Museum

161. PAUL S T R A N D acquired a g r o u p o f f o r t y - o n e p h o t o ­

A m e r i c a n , 1890-1976 graphs b y A n d r e Kertesz ( 1 8 9 4 - 1 9 8 5 ) ,

Still Life with Matchboxes, 1916 w h o was b o r n i n H u n g a r y and m o v e d
Satista p r i n t o n rice paper m o u n t , t o Paris i n 1925 a n d t h e n t o N e w Y o r k
33.4 x 19.8 c m (13V " x 7 /s"). Signed
8
5
i n 1936. T h e s e p r i n t s , v a r y i n g i n size
at the l o w e r r i g h t . f r o m 6 / s - b y - 6 V 4 t o l l / s - b y - 7 / i 6 inches
7 7 1 5

86.XM.683.59 a n d i n date f r o m the 1910s t o 1958, are

PROVENANCE: The Aperture Foundation, for the m o s t p a r t either u n i q u e pieces
New York. or the earliest and best s u r v i v i n g p r i n t s
created b y the p h o t o g r a p h e r i n g e l a t i n
silver at the t i m e the negatives w e r e
162. P A U L S T R A N D
made. A c q u i r e d p r i n c i p a l l y f r o m the
A m e r i c a n , 1890-1976
estate o f A n d r e Kertesz, the g r o u p i n ­
Rebecca at Dr. Stieglitz's,
cludes images r a n g i n g f r o m the b e g i n ­
Mamaroneck, New York, 1920
n i n g o f his career i n B u d a p e s t t o his
P l a t i n u m p r i n t , 25.1 x 20 c m
first e x p e r i m e n t a l w o r k i n Paris t o his
(9 /s" x 7 /s")
7 7

New Y o r k p e r i o d , w h e n he was i n f u l l
86.XM.683.1
creative stride.
PROVENANCE: The Aperture Foundation, 162
I n Paris Kertesz entered the circle
New York.
o f l e a d i n g painters a n d sculptors, i n ­
c l u d i n g T r i s t a n Tzara, M a r c C h a g a l l ,
A l e x a n d e r Calder, a n d Piet M o n d r i a n .
Kertesz's p h o t o g r a p h s have m u c h i n
c o m m o n w i t h the w o r k o f artists w i t h
 Photographs 237

w h o m he fraternized, yet he r e m a i n e d t h a t are so i n d i s t i n c t as t o be i l l e g i b l e . I n 164. A N D R E KERTESZ

generally i n d e p e n d e n t o f t h e i r m a n ­ Fete Performer w e i n f e r that the b u s k e r A m e r i c a n (b. H u n g a r y ) ,
ifestos a n d m o v e m e n t s . B o t h an i n n o v a ­ has an audience o t h e r t h a n the s o l i t a r y 1894-1985
tor a n d a teacher, he i n t r o d u c e d Brassa'i, f i g u r e i n the b a c k g r o u n d a n d t h a t the Smokestacks at Night, Paris, 1927
who was t r a i n e d as a w r i t e r , t o the art two chairs are s t a n d i n g o n an elevated G e l a t i n silver p r i n t , 6.6 x 6.2 c m
o f p h o t o g r a p h y , a n d he also g r e a t l y p l a t f o r m ; i n Diver w e assume the f i g u r e ( 2 / l 6 " X 27l6")
3

influenced H e n r i Cartier-Bresson. is d i v i n g i n t o a s w i m m i n g p o o l a n d t h a t 86.XM.706.2

Kertesz once p r o v i d e d an apt the b l u r r y f o r e g r o u n d is water. PROVENANCE: Estate o f Andre Kertesz,
c h a r a c t e r i z a t i o n o f his w o r k w h e n he New York.
described h i m s e l f as a " n a t u r a l i s t -
surrealist." I n d e e d , i n his m o s t charac­
165. A N D R E KERTESZ
teristic p h o t o g r a p h s , a surrealistic
A m e r i c a n (b. H u n g a r y ) ,
perspective is m i x e d w i t h his a b i d i n g
1894-1985
interest i n the m a n i f e s t l y o r d i n a r y
Chez Mondrian, 1926
aspects o f d a i l y life.
G e l a t i n silver p r i n t , 10.9 x 7.9 c m
T h i s n a t u r a l i s t - s u r r e a l i s t e l e m e n t is (4 /IÖ" x 3V8"). Signed a n d i n s c r i b e d
5

e v i d e n t i n the f o u r p h o t o g r a p h s r e p r o ­ Paris b e l o w the i m a g e .

d u c e d here. Kertesz h a d an i n s t i n c t f o r 86.XM.706.10
e n d o w i n g c o m m o n p l a c e subjects w i t h
PROVENANCE: Estate o f Andre Kertesz,
an aura o f the m y s t e r i o u s a n d super­ New York.
n a t u r a l . I f the subject was a s t i l l life,
Kertesz w o u l d d e f t l y choose his v i e w ­
p o i n t a n d o c c a s i o n a l l y m a k e a subtle
a l t e r a t i o n t o g a i n the desired effect. 164

Chez Mondrian (no. 165), f o r example,

was p h o t o g r a p h e d f r o m the inside o f
that artist's s t u d i o l o o k i n g t o w a r d the
s t a i r w e l l . A s t r a w hat b e l o n g i n g t o
the w r i t e r a n d p h o t o g r a p h e r M i c h a e l
Seuphor hangs n e a r l y o b s c u r e d o n the
w a l l w h e r e Kertesz p r e s u m a b l y f o u n d
it; the vase, however, has been m o v e d
f r o m the center o f the table t o its edge
i n o r d e r t o c o m p l e t e the effect o f a b a l ­
anced c o m p o s i t i o n . Kertesz was less
l i k e l y t o rearrange his subject, h o w ­
ever, t h a n t o p h o t o g r a p h i t at the
m o s t r e v e a l i n g i n s t a n t o r f r o m the
most telling v i e w p o i n t . T h i s tendency
is e v i d e n t i n Smokestacks at Night, Paris
(no. 164). T h e k e y t o t h i s p h o t o g r a p h is
the t i m e o f d a y — p r e s u m a b l y d u s k —
w h e n there was j u s t e n o u g h l i g h t left
i n the s k y t o s i l h o u e t t e the smokestacks
but n o t so m u c h as t o d i m i n i s h the
m y s t e r i o u s g l o w o f the single
lighted w i n d o w

Kertesz's d i s t i n c t i v e talent lay i n his

ability seemingly to record a visual per­
c e p t i o n the m o m e n t he h a d i t , t o create
the i l l u s i o n t h a t the p i c t u r e was m a d e i n
the eyes a n d m i n d w i t h o u t the i n t e r v e n ­
t i o n o f the hands. I n Diver in a Paris Pool
(no. 166) a n d Fete Performer (no. 167)
m u c h is left t o the v i e w e r ' s i m a g i n a t i o n .
B o t h p h o t o g r a p h s r e l y o n us t o f i l l i n
elements t h a t l i e o u t s i d e the frame o r
 238 Acquisitions/1986

166
167

166. A N D R E K E R T E S Z
167. A N D R E K E R T E S Z
A m e r i c a n (b. H u n g a r y ) ,
A m e r i c a n (b. H u n g a r y ) ,
1894-1985
1894-1985
Diver in a Paris Pool, 1929
Fete Performer, 1931
G e l a t i n silver p r i n t , 25 x 19.1 c m
G e l a t i n silver p r i n t , 23.9 x 19 c m
(97s" x 7V "). D a t e d at the t o p c e n ­
2

( 9 7 i " x 77i6"). D a t e d at the l o w e r

6
ter o f the verso.
r i g h t o f the verso.
86.XM.706.30
86.XM.706.28
PROVENANCE: Estate o f Andre Kertesz,
PROVENANCE: Estate o f Andre Kertesz,
N e w York.
N e w York.
 Trustees Staff List (As ofJuly 1, 1987)
H a r o l d E. B e r g J o h n Walsh Therese W h a l e n
Chairman Director Office Assistant

Harold M . Williams* Deborah Gribbon Marcia Crews

President Associate Director for Receptionist

Norris Bramlett* Curatorial Affairs Sherrie M c C o n n e l l

B r e t Waller Receptionist
Kenneth Dayton
Associate Director for Education
J o h n T. Fey
and Public Affairs CURATORIAL
G o r d o n P. Getty*
Barbara W h i t n e y DEPARTMENT OF
J. R o n a l d G e t t y Associate Director for ANTIQUITIES
(honorary ) Administration
M a r i o n True
J o n B . Lovelace B u r t o n B . Fredericksen
Curator
Franklin D. Murphy* Senior Curator for Research
Kenneth H a m m a
Stuart T. Peeler Associate Curator
ADMINISTRATION
Rocco C. Siciliano M a r k R. J e n t o f t - N i l s e n
ADMINISTRATIVE OFFICE
Jennifer Jones S i m o n * Assistant Curator
J. Patrick W h a l e y Patricia H o w a r d K a r e n Manchester
Otto Wittmann* Executive Assistant to the Director Assistant Curator

Federico Z e r i Barbara A n d e r s o n Karol Wight

(honorary ) Collections Projects Coordinator Curatorial Assistant
E v e l y n Bassel L i t t l e j o h n Dorothy Osaki
*Acquisitions C o m m i t t e e m e m b e r Administrative Coordinator Senior Secretary
Mary Holtman
DEPARTMENT OF
Executive Secretary DECORATIVE ARTS
B r e n d a Calsbeck
Gillian Wilson
Senior Secretary
Curator
Theresa W i l l i a m s
David Cohen
Senior Secretary
Associate Curator

PERSONNEL AND Charissa B r e m e r - D a v i d

ADMINISTRATIVE SERVICES Curatorial Assistant
Theresa Morales
A l i s o n Sowden
Senior Secretary
Director of Personnel and
Administrative Services D E P A R T M E N T OF DRAWINGS

Judith Connolly George R. G o l d n e r

Manager of Office Services Curator
Carol Nordahl Lee H e n d r i x
Accounting Supervisor Assistant Curator
Rose M a r y M o o t e N a n c y E. Yocco
Personnel Assistant Conservation Assistant 2
Alice Ward Stacy Pierson
Accounting Clerk Senior Secretary
Gregory Ballard
DEPARTMENT OF
Payroll Clerk
MANUSCRIPTS
W i l l i a m Stevens
General Services Clerk Thomas Kren
Curator
Patty B y l e r
Office Assistant
Ranee K a t z e n s t e i n CONSERVATION Elisabeth D . M e n t i o n
Assistant Curator Assistant Conservator
ANTIQUITIES CONSERVATION
N a n c y Turner Y v o n n e J. Szafran
Conservation Assistant 1 J e r r y C. Podany Assistant Conservator
Conservator
Peggy Roberts R o b e r t Keefe
Senior Secretary Maya Barov Senior Frame Specialist
Associate Conservator
D E P A R T M E N T OF PAINTINGS
Susan A c k e r m a n
Claire D e a n Senior Secretary
M y r o n Laskin Assistant Conservator
Curator C O L L E C T I O N S SUPPORT
Lisbet T h o r e s e n
Louise L i p p i n c o t t Assistant Conservator PHOTOGRAPHIC SERVICES
Associate Curator Susan L a n s i n g Charles Passela
Dawson Carr Conservation Assistant 2 Head of Photographic Services
Assistant Curator Patricia M i n a t o y a Penelope Potter
Christopher Riopelle Conservation Assistant 2 Associate Photographer
Assistant Curator James Stahl Jack Ross
Christiane Ramirez Senior Conservation Technician/ Assistant Photographer 2
Senior Secretary Mountmaker
Stephenie B l a k e m o r e
DEPARTMENT OF
Wayne H a a k Assistant Photographer 1
PHOTOGRAPHS Conservation Technician/
Jacklyn B u r n s
Mountmaker
Weston N a e f Photo Technician
V i v i a n Coe
Curator Jonathan S w i h a r t
Senior Secretary
Judith Keller Photo Technician
Associate Curator DECORATIVE ARTS Rebecca V e r a - M a r t i n e z
AND SCULPTURE
Gordon Baldwin Photo Technician
CONSERVATION
Study Room Supervisor A m a n d a Fish
Barbara Roberts Office Assistant
V i c t o r i a Blasco
Conservator
Curatorial Assistant
PREPARATION
Brian B. Considine
Joan Gallant
Associate Conservator Bruce A . M e t r o
Curatorial Assistant
Billie M i l a m Prep arator/Head of Preparations
James Evans and Machine Shop
Associate Conservator
Conservation Assistant 2
Graham Powell Scott Reuter
Ernest M a c k Associate Preparator
Associate Conservator
Conservation Assistant 1
L i n d a Strauss G a r y K . Lopez
Louise Stover Assistant Preparator
Assistant Conservator
Registration Assistant
George J o h n s o n E d u a r d o Sanchez
Jane Betts Assistant Preparator
Senior Conservation Technician/
Senior Secretary
Mountmaker Stepheny C. D i r d e n
R o b i n Sparks Preparation Assistant 2
Mark Mitton
Secretary
Conservation Technician/ A r t h u r Parker
DEPARTMENT OF Mountmaker Preparation Assistant 2
SCULPTURE AND
Diane Biehl Kathryn-Forouhar Klein
WORKS OF A R T
Senior Secretary Preparation Assistant 1
Peter Fusco Rita Gomez
PAINTINGS CONSERVATION
Curator Preparation Assistant 1
C a t h e r i n e Hess A n d r e a R. R o t h e
Tony Moreno
Curatorial Assistant Conservator
Preparation Assistant 1
N i n a Banna M a r k Leonard
Susi S t a u n t o n
Senior Secretary Associate Conservator
Secretary
 REGISTRATION Carrie Sutton L o r e n Eisler
Gallery Teacher Production Assistant
Sally H i b b a r d
Registrar Jacqueline S u t t o n M a r y Beth Powell
Gallery Teacher Senior Secretary
J o h n C. Caswell
Associate Registrar Georgia A n g u s PUBLIC I N F O R M A T I O N
Senior Secretary
Cynthia Nalevanko L o r i J . Starr
Collections Management Jolanta Kasztelewicz
Head of Public Information
Systems Manager Senior Secretary
Carole L e v i n t h a l
A m y Noel Sally Meade
Special Events Coordinator
Assistant Registrar Secretary
Denise Yarfitz
Julia S m i t h Jennifer D . K e l l e n
Public Information Assistant
Senior Secretary Education Assistant
Constance S. H a i g
Kathleen Kibler Robert Weiner
Senior Secretary
Secretary Office Assistant 2
Michael Hampton
BOOKSTORE Reservations Operations Supervisor
EDUCATION A N D PUBLIC
AFFAIRS Esther E w e r t Y v o n n e Bass
Sales and Distribution Manager Reservations Agent
Lisa Baylis
Roberta Stothart David B r o w n
Manager of Program Planning
Bookstore Manager Reservations Agent
Patricia B r i n d l e
E d d i e A . Tucker A u r o r a Floresca
Executive Secretary
Assistant Bookstore Manager Reservations Agent
D E P A R T M E N T OF E D U C A T I O N Barbara B . C a m p b e l l D a v i d Kearney
A N D A C A D E M I C AFFAIRS
Bookstore Assistant Reservations Agent
David Ebitz Robin Johnson Eloise K o n g
Head of Education and Academic Bookstore Clerk Reservations Agent
Affairs E d m o n d Osborne E n r i q u e Rivero
J u d i t h Sloane B l o c k e r Bookstore/Warehouse Clerk Reservations Agent
Museum Educator M a g g i e Sarkissian Annabelle S t a u n t o n
Andrew Clark Bookstore Clerk Reservations Agent
Museum Lecturer
PUBLICATIONS Gretchen Van Lente
Laurie Fusco Reservations Agent
Museum Lecturer Christopher H u d s o n
Head of Publications MAINTENANCE AND
M a r g a r e t Jacobson
Manager of Concert A n d r e a P. A . B e l l o l i FACILITIES
and Lecture Programs Editor-in-Chief
GROUNDS M A I N T E N A N C E
Joan Stern Patrick D o o l e y
Designer Richard Naranjo
Administrative Support Manager
Grounds Superintendent
M a r y Ackerman Karen Schmidt
Production Manager Steven C u t t i n g
Gallery Teacher
Assistant Grounds Superintendent
Constantin Andronescu P h i l Freshman
Editor R o b e r t o R. Guerrero
Gallery Teacher
Senior Gardener
Rhonda Magnus K u r t J. Hauser
Assistant Designer Gabrielle de Benedictis
Gallery Teacher
Gardener 4
Barbara Schreiber Patricia Inglis
Assistant Designer Juan R o m e r o
Gallery Teacher
Gardener 4
Marichia Simcik Leslie T h o m a s
Assistant Designer Rogelio Oropeza
Gallery Teacher
Gardener 3
A n n e Spackman Elizabeth B u r k e
Production Assistant J. Pablo R o d r i g u e z
Gallery Teacher
Gardener 3
Luis Brambilla Tom Roberts Don Philipp
Gardener 2 Supervisor R i c h a r d Price
Jose L u n a Deke Tinner Veronica Rachal
Gardener 2 Supervisor
A a r o n Randleman
Manuel Oliver Ron Uejo
H e r m e s Salalima
Gardener 2 Supervisor
V i n c e Sarish
Rosario A g u i l a r Raya Security Officers
Ivona Savereide
Gardener 2 Fasi A l i K a h n
R o b e r t Schelley
Isabel Segura Ana Aparicio
Gardener 2 B r u c e Segler
Dan Austin
Aandrea Stang Ian Seid
Roger B a l a b a n o w j
Office Assistant o Nindapal Singh
Herbert Bard
PLANT MAINTENANCE H a r r y Sussholz
Lee Bass
M a t t Tamboer
H o w a r d Sherman Bill Brandon
Chief Engineer M a r y Tennard
Orlando Canton
Ronald Meza Willie Thomas
B i l l Cams
Assistant Chief Engineer M a t t Valentine
John Connolly
Wayne T B r a n h a m D o n Van Pelt
Senior Engineer/Electrician Dan C o r b i n
M a r i o Vasquez
B o b b y Davis
David Hamilton J i m m y Washington
General Engineer Frank D u r a n t e
John Williams
Alexander M c D e r m o t t L a r r y Faulkner
R o b e r t Wise
Engineer/Plumb er Robert Foley
C h r i s Jaeckel Deshay Ford
Senior Office Assistant D a v i d Forrest

MACHINE SHOP Ray Frazier

A l f o n s o Galang
James Davies
Machine Shop Supervisor Gary Gamble
Peter Shapiro Steven G i d l e y
Woodworking Shop Supervisor
Janet G i l l
SECURITY Bob G r i m s r u d
W i l b u r Faulk Sandy H a n s o n
Director of Security Charles H a r r i n g t o n
W i l l Royston Donna Harvath
Assistant Director of Security/
R o b e r t o Hernandez
Operations
Jack Jackson
Robert Combs
M a r k Lasken
Assistant Director of Security/
Technical Systems T i m Lewis

M i n n i e Batch James L y n c h
Staff and Facilities Coordinator Stu M c D o n a l d
Sue Speth Tom Moseley
Secretary
Frank M u r p h y
Wayne A r b a u g h
Fernando O s t o i c h
Supervisor
L y n n Parker
Ed M c G o u g h
Supervisor
Editorial Board Credits
B u r t o n B . Fredericksen P h i l Freshman, L y n n e H o c k m a n ,
Senior Curator for Research and A n g e l a T h o m p s o n
Manuscript Editors
Peter Fusco
Elizabeth B u r k e
Curator of Sculpture and
Photographs Coordinator
Works of Art
Karen Schmidt
George R. G o l d n e r
Production Manager
Curator of Drawings
Patrick D o o l e y
Deborah Gribbon
Designer
Associate Director for Curatorial
Patricia I n g l i s
Affairs, Secretary
Assistant Designer
Thomas Kren
Kathe Flynn
Curator of Manuscripts Production Artist
M y r o n Laskin Charles Passela, D o n a l d H u l l ,
Curator of Paintings Stephenie B l a k e m o r e , T h o m a s
M o o n , Penelope Potter, a n d
Weston N a e f
Jack Ross
Curator of Photographs
Photographers
M a r i o n True
Typography by Andresens
Curator of Antiquities
T u c s o n T y p o g r a p h i c Service, Inc.,
Gillian Wilson Tucson
Curator of Decorative Arts P r i n t e d b y A l a n L i t h o g r a p h Inc.,
Los A n g e l e s
B r e t Waller
Associate Director for Education and T h e J. Paul Getty Museum Journal is
p u b l i s h e d once a year. Manuscripts
Public Affairs, ex officio
s h o u l d be s u b m i t t e d n o later than
J o h n Walsh N o v e m b e r 1 for c o n s i d e r a t i o n for the
Director, ex officio n e x t year's issue.
Christopher H u d s o n T h e Journal contains articles and
Head of Publications s h o r t e r n o t e s r e l a t e d t o aspects o f
the M u s e u m ' s permanent collec­
Andrea R A . Belloli
tions: antiquities, i l l u m i n a t e d m a n u ­
Managing Editor
scripts, E u r o p e a n decorative arts and
sculpture, late m e d i e v a l through
nineteenth-century paintings and
d r a w i n g s , and p h o t o g r a p h s .

Abbreviation: GettyMusJ

S u b s c r i p t i o n s m a y be addressed t o the
J. Paul G e t t y B o o k D i s t r i b u t i o n
Center, P.O. B o x 2112, Santa
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