Volume 7 / 1973

METROP
MUSEUM
JOURNAL

The Metropolitan Museum of Art

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EditorialBoard

PRUDENCE OLIVER HARPER

Curator of Ancient Near Eastern Art

HELMUT NICKEL
Curator of Arms and Armor

OLGA RAGGIO
Chairman, Department of Western European Arts

JOHN WALSH, JR.

Curator, Department of European Paintings

Managing Editor: LEON WI LSON

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Contents

Italienische Skulptur um I400: Untersuchungen zu den 5

Einflussbereichen
CLAUDIA FREYTAG

Skulpturen und andere Arbeiten des Battista Lorenzi 37

HILDEGARD UTZ

The Surviving Oeuvre of Girolamo Zenti 7

EDWIN M. RIPIN

A Royal Taste: Louis XV- 1738 89

PENELOPE HUNTER

Manet's Woman with a Parrotof 1866 I15

MONA HADLER

Notes

Offering Stands from the Pyramid of Amenemhet I 123

HENRY G. FISCHER

In the Shadow of Antinous 127

JIRI FREL

About the Sword of the Huns and the "Urepos" 131

of the Steppes
HELMUT NICKEL

Jacopo della Nave or Jacques Androuet Du Cerceau? I43

JANET S. BYRNE

A Takahashi Nobuhide Dagger and Portrait 15I

BENJAMIN VINCENT
 The MetropolitanMuseum of Art

Departmental Accessions, July I, 1970-June 30, 1971I 53

Departmental Accessions, July I, I97I--June 30, 1972 162

Board of Elective Trustees and ProfessionalStaff 173

 Italienische Skulptur
Untersuchungen
zu den
CLAUDIA FREYTAG
Clawson-MillsFellow,Department
of WesternEuropeanArts,
TheMetropolitanMuseumof Art
DIE JAHRE ZWISCHEN I390 und 1410 werden in
der Kunstgeschichte meist verallgemeinernd mit der
Bezeichnung "Internationaler Stil" charakterisiert.
Man versucht damit, die merkwiirdige Erscheinung
zu kennzeichnen, dass in dieser relativ kurzen Zeit-
spanne in den Zentren Europas, in Frankreich, Italien,
B6hmen und Deutschland annahernd gleichzeitig ein
eigentumlicher Mischstil geboren wird, der auf der
einen Seite retrospektiv sich aus der franz6sischen
Spatgotik entwickelt und sie in eine h6fische, preziose
Richtung fuhrt,jedoch andererseitsbereitsdie Anfange
der Friihrenaissance in sich tragt. Er ist ein Stil des
Uberganges, aber auch eine letzte Bliite der gotischen
Tradition, ein Stil, der die letzte Verfeinerung im
Formalen bringt, gleichzeitig aber die Grundlagen
entwickelt, aus denen die neue, wirklichkeitsnahe,
puristische Kunst des Quattrocento entstehen konnte.
Wie im Hohen Mittelalter ist die Kunst auf Zentren
beschrankt, doch ist sie nicht mehr ausschliesslich an
die Kirche, sondern auch im steigenden Masse an
mazenatische Furstenhauser und die auflebenden
Stadtstaaten gebunden: an den Hof des franzdsischen
Konigs in Paris, an Philipp den Kuhnen in Dijon, an
den Herzog von Berry, an den Prager Hof und den
Habsburgerhof in Wien. In Italien treten Mailand
unter Gian Galeazzo Visconti hervor, die Dogen von
Venedig, die Commune von Florenz, um die bedeu-
tendsten Auftraggeber zu nennen.
um 1400:
Finflussbereichen
Der Ursprung des "Internationalen Stils" liegt nach
Meinung KrautheimersI in Frankreich, am Hofe der
franz6sischenK6nige. Hier entwickelt sich in den 2oer
Jahren des 14. Jahrhunderts ein neuer Stil innerhalb
der Gotik, der figiirliches Volumen und elegante line-
are Form zu vereinigen sucht. In seinen Anfangen
wird er im Wesentlichen von der Buchmalerei ge-
tragen, die sich im Folgenden zu einem der wichtigsten
Exponenten dieser Richtung entwickelt. In den 3oer
und 4oer Jahren schliesst sich auch die Skulptur dieser
neuen Auffassung an, meist im Kleinformat der Elfen-
beinschnitzereien. In der zweiten Halfte des Jahrhun-
derts nimmt die realistische Vortragsweise gr6sseren
Platz in der "h6fischen Kunst" ein und gibt ihr eine
neue Richtung: portraitgetreue Nachahmung der
Wirklichkeit, sowohl in der Physiognomie der Darge-
stellten, als auch in ihren Emotionen, die sich in den
Bewegungen spiegeln, werden zum neuen Ziel der
Kunst, die nach wie vor die eleganten Formen der
Friihzeit bewahrt. Das taktile Element der Oberflache
tritt immer starker heraus. Man spurt dies an den
ausserordentlich prazis gefiihrten Falten der Gewan-
der, die neben dem Korpervolumen Eigenwert be-
sitzen. Daneben zeigt sich die Tendenz der Verschlei-
fung der Oberflachen, der weichen Ubergange, die
I. Richard Krautheimer, LorenzoGhiberti(Princeton, second
edition, 1970) S. 55 ff.
The Metropolitan Museum of Art
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Metropolitan Museum Journal ®
www.jstor.org

ABB. I Mal in der Kartause von Champmol einem selbstan-
Claus Sluter, Maria mit dem Kinde. Dijon,
Chartreuse de Champol
eigene Formen in den Gewandern herausmodellieren.
Zwei entgegengesetzte Richtungen also, die scheinbar
nicht miteinander zu vereinbaren sind. Doch dienen
sie dem gleichen Ziel, namlich die Figur nicht nur
durch ihr Korpervolumen, sondern auch durch ihre
Oberflache zu bestimmen.
Schon fruhzeitig finden sich statuarisch selbststan-
dige Einzelbildwerke, geschaffen von den Ymagiers-
Tailleurs, wie sie in Frankreich genannt werden, die
im Gegensatz zu den Huttenmeistern des 13. und
beginnenden 14. Jahrhunderts nicht zu den Bauhand-
werkern zahlen. Die Vielzahl der Auftrage der Feudal-
herren forderte die Spezialisierung der Kunste und
pragte ihren individuellen Charakter.Die Stellung bei
Hofe befreite vom korporativen Zwang der Ziinfte.
Am Deutlichsten wird dies am Hof Philipps des
Kuhnen, der fur die Errichtung und Ausgestaltung der
6
Kartause von Champmol bei Dijon, Dreux de Dam-
martin als Architekten, Jean de Marville und Claus
Sluter als Bildhauer und Melchior Broederlam als
Maler beschaftigte.
Die "trumeau"-Madonna Sluters (Abb. i) an der
Kartause von Champmol, die wie Panofsky2anmerkte,
in retrospektiver Weise sich an die Gestaltung der
"Vierge Doree" von Amiens anlehnt, zeigt, so meine
ich, stilistisch eine entscheidende Phase des Kulmina-
tionspunktes um I400, die wie wir spater sehen, eine
der wichtigen Anregungen fur Italien ist. Als domi-
nierendes Element dieser Statue tritt uns die Gestaltung
des Gewandes entgegen, die die tektonische Struktur
der Figur verhiillt. Der stark betonte Kontrapost, der
sich an der fur diese Zeit typischen S-Biegung des
Korpers zeigt, aussert sich nur im Gewand, das in tief
eingekerbten, bauschigen Diagonalfalten vom linken
Arm Mariens zum rechten Fuss herunterschwingt. Der
unruhige Umriss der Figur, die weit ausgreifendeArm-
bewegung der Madonna, die reiche Fiille des Stoffes,
der in zahlreichen Faltentrauben von der linken Hiifte'
herunterfallt, das alles sind Elemente, die der Skulptur
pathoshafte Ziige verleihen. Als Kontrast dazu tritt die
innige Zuneigung von Mutter und Kind und die
weichmodellierten Gesichtsziige Mariens. Im Gegen-
satz zum Hochmittelalter begegnen wir zum ersten
digen skulpturalen Ensemble, das sich von den Auf-
gaben der Kathedralskulptur gelost hat. Eine Statu-
arik, die, wie der Mosesbrunnen, zwar weiterhin
religiose Inhalte vermittelt, jedoch im freien Zusam-
menspiel der einzelnen Teile ebenso rein dekorativen
Zwecken dient.
Diese Untersuchungen zur italienischen Skulptur
um I400 versuchen nicht einen umfassendenUberblick
iiber das bildhauerische Schaffen zu vermitteln. Es soll
die Problematik der Einfliisse aufgezeigt werden, die
standigen Wechselbeziehungen zwischen Frankreich,
Bohmen, Deutschland und den italienischen Kiinst-
lern, die Adaption und Umformung lokaler und "aus-
landischer" Traditionen, die Gipfelung in einer allge-
mein verbindlichen Kunstsprache, die die Werke Claus
Sluters in Dijon, die Triforienbustender Parler in Prag
und die Reliefs der Porta della Mandorla in Florenz
von der gleichen Idee getragen erscheinen lassen.
2. Erwin Panofsky, Renaissanceand Renascencesin WesternArt
(New York, 1969) S. 164, Anm. I.
 ABB. 2
Ludovico Le Roy, Pieta. Mailand, Dom
MAILAND
Die Heirat Gian Galeazzo Viscontis mit der franzo-
sischen Prinzessin Isabella von Valois rief am Mailan-
der Hof naturgemass eine besondere Bevorzugung
franzosischerKunstler hervor. Man sprach franzosisch
und gab franzosischerLiteraturden Vorzug gegeniiber
den zeitgenossischen italienischen Volgare-Texten. So
verwundert es nicht, dass die ersten Bildhauer des
Mailander Domes aus Prag und Burgund berufen
wurden. I389, drei Jahre nach der Grundsteinlegung,
bringt der Architekt Nicholas de Bonaventure aus
Paris eigene Bildhauer mit.3 Unter ihnen befindet sich
Ludovico Le Roy, dem Baroni wohl mit Recht das
Pieta-Reliefim Chor des Domes zuschreibt (Abb. 2).4
Die einfache Komposition-zwei Engel prasentieren
Christus als Schmerzensmann, aus dem Sarkophag
ABB. 3
Prager Meister, dat. 1387, Reliquiar-Monstranz,
Schmerzensmann. Silber vergoldet, Hohe 157,5
cm. (62 in.). Baltimore, Walters Art Gallery,
57.700
herausragend,unter dem Kreuz mit den Leidenswerk-
zeugen-zeigt ein beliebtes Thema dieser Zeit, dessen
Vorbilder im fruhen 14. Jahrhundert zu suchen sind.
Doch zeigt die Dominanz der, bewusst um ihrer selbst
willen schongeschwungenen Linie, die kalligraphisch
gennant werden kann, in den Fliigeln der Engel, die
scharfgratigen, bestimmten Falten der Draperie, ver-
bunden mit der klaren, geometrischen Aufteilung des
Reliefs, eine neue formale Richtung, die durch das
Parementde Narbonne und die Apokalypsevon Angers
wesentlich beeinflusst wurde. Vergleicht man dieses
Relief mit einer annahernd gleichzeitig entstandenen
3. Annali della Fabbricadel Duomo di Milano (Mailand, I877-
1885). Ugo Nebbia, La Sculturadel Duomo di Milano (Mailand,
1908). Costantino Baroni, "La Scultura del Primo Quattrocento,"
Storiadi Milano (Mailand, 1953-1957), Bd. IV, S. 684 ff.
4. Costantino Baroni, SculturaGoticaLombarda(Mailand, i954).
7
Goldschmiedegruppe des gleichen Themas, die in Prag
1387 angefertigt wurde (Baltimore, Md., Walters Art
Gallery) (Abb. 3), so zeigen sich bereits in dieser friihen
Phase vergleichbare Tendenzen. Auch hier ist die
Komposition klar geordnet, Christus als Schmerzens-
mann steht in der Mitte der rechteckigen Plinthe, von
zwei Passionssymbolen, dem Kreuz und der Geissel-
saule mit dem Hahn, flankiert,von den Ecken diagonal
dem Erloser zugewandt zwei adorierende Engel mit
weiteren Passionswerkzeugen. Die kalligraphische
Linie dominiert, wie beim Pieta--Relief des Mailan-
der Domes, Haar und Bart umrahmen das vom Leiden
gepragte Antlitz Christiin sch6nlinig-ziselierten Wel-
len, das Lendentuch schwingt in grossziigigen, gratigen
Falten um den Korper.
ABB. 4
Giovannino de' Grassi, Christus und die Samari-
terin, dat. 1391. Mailand, Dom (Photo: Kunst-
historisches Institut, Florenz)
..j..'x r
_:-. ,,
:,~~~ ~,:,.',:.,.....~...~/'c
,,.~.~~
. -'. ? --
. (1950) S. 13 ff.
8
Etwa gleichzeitig mit den franzosischen Bildhauern
und Architekten um 1390 wird Giovannino de' Grassi
in den Verband der Mailander Dombauhiitte einge-
treten sein. In seinen Werken begegnen wir hier zum
ersten Mal der unmittelbaren Einflussnahme franzosi-
scher Kunst auf italienische Skulptur und ihrer Aus-
einandersetzung mit diesem Stil. Die Personlichkeit
Giovannino de' Grassis wird meist nur mit seinen
Skizzenbiichern identifiziert,5 in denen zum ersten
Mal Naturstudien ihren Niederschlag gefunden haben.
Seine Zeichnungen von Tieren und Pflanzen, manch-
mal zur vegetabilen Ornamentik umgestaltet, galten
als beliebte Musterbticher des beginnenden 15. Jahr-
hunderts und nahmen selbst auf die Dekoration archi-
tektonischer und skulptureller Ensembles Einfluss.
Man kann dies am Beispiel der Fonte Gaia Jacopo
della Quercias zeigen, deren Ornamentierung in un-
mittelbarem Zusammenhang mit Skizzen des Ober-
italieners steht. Sein einzig dokumentiertes plastisches
Werk ist das Relief mit Christus und der Samariterin
am Brunnen (Abb. 4) in der siidlichen Sakristei des
Mailander Domes, das zu Beginn der goer Jahre
entstanden sein diirfte. Eingespannt in einen gelangten
Vierpass sprengt die gedrangte Komposition fast den
Rahmen. Felsen und stilisierte Baume geben den Ort
des Geschehens an. Christus, im Profil gesehen, sitzt
am Brunnen, iiber den sich die Samariterin beugt, um
Wasser zu schopfen. In breitgezogenen, gratigen Fal-
ten, die in Trauben von den hochgezogenen Knien
herunterhangen, umhiillt das Gewand die Gestalt
Christi. Auch die Figur der Samariterin wird durch
das Gewand bestimmt und zeigt, wie die gesamte
Komposition, die Freude an der Linie als gestaltende
Form. Giovannino de' GrassisNaturstudien gingen ein
in die Dekoration der Supraporte zwischen der Basis
des Reliefs und dem Giebel der Sakristeitur. Aus mit
Bandern durchwirkten Akanthrusranken wachsen die
Figuren zweier Engel heraus, in der einen Hand das
Winkeleisen, Symbol der Steinmetze, prasentierend,
mit der anderen eine Krone aus Akanthuslaub haltend,
eine eigentumliche Mischung von Kiinstlerstolz und
naiver Dekorationsfreude.
Vergleicht man nun das Pieta-Relief des Ludovico
,, . 5. A. van Schendel, Le Dessinen Lombardie(Briissel, 1938). Otto
Pacht, "Early Italian Nature Studies and the Early Calendar
Landscape," Journal of the Warburgand CourtauldInstitutesXIII

, i.
ABB. 5
Ampel mit Propheten, Heiligen und Engeln.
Mailand, letzte Dekade des 14. Jahrhunderts.
Kupfer, Hohe ca. 41,3 cm. (I6?/ in.). The Met-
ropolitan Museum of Art, gift of J. Pierpont
Morgan, 17.190.827
le Roy mit dem Relief Giovanninos, so zeigt sich beim
Italiener noch die Unsicherheit, die Szene in einen
Rahmen einzupassen. Giovannino de' Grassi versucht
wie bei einem Meisterstiick, sein Repertoire an Ge-
kanntem und Gekonntem vorzuzeigen; bei ihm domi-
niert die Freude an der Dekoration, wahrend Ludovico
Le Roy sich auf die formal und kompositionell strenge
Reprasentation eines Inhaltes beschrankt. Die Bedeu-
tung der Linie jedoch, die sich bei Giovannino in
vielerlei Gestalt zeigt, nicht nur in den Faltenwirfen
des Gewandes, sondern auch in der Form des Vier-
passes, in der Profilierungdes Sockels, in dem S-formi-
gen Spruchband, das aus der Hand Christi herauszu-
wachsen scheint, ist die wesentliche Anregung, die die
franzosischenBildhauer dem Italiener vermittelten.
Ebenfalls als ein Werk eines Giovannino naheste-
henden Bildhauers italienischer Herkunft sehe ich eine
kupferne Ampel mit Propheten, Heiligen und Engeln
im Besitz des Metropolitan Museums an (Abb. 5). Das
sehr prezios gearbeitete Stuck, goldschmiedehaft in der
Erscheinung, dirfte gegen I400 zu datieren sein. Wie
beim Relief Giovannino de' Grassis zeigt sich hier
diese eigentumliche Verschmelzung von "Statuarik"
und iiberquellender Dekorationsfreude,die sich in den,
die Struktur des Objektes fast verunklarenden, wuch-
ernden Weinranken und Bluten des Schaftes aussern.
Aufgebaut wie das Fialenturmchen einer Kirchen-
fassade, prasentiert diese Ampel in den offenen, mit
Andeutung von Masswerk verzierten B6gen vollrunde
Figuren von Propheten und Heiligen, die, wie der eine
bartige Prophet mit dem Turban, unmittelbar von
Sluters Propheten am Mosesbrunnen abzuleiten sind.
Die kleinen Engelfiguren wiederum, die die flankieren-
den Pilaster schmucken, erinnern in der ausgepragten
W6lbung ihrer Korper verbunden mit einem ange-
deuteten S-Schwung an bohmische Madonnen des
"Weichen Stils." So verdeutlicht diese Ampel sehr klar
die verschiedenen Einflisse, die sich an der Mailander
Hutte gegen die Jahrhundertwende kreuzen.
Neben den Franzosen und den einheimischen Nord-
italienern, geben die Hittenbicher auch Kunde von
einer grossen Anzahl deutscher Kiinstler, die vor I400
am Dom arbeiteten.6 Der erste urkundlich erwahnte
deutsche Bildhauer wird bereits ein Jahr nach der
Grundsteinlegung namentlich genannt: Hans von
Farnech, der nach Ansicht Siebenhiners wohl im
Rheinland beheimatet ist.7 Dokumentarisch kann mit
ihm die Supraporte der sudlichen Sakristeiturin Ver-
bindung gebracht werden, die in drei Zonen uberei-
nander gestaffelt, ein mariologisches Programm zeigt.
Da Hans von Farnech I393 aus Mailand abwandert
und sich an die Hutte von S. Petronio nach Bologna
begibt, erhalt Giovannino de' Grassi den Auftrag, das
Relief fertigzustellen.8Von seiner Hand stammt ver-
mutlich der Architrav mit den Vierpassreliefs von
Prophetenkopfen.9
6. Herbert Siebenhiner, DeutscheKiinstleram Mailander Dom
(Miinchen, 1944).
7. Siebenhiiner, DeutscheKunstler,S. 65, 66. Erwahnt in Mai-
land: 12.7.I387; 2.7.1389; 12.3.139I; 22.3.I39I; 25.2.1392;
5.8.1393.
8. Siebenhiiner, DeutscheKiinstler,S. 65. Dokument vom 5.8.
I393.
9. Mia Cinotti, II Duomodi Milano (Florenz, 1966) Abb. 32.
9
 @1( ^~I

ABB. 6
Hans von Farnech, Supra-
porte. Mailand, Dom

I0
 Das Supraportenrelief (Abb. 6), angelegt wie der
Tympanon einer deutschen, hochgotischen Kathe-
drale, zeigt sowohl programmatisch, als auch im
Detail der Ausfiihrung den engen Zusammenhang mit
der deutschen Tradition. Das unterste, rechteckige
Feld stellt die Beweinung Christi dar, kompositionell
eine Verbindung italienischer, vielfiguriger Bewei-
nungsszenenund der rheinischenAuspragungder Pieta
oder Schmerzensmutter, die den flach ausgestreckten
Leichnam Christi auf ihrem Schoss halt. Im mittleren
Liinettenfeld thront Maria mit dem Kinde, angebetet
von Johannes dem Taufer und dem HI. Andreas. Das
abschliessende,spitzgiebelige Relief zeigt die Figur der
Schutzmantelmadonna. Merkwiirdig ist die Vermi-
schung verschiedener Thematiken: Marienklage und
Schutzmantelmadonna, getrennt voneinander durch
eine quer verlaufende Lisene mit der Darstellung von
Engeln, die eine Krone halten-die Krone der Marien-
kronung. Die Unstimmigkeit lasst sich erklaren, dass
Hans von Farnech vermutlich Muster verschiedener
Provenienz benutzte und sie wie ein Mosaik zusam-
mensetzte. Die seitlichen, jeweils von reich ornamen-
tierten Baldachinen uberhohten Figurengruppen des
Gewandes stellen weitere Szenen aus dem Marienleben
dar, wie Verkiindigung, Visitatio, etc. Den architek-
tonischen Abschluss des Ensembles bilden zwei krab-
benbesetzte Fialen, die die in der Mitte befindliche
Kreuzigung rahmen. Das Sockelrelief zeigt das im
deutschen Sprachraum oft dargestellte Thema der
klugen und torichten Jungfrauen.
Der Wanderweg des Hans von Farnech von K61n
iiber Mailand nach Bologna und wieder in die Heimat
zuriick, ist exemplarisch fur die grosse Fluktuation der
Kiinstler bei den grossen skulpturalen Auftragen in
Italien um 1400. Es zeigt sich aber gleichzeitig auch,
dass Kiinstler wie Hans von Farnech, durch ihre un-
mittelbaren Kontakte mit franzosischen, flamischen
und italienischen Kiinstlern diese Eindriicke in die
Heimat zuriickbringen konnten um sie dort weiter-
zugeben. Einige dieser deutschen Kiinstler aber blieben
in Italien, so wie Gualterius de Monico, Walter von
Miinchen, der von Mailand nach Orvieto abwanderte
und dessen Weg in die Abruzzen, nach Aquila und
Sulmona fuihrt.I0Gemeinsam ist ihnen allen dass fur
sie Mailand der Ausgangspunkt, das Tor zu Italien
gewesen zu sein scheint.
BOLOGNA
In den letzten Dekaden des Trecento stromen in
Bologna Bildhauer und Steinmetze Norditaliens zu-
sammen, deutsche Kiinstler vom Mailander Dom und
Toskaner fur die grossen Bauauftrage der Stadt,"
unter denen die Errichtung des Domes S. Petronio
hervorragt (ab 1390). Im Gegensatz zu Florenz, Mai-
land oder Venedig besass Bologna keine einheimische
Bildhauerschule; deshalb war hier fruchtbarer Boden
fur fremde Einfliisse gegeben. Neben den Auslandern
arbeiteten eine grosse Anzahl florentiner, fiesolaner,
venezianischer, und lombardischer Steinmetze in der
Opera di S. Petronio; dazu kamen noch die Romag-
nolen, "lavoranti in pietra" aus Varignana, die jedoch
innerhalb der kiinstlerischen Entwicklung keine we-
sentliche Rolle spielten. Es entsteht so in Bologna ein
merkwiirdiger Mischstil, der ahnlich wie in Mailand
lombardische, venezianische und transalpine Stilele-
mente in sich vereinigt.
Die Bedeutung Bolognasjedoch fur die Entwicklung
und neue Zielsetzung des Stils, den wir "international"
nennen, liegt nicht so sehr in der Hiitte von S. Petronio
und seinen Bildhauern, sondern an der Berufung der
Briider dalle Masegne aus Venedig.12
Uber ihr Geburtsjahr und ihre Lehrzeit sind uns
keine Dokumente iiberliefert, auch kennen wir keine
friihen Werke von ihrer Hand. Sie treten uns in ihren
BologneserArbeiten bereits als gereifte Meister gegen-
iiber mit Werken, die eine wiirdige Vorbereitung ihrer
grossartigen Sch6pfung, der Ikonostasisvon S. Marco
in Venedig, sind. Die erste Nachricht, die sich mit den
Kiinstlern in Verbindung bringen lasst, stammt vom
Io. Siebenhuner, DeutscheKiinstler,S. 49. Weiterhin wandert
auch Petrus de Johannis de Fierimburgo (Freiburg), theutonicus
magister und sein Gehilfe Christoforo Teutonico nach Orvieto,
wo sie 1402/03 am dortigen Taufbecken arbeiten. Werner K6rte,
"Deutsche Vesperbilder in Italien," Jahrbuchder BibliotecaHertz-
iana 1937, S. 1-138.
I . I. B. Supino, La Sculturain Bolognanel secoloXV (Bologna,
I9IO).
12. Lutz Heusinger, Jacobello und Piero Paolo dalle Masegne
(Diss. Miinchen, i967). Heusinger geht in seiner stilkritischen
Analyse der Skulpturen auf die Problematik der Restaurierungen,
die hauptsachlich im I9. Jahrhundert unternommen wurden,
ausfuhrlich ein (S. 66 ff.). Wir ziehen hier nur Figuren in Betracht,
die nach Heusinger weitgehend unangetastet blieben.
II
ABB. 7
Jacobello und Pier-
paolo dalle Masegne,
Marienkronungsaltar.
Bologna, S. Francesco
(Photo: Alinari)

12

August 1386 aus Bologna, wo die Masegne im Hause
der Erben des Giovanni da Legnano ansassig sind.
Das Hauptwerk Jacobello und Pierpaolos dalle
Masegne ist der marmorne Hochaltar von S. Francesco
(Abb. 7). Am I6. November 1388 wird er von den
Franziskanern in Auftrag gegeben, mit der Auflage,
die pala bis September I39I zu vollenden. Offenbar
sind aber die dalle Masegne nicht mehr in Bologna
ansassig, denn die Zahlungen erfolgen bis Sommer
1390 nach Venedig. Ab i39I ist Pierpaolo wieder in
Bologna nachweisbar, wo im November die Bezahlung
fur die Mittelgruppe, die Marienkronung, erfolgt. 1392
beurteilt eine Prufungskommission die Ausfuhrung des
Altars, doch scheinen die Arbeiten zu diesem Zeitpunkt
noch nicht beendet zu sein. Ab Mai 1396 befindet sich
Pierpaolo allein in Bologna und leitet dort offenbar
eine Werkstatt. 1403 setzt er sein Testament auf. I409
verhandelt Jacobello wegen der wohl noch immer
ausstehenden Bezahlung fur das Retabel. Dieses Doku-
ment ist die letzte Notiz, die wir iiber die Briider dalle
Masegne besitzen.
Das Marmorretabel des Hochaltars von S. Francesco
ist dreizonig aufgebaut. Die Predella mit Szenen aus
dem Leben des HI. Franziskus (Abb. 8) ist an ihren
jeweiligen Seiten von massiven Achteckpfeilern be-
ABB. 8
Marienkronungsaltar,Detail: Predella mit Szenen aus dem Leben des H1. Franziskus
/-< .. c.
I_l~ * .
-
nFu.JJJF-J ' I m
?.
'iL L
Lv >r_
.
grenzt; der Mittelteil wird durch besondere Grosse
hervorgehoben und setzt sich in den beiden Ober-
geschossen risalitartig fort. Zwischen dem Mittelteil
und den seitlichen Begrenzungen befinden sich, in
zwei Zonen aufgereiht, Heiligenstatuetten und Heili-
genbusten in Baldachinnischen, die voneinander durch
schmale Lisenen getrennt werden. Der Mittelrisalit
tragt in zwei ubereinandergestellten Nischen die
Gruppe der Marienkronung und daruber die sitzende
Gestalt Gottvaters. Die seitlichen Pfeiler werden von
zwei Figurentabernakeln mit der Verkiindigungs-
gruppe, der Mittelrisalit von einem Tabernakel mit
der stehenden Muttergottes, auf dessen Spitze eine
Kreuzigungsgruppe sich erhebt, bekront. Auf den
Tabernakeln der seitlichen Pfeiler erheben sich posau-
nenblasende Engel. Die Zwischenstucke tragen Fialen
mit Prophetenbiisten. Zum Stil des Retabels: ein
wesentliches Element der Gestaltung des Hochaltars
ist seine Modellierung durch das Licht. Biihnenartige
Effekte werden erzielt durch die Nischen auf halb-
kreisformigenGrundriss,in denen vollrund die Statuen
bzw. Buisten von Heiligen stehen. Die Qualitat des
Lichtes als Gestaltungselement lasst sich auch an den
einzelnen Figuren erkennen: die hochpolierte Ober-
flache des Marmors erhalt eigene Bedeutung. Be-
I.
e L,L L. L.* L- Ul
K--' -*
I3
 ABB. 9
Marienkr6nungsaltar,Detail: Stigmatisation des HI. Franziskus
trachten wir exemplarisch das mittlere Predellenrelief
mit der Stigmatisation des H1. Franziskus (Abb. 9).
In angedeuteter, weich modellierter, bergiger Land-
schaft mit versatzstiickhaftenBaumen und Buischen-
zur Rechten die Kapelle von La Verna, im Grossen-
verhaltnis zu den Figuren wie ein Votivgeschenk
wiedergegeben-kniet der Heilige mit weit ausge-
breiteten Armen. Zu seiner Rechten hockt ein Mit-
bruder, iiber dem Lesen eingenickt. Dariiber erhebt
sich der cherubimgeflugelte Kruzifixus der Stigmati-
sation. Beide Figuren, die des HI. Franziskus und die
des Ordensbruders,sind als Gewandfigurenkonzipiert,
d.h. die Struktur ihrer Korper ist nicht sichtbar, ihre
Bewegungen werden durch die Faltenschwiinge ihrer
weitfallenden Kutten erklart. Besondersdeutlich wird
dies an dem hockenden Franziskanermonch, dessen
Sitzbewegung-er hat das linke Bein unter das rechte
geschlagen-allein aus der schwingenden Drapierung
seines Gewandes ersichtlich ist. Diese Drapierung erin-
nert an die Miniaturen des Andre Beauneveu, dessen
Propheten in ahnlicher Haltung dargestellt sind. Das
Licht spielt auch in diesem Relief eine entscheidende
gestalterische Rolle. Wahrend der Hintergrund mit
der sanften Kontur der Hugelketten zu verschwimmen
scheint, riickt der HI. Franziskusscharf in den Vorder-
grund. Sein Kopf hebt sich akzentuiert vom Hinter-
I4
grund ab, seine Arme offnen sich zum Betrachter, der
linke Arm ragt sogar aus der Bildbiihne heraus. Gleiche
Kriterien lassen sich auch an der Mittelgruppe der
Kr6nung Mariens verfolgen (Abb. o). Auch hier
spielen Stoff und Draperie eine wesentliche Rolle in
der Komposition. Engel halten in der Rtickwand der
dreibogig abschliessenden Baldachinnische ein kunst-
voll gefaltetes Tuch, verschmelzen selbst mit ihren
Korpern mit dieser Draperie. Die Bewegung des
kronenden Christus wird nicht durch eine sichtbare
Korperdrehung angezeigt, sondern durch die diago-
nale Faltenfuhrung, die von der rechten Schulter zum
linken Fusse der Figur hinabgefuhrt wird. Wie bei der
Figur des HI. Franziskus besitzt das Gewand eigene
Kompositionsqualititen. Schwere, trage fliessendeFal-
ten mit breiten Faltenbogen uberziehen die Figuren.13
Wie ich bereits andernorts aus stilistischen Erwa-
13. Heusinger sieht als Vorbild der Kronungsgruppe das Relief
der Marienkronung 1352, Bologna, S. Francesco, an; Abbildung
bei I. B. Supino, L'Arte nelle Chiese di Bologna, secoli VIII-XIV
(Bologna, I932) S. 229. Mir erscheint jedoch der Zusammenhang
der Kronungsdarstellung mit gleichen Typisierungen in der
toskanischen Malerei entscheidender zu sein, wie z.B. Bartolo di
Fredis Marienkronung von 1388, Montalcino, Museo Civico,
oderJacopo di Ciones Bild in der Florentiner Akademie von 373
Abb. Millard Meiss, Painting in Florenceand Siena after the Black
(Death [Princeton, I951] Taf. 54, 56).
 It

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ABB. 10
Detail: Mitte]gruppe
Marienkronungsaltar,Detail'
MarienkrSinungsaltar, Mittelgruppe (Photo'
(Photo: AlinarJ)
Alinari)

'5
gungen nachzuweisen versuchte,'4 besitzen wir ein
Jugendwerk von der Hand des sienesischen Prota-
gonisten der Friihrenaissance, Jacopo della Quercia,
das vermutlich in engstem Zusammenhang, vielleicht
sogar im Werkstattverband, mit den dalle Masegne in
Bologna entstanden ist: die "Madonna dell'Umilta"
der Kress Collection in der Washingtoner National-
galerie. Es handelt sich hier um das friiheste bekannte
Beispiel des "Humilitas" Types in der Skulptur.'5
Die verhaltnismassig kleine Marmorfigur (Abb. 1,
12) stammt aus der Sammlung Ercolani in Bologna,
die sie direkt aus einer Bologneser Kirche ubernahm.
In den nervosen, unruhigen Faltensaumen der Skulp-
tur konnen wir ein spezifisch sienesisches Element
beobachten, das sich, beginnend bei Duccio, durch das
ganze Trecento hindurch nachweisen lasst, um dann
in den Werken des Taddeo di Bartolo in der ersten
Dekade des 15. Jahrhunderts zu kulminieren.'6 Swar-
zenski-Seymourbringen den Stil der Umilta-Madonna
in Beziehung zu den Werken Nino Pisanos, insbeson-
dere zur Madonna in S. Maria della Spina in Pisa.
Vergleichen lasst sich hier die Haltung des Kindes mit
den verkreuzten Fusschen.'7 Stilistisch zeigen sich auf-
fallende Ahnlichkeiten mit den BologneserFiguren der
dalle Masegne; Gesichtstyp, Gewandstil, und Ober-
flachenbehandlung sind eng verwandt. Vergleicht man
die Engel der Marienkronungsnische des Altars von
S. Francesco mit der Washingtoner Madonna, so zeigt
sich die gleiche ovale Gesichtsform ohne scharfe

14. Claudia Freytag, Jacopo della Quercia: StilkritischeUnter-

suchungenzu seinen Skulpturenunter besondererBeriicksichtigungdes
Friihwerks(Diss. Miinchen, 1970). Charles Seymour/Hanns Swar-
zenski, "A Madonna of Humility and Quercia's Early Style,"
GazettedesBeaux Arts 30 (1946) S. 129-152, haben diese Zuschrei-
bung zuerst formuliert, doch aus unterschiedlichen stilistischen
Erwagungen.
15. Betty Kurth, "Das Gnadenbild als Stilvermittler," Belvedere
XII (1934-1936), S. 7 if. Meiss, Paintingin Florence,S. 132 ff., dort
auch weitere Literaturhinweise. Seymour/Swarzenski, "Madonna
of Humility."
i6. Fresken im Palazzo Pubblico, Siena, 1408; Verkiindigung,
Siena, Pinacoteca, 1409. Letzteres abgebildet bei Enzo Carli,
Guidadella Pinacotecadi Siena (Mailand, 1967) Abb. 22.
I 7. Dieses Detail gehort bisweilen zur Ikonographie der Humi-
litas-Madonna; das zeigt eine Reihe von Darstellungen, die Meiss,
Painting in Florence,zusammenstellte, so z.B. Werkstatt Simone
Martinis, Taf. I28; Bartolommeo da Camogli, Taf. 129; Andrea
di Bartolo, Taf. 131; Giovanni di Niccolo, Taf. I32; Neapolita-
nischer Nachfolger Simone Martinis, Taf. 133; Lorenzo Veneziano,
Taf. 135.
Abgrenzung der Augenbrauen. Die schmalgratige,
lange Nase hebt sich gemmenhaft aus dem Antlitz
heraus; die Wangen sind kaum herausgew6lbt, glatt
sich rundend ziehen sie sich zu den Ohren hiniiber.
Bei der Faltengebung fiel bereits das spezifisch siene-
sische Element der Saume auf, das im Werk der dalle
Masegne nicht zu finden ist. Vergleicht man aber den
Fall des Gewandes mit dem der Kronungsmadonna,
so besitzt der Stoff in beiden Fallen eine ahnliche
Schwere: das das Haupt umhiillende Tuch schwingt
bei beiden Figuren leicht zuriick, wobei es einen Ein-
schlag bildet. Die gleiche Form findet sich weiterhin
bei der Washingtoner Madonna am Umhang iiber der
Brust, bei der Maria der Kronung unterhalb des

angewinkelten Armes. Die teigigen Faltenverwer-
fungen zu Fiissen der Madonna von S. Francesco
k6nnen wir bei der Madonna dell'Umilta in Washing-
ton an der Riickseite der sitzenden Gestalt entdecken.
Qber die Bedeutung der Oberflache im Werk der dalle
Masegne haben wir schon gesprochen. Bei der Wash-
ingtoner Madonna ibt die feingeschliffeneOberflache,
die an den Gewandsaumen mit Gold gefasst war,I8in
ihren mannigfaltigen Licht- und Schattenwirkungen
einen eigenen, vom Kiinstler intendierten Reiz aus.
18. Reste roten Bolus und der Vergoldung noch sichtbar. Am
Sockel befand sich eine Inschrift, deren Fragmente als Anrufung
Mariens gedeutet werden konnen.
ABB. II, 12
Jacopo della Quercia, Madonna dell'Umilta.
Washington, National Gallery, Kress Collec-
tion, A-I57
Zur Theorie der kunstlerischenHerkunftdieses Werkes
vom Stil des Nino Pisano: im Allgemeinen werden die
Brider dalle Masegne mit der Wirksamkeit Nino
Pisanos in Venedig in Verbindung gebracht. Ihr Stil
orientiert sich zu einem grossen Teil an den Figuren
des Monumentes fur Marco Cornaro in SS. Giovanni
e Paolo in Venedig, das um 1367 zu datieren ist. In
dieser Hinsicht, durch die Vermittlung der Masegne,
lasst sich also auch ein indirekter Zusammenhang
zwischen dem Meister der Washingtoner Madonna
und Nino Pisano herstellen.
Zusammenfassend lasst sich feststellen, dass die
Madonna dell'Umilta im bolognesischen Umkreis der
dalle Masegne entstand. Dafur spricht, neben Stilist-
I7

ABB. 13
Jacopo della Quercia, Madonna del Melograno.
Ferrara, Dom (Photo: Alinari)
ischem, ihre Herkunft aus einer Bologneser Kirche.
Weiterhin zeigt sie in den Faltensaumen spezifisch
sienesischeStilelemente. Seymour-Swarzenskidatieren
dieses Fruhwerk Quercias "um I410," eine Datierung,
die mir zu spat angesetzt erscheint. Wie Nello Rondelli
mit Hilfe von Dokumenten nachweisen konnte,19ent-
stand Quercias weiteresJugendwerk, die Madonna del
Melograno in der Kathedrale von Ferrara (Abb. 13),
in den Jahren zwischen I403 und I406. Vergleicht
man die Ferrareser Madonna mit der "Madonna
dell'Umilta," so sind die Ahnlichkeiten beider Figuren
augenfallig. Neben dem vergleichbaren Gesichtstypus
mit den feingeschnittenen Ziigen ist auch die nahezu
identische Kopfbildung beider Christuskinderbemer-
kenswert. Das breite, stark gerundete Kindergesicht,
mit der kurzen, etwas nach oben gebogenen Nase, den
unverhaltnismassig grossen, mandelf6rmig geschnit-
tenen Augen und dem kurzen Lockenhaar ist charak-
teristisch fur das Werk Quercias. Die unruhigen
Faltensaume der Washingtoner Madonna sind einem
klassischeren, beruhigten und monumentalen Falten-
wurf gewichen. Deutlich wird dies am Umhang
Mariens, der sich bei beiden Gestalten um das Haupt
legt. Wo bei der Madonna dell'Umiltat die Falten
weich schwingend das Gesicht umrahmen, hangen bei
der Madonna del Melograno schwere, zick-zack ge-
saumte Faltentrauben zu beiden Seiten des Antlitzes
herab. Die kiinstlerische Entwicklung geht also ein-
deutig von der Washingtoner Madonna aus, die eine
Voraussetzung zur Madonna del Melograno ist. Daher
glaube ich, man sollte eine Neudatierung der Madonna
dell'Umilta aufvor I403 zur Diskussion stellen.
VENEDIG
Die venezianische Skulptur des ausgehenden I4. und
beginnenden 15. Jahrhunderts, die so bedeutsam fur
die Entwicklung der Florentiner Bildhauer ist, wird
wesentlich durch den Stil der Briider dalle Masegne
bestimmt. Das grossartige Werk der Ikonostasis von
S. Marco (Abb. I4) gehort zu den Inkunabeln der
neuen Statuarik. Auf die "nordischen" Einfliisse, die
die Lettnerfiguren mitpragen, hat Heusinger hinge-
wiesen,20ohne sie jedoch genauer zu prazisieren. Wie
W. K6rte2i aufzeigte, waren Venetien und das angren-
zende Friaul die Endpunkte der die Alpen uberqueren-
den alten Passwege und Strassen von Siiddeutschland,
Osterreich und Bohmen. tber den Plockenpasskamen
Karntner Bildhauer aus Lienz und Spital, durch das
Piave-Tal gelangten Salzburger nach Italien. Zahl-
reiche Vesperbilder zeugen in diesen Gebieten von
deutschen Wanderkiinstlern. In Venedig konnten sie
in der deutschen Gemeinde um den Fondaco dei
Tedeschi Aufnahme finden.
Die Dokumente uber die Errichtung der Ikonostase
von S. Marco sind fast alle verlorengegangen. Ledig-
lich das Vollendungsdatum, 12. Februar I394, und
I9. Freytag, Jacopodella Quercia,S. 76. Zur Datierung der
Madonnavon FerrarasieheNello Rondelli,"JacopodellaQuercia
a Ferrara I403-I408, BollettinoSenesedi Storia Patria III/XXIII,
S. 131 f.
20. Heusinger, Masegne,S. 122.
21. Korte, "Vesperbilder," S. 31.
 .. . y
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ABB. 14
Jacobello und Pierpaolo dalle Masegne, Ikonostasis.Venedig, S. Marco (Photo: KunsthistorischesInstitut,
Florenz)

der Name der Bildhauer ist uns iiberliefert. Die archi-
tektonische Gliederung des Lettners war festgelegt
durch die byzantinisierende Ikonostasis des 13. Jahr-
hunderts, die aus bisher unbekannten, wohl politisch
bedingten Grunden, Ende des 14.Jahrhunderts erneu-
ert wurde. Sie besteht aus einem mittleren Lettner vor
dem Hochaltar, der im Zentrum den Kruzifix zeigt,
flankiertvon der trauernden Maria, dem Evangelisten
Markus, Patron Venedigs, und den 12 Aposteln. Zwei
seitliche Ikonostasen, in der Cappella S. Pietro und der
Cappella S. Clemente, tragen weibliche Heilige, die
sich um die jeweils zentrale Figur der Madonna grup-
pieren. Nur der mittlere Lettner ist das Werk der dalle
Masegne, die Urheberschaft der seitlichen Ikonostasen
ist bisher ungeklart. Diejenige der Cappella S. Cle-
mente ist inschriftlich 1397 datiert, muss also unmittel-
bar im Anschluss an den Masegne-Lettner entstanden
sein.22 Den einheitlichen Plan des Ensembles hebt
Heusinger hervor, bemerkt aber auch gleichzeitig die
stilistische Inkongruenz der Statuen vor den seitlichen
Chorkapellen mit den Figuren der dalle Masegne.
Auffallend ist die typologische Anlehnung des Aufbaus
der Ikonostasisan die frih-und hochgotischenLettner
nordlich der Alpen. Bereits die Wahl des gekreuzigten
Christus als Zentralpunkt der Ikonostasis-in Byzanz
und dem byzantinischen Venedig wahlte man die Dar-
stellung des Pantokrators-verweist auf die Zusam-
menhange.
Die gewaltige Neuerung des Masegne-Lettners,
bereits als Idee angelegt im Hochaltar von S. Fran-
cesco in Bologna, ist die Auseinandersetzung der
Figuren mit dem Raum. Unabhangig vom architek-
22. Heusinger, Masegne,Anm. 436.

I9

I4'
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ABB. 15
Prag (?), um 1390, Moses, Kopf der Konsolbiiste
unter der Statue der Muttergottes. Sandstein.
Thorn, Johanniskirche
tonischen Rahmen stehen die Apostel, gleichsam wie
auf einer Briistung, in unmittelbarer Beziehung zuei-
nander. Einige scheinen miteinander zu disputieren,
andere sind in Kontemplation versunken. Wie wir
bereits bei den Bologneser Figuren beobachten konn-
ten, verschwindet hier in noch starkerem Masse die
Korperstruktur unter der Faltenfulle und der Schwere
der Gewander, deren Schwingungen die Richtung der
Bewegung angeben. So zeigen die scharfen, zur rechten
Seite der Gestalt hingefuhrten Faltenbogen im Gewand
Mariens das Motiv des sich Abwendenwollens, das
"pathetisch" kontrastiert zum schmerzerfullten Antlitz
der Madonna, die zum gekreuzigten Sohn aufblickt.
Der Ausdruck des Grames und der Verzweiflung
spiegelt sich also nicht nur in den Gesichtszugen,
sondern auch in der gesamten Komposition der Statue.
20
Auch in der Gestalt desJacobus Zebedaei zeigt sich die
Emotion im Faltenwurf, der in breitgezogenen Falten
den Korper umhullt. Die schon pramanent enthaltene
Unsicherheit des Skeptikers wird beim HI. Thomas
nicht nur im zweifelnden Ausdruck des Antlitzes,
sondern auch im unruhigen Kontur des Gewandes
deutlich. In Faltentrauben, bewegten Schwiingen, tief
eingekerbten Linien umgibt es die im ausgepragten
Kontrapost angelegte Figur. Vollig in sich zusammen-
gezogen in seinem Schmerz erscheint Johannes der
Evangelist, wahrend der HI. Markus in sicherer, stand-
fester Statuarik bereits vom Evangelium zu kiinden
weiss.
Die bemerkenswerte Individualisierung der einzel-
nen Apostel in ihrer jeweiligen, uberlieferten Charak-
teristik-ein Gestaltungselement, das das ausgehende
14. Jahrhundert kennzeichnet-hat Krautheimer fol-
genderweise charakterisiert:"Aber nicht nur um ihrer
Wirklichkeit willen wird die Wirklichkeit kinstlerisch
gestaltet, nicht nur weil sie untypisch ist, vielfaltig,
nicht nur weil sie Nicht-Ich ist, well sie Materie ist,
sondern weil sie hasslich ist und defekt und abgefallen
vom gottlichen Archetypus. Niemals ist eine Zeit so
rebellisch, so von Grund aufrevolutionar gewesen, wie
dieses spate 14. Jahrhundert. Niemals hat eine Zeit so
sehr sich gegen jeden Versuch, ein Schonheitsideal
aufzustellen, gestemmt, niemals ist eine Zeit mit solcher
Liebe dem Hasslichen um seiner Hasslichkeit willen
nachgegangen: niemals gibt es soviel Darstellungen
hasslicher Menschen, hasslicher Dinge, wie damals."23
Die Koinzidenz dieser Stilelemente, die Kraut-
heimer hier allgemein schildert, mit nahezu gleich-
zeitig bohmischen Werken, ist auffallend. So reprasen-
tiert die Konsolbiste des Moses im brennenden
Dornbusch unterhalb der Madonna der Johannes-
kirche (Abb. 15) in Thorn24 die gleiche Auffassung
von individueller Charakteristik.Was Alfred Schadler
als "feinfuhligen Realismus" in dieser Gestalt kenn-
zeichnet, trifft auch fur den HI. Thaddaeus der Ikono-
stase zu, der dem Moses von Thorn in seiner Expressi-
vitat verwandt ist. Mit dem HI. Simon lasst sich ein HI.
Petrus in der Prager Nationalgalerie (Abb. i6) ver-
gleichen, der dem Meister der Krumauer Madonna
23. Richard Krautheimer, "Zur venezianischenTrecento-
plastik," MarburgerJahrbuchfiirKunstwissenschaftV (1929) S. 206.
24. Alfred Schadler, DeutschePlastik der Spatgotik(Konigstein,
1962) Abb. S. 9.
zugeschrieben wird.25 Die gleiche, bestimmte Statu-
arik, gekennzeichnet durch das sichere Standmotiv
und die schwingenden Faltenb6gen, die, ausgehend
von der linken Schulter zur rechten, vorgelegten Hand
verlaufen, sowie das eingefallene Antlitz, von aufge-
drehten Haar- und Bartlocken umrahmt, verbindet
diese, topographisch so entfernten Werke. Bei diesen
Betrachtungen erhebt sich die Frage, in welchem
Ausmassdie Werkstattder Parlerund die der von ihnen
unmittelbar beeinflussten Kiinstler auf die Kunst der
Masegne eingewirkt haben. Auf die Kommunikations-
wege haben wir bereits eingangs hingewiesen, doch der
schliissige Beweis kann nicht erbracht werden, da die
Dokumente iiber die Ikonostaseverlorengegangensind.
Die Statuette eines knieenden Dogen (Abb. 17),
traditionsgemass als Tommaso Mocenigo bezeichnet,
wurde von Krautheimer26zuerst den Masegne zuge-
schriebenund von Wolters27und Heusinger28bestatigt.
Die Figur, allansichtig konzipiert, entstand wohl kurz
nach der Ikonostasis und setzt die stilistischen Errun-
genschaften dieser Skulpturen fort. Der Kontur er-
scheint nicht mehr "aufgerissen"wie bei den Aposteln
der Ikonostase, hat sich beruhigt, umgleitet in fliessen-
den Linien den Korper. Die typische Kopfbedeckung
des Dogen bildet einen eleganten, kontrapostischen
Gegensatz zum Gewand, das die Fusse des Knieenden
umhullt. Die Faltenfuhrung des Gewandes rundet sich
in sanften Schwungen. Dagegen kontrastieren die
markanten, portraitahnlichen Linien des Antlitzes mit

25. Ausstellung, 6eske Umini Goticke,Narodni Galerie v Praze

(Prager Nationalgalerie, bohmische Gotik) (Praha, I964) Kat.
Nr. 50 und Abb. 4I, 43.
26. Krautheimer, "Trecentoplastik," S. I.
27. Wolfgang Wolters, "Uber zwei Figuren desJacobello dalle
Masegne in S. Stefano zu Venedig," Zeitschriftfur Kunstgeschichte
1965, S. 113.
28. Heusinger, Masegne,S. i68.

C-4 =ABB. I6
'! ' Meister der Krumauer
J
.
- ^^h Madonna (?), H1.
Petrus. Sandstein.
,/7t Prag, Nationalgalerie,
Inv. Nr. vP3

ABB. 17
Jacobello dalle
Masegne, Doge Tom-
*
ir1 t maso Mocenigo.
Venedig, Museo
,~
.s , Correr (Photo: Kunst-
-;j w historischesInstitut,
Florenz)

21
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'X^

*W-j

ABB. 18
Venezianischer Meister um 1420-1430, Kronung Mariens. Kalkstein, 81,9 x 60,2 x 2 bis 9,6 cm. (32 /4 X

233/4 x 3/4 bis 334 in.). New York, Sammlung Irwin Untermyer

22
seinen eingefallenen Wangen, den hohen Backen-
knochen und tiefliegenden Augen, die das Faszinie-
rende einer Pers6nlichkeitvermitteln.
Ein Relief aus der Sammlung Irwin Untermyer,
New York (Abb. 18)29 zeigt uns die weitere Entwick-
lung des "Internationalen Stils" in Venedig, der immer
starkervon ausser-venezianischenEinfliissen abhangig
wird.
Es zeigt die Madonna mit dem nackten Christus-
knaben im rechten Arm auf einem sorgfaltig architek-
tonisch gestalteten Thron sitzend. In der linken Hand
halt sie eine rosenformige Kreuzblume, Symbol der
Passion. Neben dem Thron flankierenje drei musizie-
rende Engel mit zeitgen6ssischen Musikinstrumenten
die Komposition, wahrend zwei am oberen Rand des
Reliefs schwebende Engel eine Akanthuskrone fiber
das Haupt Mariens halten. Ikonographisch haben wir
also hier eine in der italienischen Kunst nicht so haufig
verbreitete Verbindung zwischen der Darstellung der
Madonna in der Glorie und der Marienkronung vor
uns. Diese spezifische Kombination verweist uns da-
gegen auf den transalpinen, siiddeutschen Raum, wo
diese Form des Andachtsbildes ein beliebtes Objekt der
aufkommenden Marienverehrung ist. Auch einige sti-
listische Merkmale deuten auf Einflusse, die von
siiddeutschen und suidostdeutschen Gebieten nach
Venedig gelangten. So erinnern die weich modellierten
Gesichter der Engel mit ihren sorgfaltig, schnecken-
artig gedrehten Locken, die kaum vom Stirnreif
gebandigt werden, an frfihe Gestaltungen Mult-
schers.30 Dagegen zeigen die Faltenkatarakte, die,
breite Schiisselfalten bildend, in gross angelegten
Schwiingen fiber die Knie der Madonna schwer zu
Boden fallen und sich dort in weichen Knickungen
aufstauen, den Einfluss des Lamberti-Kreisesin Vene-
dig.3IAuch der Thron mit dem halb-vierpassformigen
Piedestal zeigt spezifisch italienische Pragung. Die
merkwiirdige Mischung zwischen byzantinisierenden
29. Kalkstein mit Spuren der alten Fassung. Die Innenseite
der Flugel des linken Kronungsengels spater (modern) ausgekittet.
Die oberen Ecken des Reliefs ausgebrochen.
30. Kurt Gerstenberg, Hans Multscher(Leipzig, 1928) S. 54,
Abb. 28.
31. Giuseppe Fiocco, "I Lamberti a Venezia," Dedalo VIII
(I927/1928) Vol I, S. 287, 343, 432.
32. Jacob Burckhardt, KulturundKunstderRenaissance in Italien
(Berlin, o.J.).
33. Burckhardt, Kulturund Kunst. W. S. Heckscher, Die Rom-
Hoheitszeichen, wie dem Kissen, auf dem Maria sitzt,
dem elaborierten gotischen Schnitzwerk des Thrones
und den neuen, antikischen Formen der Akanthus-
architrave und der von Akanthuslaub umrahmten
Pinienzapfen auf den Lehnen des Thrones zeigen uns
diesen tbergangstil um 1420, der traditionelle Ele-
mente der Spatgotik verbindet mit den Neuerungen
der Friihrenaissance.
FLORENZ
Die Statuarik der Florentiner Bildhauer um 1400
wurde, im Gegensatz zu den Werkstattenjenseits des
Appenin, von Beginn an durch die neue Sicht der
Antike gepragt, die bereits in der Mitte des 14. Jahr-
hunderts in der toskanischen Literatur einsetzte. Die
"Argumentation mit den Romtriimmern," die Fran-
cesco Petrarca im H1. Jahr 1350 in Rom nieder-
schrieb,32der "Dittamondo" des Fazio degli Uberti,
um I360, eine fingierte, visionare Reisebeschreibung
in der Roma, in Gestalt einer Greisin, den Verfasser
und seinen Begleiter durch die Stadt ffihrt,33zeugen
vom Aufleben der Wertschatzung antiken Gedanken-
gutes und antiker Monumente. Der Paduaner Arzt
Dondi nimmt wahrend seines Romaufenthaltes I375
Messungen an antiken Monumenten vor und sammelt
romische Inschriften.34
In der Toskana selbst waren eine grosse Anzahl
antiker Monumente, meist Sarkophage, erhalten ge-
blieben, an denen die Generation um I400 die Kompo-
sition antiker, romischerFiguren studieren konnte. Die
grosste Sammlung solcher Denkmaler hat sich bis
heute im Camposanto in Pisa erhalten: Sarkophage,
die zum Teil im Hohen Mittelalter wiederverwandt
worden waren.3sWie Krautheimer nachweisen konnte,
benutzte auch Ghiberti solche Vorlagen fur seine
Kompositionen.36
ruinen.Die geistigen Vorraussetzungen
ihrer Wertungim Mittelalterund
in derRenaissance(Diss. Hamburg, Wurzburg 1936).
34. Heckscher, Die Romruinen.
35. Enzo Carli, Paolo E. Arias, II Camposantodi Pisa (Rom,
1937) (Nr. 6i Itinerari dei Musei e Monumenti d'Italia). Bern-
hard Degenhart, Annegrit Schmitt, Gentile da Fabriano in Rom
und die Anfange des Antikenstudiums," MiinchnerJahrbuch der
BildendenKunstXI (1960), S. 59. ff.
36. Krautheimer, Ghiberti,S. 337 ff. Appendix A: Handlist of
Antiques.
23
 d
t.s;)r' g
') ';i', Udella Mandorla seinen Niederschlag gefunden hat.38
Leonardo Bruni (I396-I440), der bedeutendste Schui-
i .,%]
:.:' 'ler des Manuel Chrysoloras, eines Griechen, der in der
letzten Dekade des Trecento an die Florentiner Akade-
mie berufen wurde, um die griechische Sprache und
Literatur zu lehren, errang nicht nur als Philosoph
besondere Bedeutung, sondern auch als i Tbersetzer
If, platonischer39 und aristotelischer40 Schriften ins Latei-
nische.
So ist es nicht verwvunderlich, dass die Skulptur des
I N'e -: , [ .
ausgehenden 14. Jahrhunderts in Florenz, die Dekora-
~ ! '
\ tion der Porta della Mandorla und die Gestaltung der
Domfassade von diesem Gedankengut gepragt sind.
Die Dekoration der Porta della Xlandorla (Abb. i9)

~?~ia~
^ '8 #F P s \ s
VY ~~~~~~38. Freytag,JacopodellaQuercia,
S. 35. if.
39. Phaedon,Gorgias,Kriton,Briefe,Apologie,und Phaedrus.
40. NikomachischeEthik,Politeia(LetzterehattePallaStrozzi
als Codexaus Konstantinopelerhalten).

ABB. 19

Giovanni d'Ambrogio und Mitarbeiter, Porta ,

della Mandorla, Detail: linkes Gevwande. Flo-
renz, Dom

ABB. 20

Porta della Mandorla: Herkules, Detail des O

linken Gewandes (Photo: Alinari)

Die entscheidende Anregung zum Studium der

Antike jedoch ging aus von Philosophie und Literatur
des endenden Trecentos. Coluccio Salutati und Leo-
nardo Bruni sind hier an erster Stelle zu nennen.37
Coluccio di Piero Salutati (gest. I406), Verehrer
Petrarcas und Freund Bocaccios, langjahriger Staats-
kanzler von Florenz, iibertrug nicht nur die Staats-
lehren und orationes des antiken Rom auf seine
Gegenwart, sondern schufauch in seinem Traktat "De
laboribus Herculis" das Leitbild des modernen, tatigen
Menschen, das in der Herkulesdarstellung der Porta

37. Alfredvon Martin,"ColuccioSalutatiund das humanist-

ischeBildungsideal,"Beitrdge desMittelalters
zurKulturgeschichte und
derRenaissance,Hsg. W. Goetz, Heft 33 (Leipzig/Berlin,i916).
EugenioGarin,I TrattatiAloralidiColuccioSalutati(Florenz,I944) .
B. L. Ullmann,ColuciiSalutatisdelaboribus
Herculis(Zurich,I95).
B. L. Ullmann, TheHumanism of Coluccio
Salutati(Padua, x958).
FriedrichUiberweg,Grundriss derGeschichtederPhilosophie,
Bd. III
(Berlin,I924) S. 7. if.

24

5
des n6rdlichen Seitenportales des Florentiner Domes,
stand im Wesentlichen unter der Gesamtleitung des
Giovanni d'Ambrogio, 1391-1396, dem Wundram
auch den Entwurfzuschreibt.41In dieser ersten wichti-
gen Phase entstanden, nach der detaillierten Aufstel-
lung Seymours,42der Tiirsturz des Portales mit den
mittleren Rankenornamenten, aus denen in phanta-
sievoller Weise Nereiden und andere heidnische Figu-
ren herauswachsen;43die inneren Gewande der Porta
della Mandorla, die dieses Dekorationssystem fort-
setzen;44 die Zwickelkonsolen in Form von putti;45 die
ausseren Gewande mit ihren Engelsreliefs in hexa-
gonalen Rahmungen, voneinander abgegrenzt durch
Akanthuskelche, aus denen die antikischen Gestalten
von Gottheiten entspringen46und die seitlich unter
Baldachinen auf dem hervorkragenden Architrav
stehenden Prophetenfiguren.47
Die Verteilung der einzelnen Werkstiicke unter die
urkundlich48 bekannten Kiinstler, wie sie Seymour
versuchsweise vornahm49ist ausserordentlich proble-
matisch und beruht gr6sstenteils auf Hypothesen. Die
meisten dieser Vermutungen beschiftigen sich mit der
Identitat des Meisters des Herkulesreliefs am linken
ausseren Gewande. Die nackte Figur des Herkules
(Abb. 20), im ausgepragten Kontrapost gezeigt, fiber
die rechte Schulter das L6wenfell gehangt, hat in
seiner freien, renaissancehaften Adaption antiker
Vorbilder den Ausgangspunkt geschaffen fir zahl-
reiche Analysen der "buona maniera moderna" der
Florentiner. Der reizvolle Gegensatz dieser Gestalt zu
dem spielerisch geformten, von Bliitendolden gerahm-
ten Akanthusblatterkelch,der als eigenstandiges Orna-
ment verstanden werden kann, zeigt uns, wie kongenial
41. Manfred Wundram, Der Meister der Verkiindigungin der
DomoperazuFlorenz,Festschrift H. R. Rosemann (Berlin-Miinchen,
1960) S. 109 if.
42. Charles Seymour, Jr., Sculpturein Italy 400o to r500 (Har-
mondsworth, I966), S. 33.
43. Piero di Giovanni Tedesco und Lorenzo d'Ambrogio (?);
cf. Seymour, Sculpture.
44. Links: Lorenzo di Giovanni d'Ambrogio (?) und ein
Werkstattgehilfe (Niccolo di Pietro Lamberti?). Rechts: Piero di
Giovanni Tedesco (?); cf. Seymour, Sculpture.
45. Links: Giovanni d'Ambrogio. Rechts: Piero di Giovanni
Tedesco, cf. Seymour, Sculpture.
46. Links: Niccolo di Pietro Lamberti (?), Piero di Giovanni
Tedesco (?), Lorenzo di Giovanni d'Ambrogio (?). Rechts:
Giovanni d'Ambrogio (?),Jacopo di Piero Guidi (?), cf. Seymour,
Sculpture.
hier an der Porta della Mandorla die Formensprache
der "Internationalen Gotik" verwoben ist mit der
florentinischen "all' antica" Mode der letzten Dekade
des Trecento. Wie schon angedeutet, steht das Thema
des Herkules in unmittelbarem Zusammenhang mit
Coluccio Salutatis Traktat "De laboribus Herculis."so
Jedoch noch eine weitere Quelle lasst sich fur diese
Darstellung angeben: zu Beginn des Trecento entwi-
ckelt sich in Florenz ein ausgepragterHerkuleskult,der
gegen Ende des Jahrhunderts immer mehr an Bedeu-
tung gewinnt.5I Sein Ursprung liegt m6glicherweise in
einer, Dante zugeschriebenen Canzone, die die Taten
des Herkules besingt und seine Eigenschaften als die
eines politischen Menschen riihmt. Noch vor Entste-
hung dieser Canzone siegelt die Stadt Florenz mit
einem neuen Siegelbild (ca. 1277), mit dem Herkules,
der, die Keule geschultert, fiber dem Arm das Lowen-
fell, weit ausschreitet. Dieses Siegel wird das ganze
Trecento hindurch gleichberechtigt neben dem Patron,
Johannes dem Taufer, im Siegelbild gefiuhrt.52Diese
Wertung des heidnischen Heros als politisches Symbol
der Starke, Unbesiegbarkeit und unermiidlichen Tat-
kraft zeigt sich bereits an einem Relief Andrea Pisanos
am Campanile, das Herkules mit dem erschlagenen
Kakus darstellt. Das Fortleben dieser Tradition doku-
mentiert sich an Baccio Bandinellis Herkules-und-
Kakus-Gruppe vor dem Palazzo Vecchio in Florenz.
Utberzeugend konnte Wundram Giovanni d'Am-
brogio, den vermutlichen Urheber des Gesamtent-
wurfes der Porta della Mandorla, mit dem "Herkules-
meister" identifizieren.53
Viel starker eingebunden in die allgemeine "inter-
nationale" Stilrichtung erscheinen die Halbfiguren
47. Lorenzodi Giovannid'Ambrogio,cf. Seymour,Sculpture.
48. GiovanniPoggi,II DuomodiFirenze.ItalienischeForschun-
gen, herausgegebenvom KunsthistorischenInstitut in Florenz,
II (Berlin, 1909).
49. s. Anm. 43-47.
50. Krautheimer,Ghiberti,S. 279.
5I. MarcelSimon,Hercule etle Christianisme
(Strassburg,1955).
52. Abb. bei WalterPaatz, Werden undWesenderTrecentoarchi-
tektur
in Toskana(Burg,1937)Titelvignette.
53. Wundram,Der MeisterderVerkiindigung. WeitereVermu-
tungen uber die Identitat des Meistersder Herkulesdarstellung
ausserteGiuliaBrunetti:Giulia Brunetti,"Jacopodella Quercia
a Firenze," Belle Arti (I951) S. I. Giulia Brunetti, "Jacopo della
Querciaand the Portadella Mandorla,"TheArtQuarterly
(1952)
S. 119-132.
25
 ABB. 21, 22

Giovanni d'Ambrogio (?), Verkiindigungsruppe (?), Engel und Maria der Verkindigung (?). Florenz,
Museo dell'Opera del Duomo (Photos: KunsthistorischesInstitut, Florenz)

26
der Engel an den ausseren Gewanden, die mit ihrem
plastichen Volumen fast den sechseckigen Rahmen
zu sprengen scheinen (Abb. I9). Allen gemeinsam
sind die ausgepragten Schwiinge in der Gewand-
fiihrung, die sich in breiten, gedriickten Falten in
grossem Bogen um den Korper legen. Auffallend sind
die stilisierten Gesichter der Engel, ein Erbe der
Bauhiittenskulptur, doch ist das verbindliche Ideal
antiker Herkunft. Statuen der Juno mdgen Pate
gestanden haben.54
Der zweiten Arbeitsphase an der Porta della Man-
dorla (I404-I409),55 wird die ungewohnliche Gruppe
der "Verkiindigung Mariens" zugeordnet, heute im
Dommuseum von Florenz (Abb. 2I, 22), die Anlass
zu divergierenden Diskussionengab. Meines Erachtens
wurde sie von WundramS6zu friih angesetzt, in die
letzte Dekade des Trecento und Giovanni d'Ambrogio
54. Manfred Wundram, "Niccol6 di Pietro Lamberti und die
Florentiner Plastik um 1400," JahrbuchderBerlinerMuseen4 (1962)
S. 78.
. :
ABB. 23, 24
Sienesischer Meister um 41I0,
Engel und Maria der Verkiindi-
gung. Holz gefasst. Montalcino,
Museo d'Arte Sacra (Photos:
KunsthistorischesInstitut,
Florenz)
zugeschrieben. Diese Zuweisung an den "Herkules-
meister" erscheint aus stilistischen Griinden gerecht-
fertigt, doch ist eine Datierung wie sie Seymour
vorschlagt, in die erste Dekade des Quattrocento,
wahrscheinlicher.
Wie die Regesten berichten, wurde I414 eine
marmorne Verktindigungsgruppe im Tympanon der
Porta della Mandorla aufgestellt, jedoch vor 1489
wieder entfernt, um dem Verkundigungmosaik des
Davide Ghirlandajo Platz zu geben.
Beide Figuren sind vollrund konzipiert, was Zweifel
aufkommen lasst, ob sie wirklich urspringlich fur das
Bogenfeld des Portals bestimmt waren. Das Pathos der
Bewegung, das den Engel pragt, gemahnt an die
burgundischen Schopfungen der Gewandfiguren Claus
Sluters. Das Gewand besitzt gestalthaften Eigenwert,
fallt in massiven, schweren, durchhangenden Falten-
55. 3. Phase: 14I4-1422, mit der Giirtelspende Mariens von
Nanni di Banco.
56. Wundram, Der Meisterder Verkundigung.
27
trauben vom linken, dem Korper zugewandten Arm
des Engels, gleichsam von der Burde des Stoffes
heruntergedriickt. Die rechte Hand erhebt sich, leicht ?; c
aus der K6rperdrehung nach rechts herausragend,
b I ???
verheissungsvoll der anderen Figur entgegen. Diese, b- i,
'r
?------ ;?
Lzr-
sich zuriickwendende Bewegung des Korpers wird .?,
:t . ?
unterstrichen durch die hochgew6lbten Diagonalfalten ?i -(*
'
des Obergewandes, die auf dem Rucken des Engels
r? .a n ei ?c.
verebben. Die teigigen Aufstauchungen zu Fiissen der ---.?r -???t??-
rr3-h
c?, a i iba
r$P 'r
Cp'.. i.l? C;
Figuren, die wir bei den zeitgenossischen Skulpturen 4j fr a
C-
,rf
-???--c.,;- sa
I .. LI -r"L
..a.
5
beobachten, ist einem ruhigen Auslaufen der Falten ----- - ???---:,Y
I
?r9.e 9 ?-* 1
F?----?-
1 " t- "---e /f r
gewichen. Das Antlitz des Engels, von zuruckfliehen- ?- ''
i i
:
?,. r
-?-t+. ir.
.?
-?-?ii
a
"_- "-"""-?

den, detailliert ausgearbeiteten Locken gerahmt, zeigt r- "?' 61;???t 1.

t ?r
-3. .., ?

in seinen Ziigen die Verganglichkeit, das bald wieder t. -t--?

b -????,
t?
d ,?I*'-
;Ir
'_PI _p-,
t
,? t?
"'
JL?'j
r, ?

Ilr
??
i
L.
i

Entschwindende der Himmlischen Erscheinung. J j !? :-??r ru rr

Die Gestaltung der Pendantfigur lasst Zweifel auf- Sn
b-. ?-
'".". "e
F--?
TE-:?-;?-rn-

kommen, ob es sich hier in der Tat um eine Madonnen-

darstellung handelt. Der antike Imperatorenkopf der
Skulptur mit den scharfgeschnittenen mannlichen
Zuigen, die mannliche Gestalt und das fiir Verkiindi-
gungsmarien ungewohnliche Gewand, das im Riicken
in einer Kapuze auslauft, erinnert eher an Darstel-
lungen von Diakonen. Auch kann man stilistisch einen
Unterschied bemerken zwischen der Gestaltung des
Engels und seinem Pendant. Wahrend der Engel
--s
.... ?:.-. ?-.I ;:?-; --??;.;-Z-?J-

eindeutig in seinem Stil der Ubergangszeit um 1400 .'- C'TC-..-. CI: F???P*??'.??i
.s
.??a5.:I.:

zuzuordnen ist, ist man versucht, die andere Skulptur

in seinem kraftvollen, ausgepragten Charakter, eher
in die Nahe Nanni di Bancos zu versetzen.
Das in seinem Pathos dem Engel am Nachsten
vergleichbare Werk (Abb. 23, 24) ist die machtige,
aus Holz geschnitzte Verkindigungsgruppe in Mont-
alcino bei Siena (Museo d'Arte Sacra). Wir treffen
hier die gleiche, in die Tiefe wirkende Gestaltung an,
die gleiche, fliehende Haltung des Engels, die gewalti-
gen Schwiinge der massigen Gewander.
Fur die Fassade des Vorgangerbaus des heutigen
Florentiner Domes, S. Reparata, hatte bereits Fran-
cesco Talenti 1357 Plane entworfen, die einen reichen,
plastischen Schmuck vorsahen. Von Arnolfos Bauta-
tigkeit hatte er die Blendbogen des Untergeschosses,
deren Ruckwand von den Cosmaten ausgestattet war
und die rechteckigen, nischenartigen Felder des ersten
Obergeschosses ubernommen.57 Doch gelangten Ta-
lentis Projekte nicht zur Ausffihrung, oder sind nicht
erhalten geblieben, wie Piero di Giovanni Tedescos
Apostelseriefur die Gewande des Hauptportals, 1362-
ABB. 25
Anonym vor 1586, Ansicht der Florentiner Dom-
fassade. Feder. Florenz, Museo dell'Opera del
Duomo (Photo: Brogi)
1377.58Die in der Domopera in Florenz aufbewahrte
Federzeichnung (Abb. 25), die den Zustand der Fas-
sade vor ihrem Abbruch 1586 wiedergibt, ist neben
den von Poggi59 veroffentlichten Dokumenten der
Hiitte der einzige Anhaltspunkt um die alte Fassade
des Florentiner Domes zu rekonstruieren.
Im Untergeschoss wurden vier der Cosmatenblend-
bogen, die das Hauptportal flankieren, I408 zu Renais-
sancenischen umgestaltet, um die vier Evangelisten
57. Harald Keller, "Ein Engel von der Florentiner Domfassade
im Frankfurter Liebieghaus," Festschriftiir Herbertvon Einemzum
I6. Februar1965 (Berlin, 1965) S. 117. ff.
58. Hans Kauffmann, "Florentiner Domplastik," Jahrbuchder
Preussischen
Kunstsammlungen 47 (1926) S. I41. ff.
59. Poggi, II Duomo.

28
Donatellos, Ciuffagnis, Nanni di Bancos und Niccolo
di Pietro Lambertis aufzunehmen. Die Nischen am
Tabernakel des Hauptportals des Domes waren be-
stimmt fiir eine Reihe von ehemals neun musizierenden
Engeln, die 1382-1388 entstanden. In den "seichten,
vitrinenartigen rechteckigen Nischen"60 im ersten
Obergeschoss-urspriinglich von den Cosmaten kon-
zipiert-fanden, umgeben vonjeweils zwei anbetenden
Engein, vier Heilige Aufstellung.
Es sind dies die Hll. Barnabas, Victor, Stephanus,
und Laurentius. Wie Keller ausfiihrte, sind die beiden
ersteren zur Ehre zweier beriihmter Siege der Floren-
tiner ausgefiihrt worden:61der HI. Barnabas als Erin-
nerung an den Sieg iiberdie Aretiner bei Certomondo,
1289, der HI. Victor als Dokumentation des Sieges
iiber die Pisaner bei Cascina, I364. Auch die vier
Kirchenvater waren am Portal vertreten. Eine weitere
Anzahl von teilweise nicht benennbaren Figuren ist
im Florentiner Dommuseum erhalten, die wahrschein-
lich fir die Fassade ausgefiihrt wurden, deren Aufstel-
lungsort aber nicht mehr rekonstruierbar ist. I390-
1396 enstanden die vier Heiligen mit den anbetenden
Engeln in Zusammenarbeit Giovanni d'Ambrogios,
dem der HI. Barnabas zugeschrieben wird62und Piero
di Giovanni Tedesco, von dessen Hand die Serie der
acht anbetenden Engel stammt (Abb. 26-29). Wah-
rend die Heiligenfigurenqualitativkeinehervorragende
Stellung einnehmen, gehoren die Gestalten der Engel
zu den erstaunlichen Erzeugnissen toskanischer Bild-
hauerkunstvor der Jahrhundertwende. Diese majesta-
tischen Figuren, die uns alle erhalten sind-sechs von
ihnen befinden sich in der Florentiner Domopera,
einer im Liebieghaus in Frankfurtund einer im Metro-
politan Museum, verkorpern das Ideal der Zeit, das
versucht, die Skulptur nicht nur durch Korperformen
zu verdeutlichen, sondern sie durch das Gewand und
den Kontur zu erklaren.Die kalligraphischeZick-Zack
Linie der scharfgeschnittenen Faltenkaskaden am
Riicken der Figuren, die sich dem Betrachter in der
intendierten Seitenansicht zeigt, 1Isst sich vergleichen
mit Claus Sluters Trumeau-Madonna in der Kartause
von Champmol und mit der geographisch so weit
entfernten Maria mit dem Jesuskind der Thorner
Johanneskirche, die etwa gleichzeitig anzusetzen ist.63
Gewiss ist die Formensprache der Ausdrucksm6glich-
keiten regional bedingt, nicht zu verwechseln, doch
zeigen sich Gemeinsamkeiten der "intentio," Koinzi-
denzerscheinungen, die dieser Zeit internationalen
Charakterverleihen.
Der Durchbruch des "Internationalen Stils" (Abb.
30, 3I) in Italien zur allgemeinen Anerkennung und
Giiltigkeit wurde I40I in Florenz mit der Preiskr6nung
Lorenzo Ghibertis beim Wettbewerb um die Gestal-
tung der Baptisteriumstiirvollzogen. Von der grossen
Anzahl der Wettbewerbsreliefs haben sich nur zwei
erhalten, diejenigen Ghibertis und Brunelleschis. Die
iibrigen wurden vermutlicheingeschmolzen.64 Eine
Reihe von Untersuchungen sind angestellt worden,
um die Bevorzugung Ghibertis durch das Kommittee
zu ergriinden. Es ist hier nicht der Ort, dies zu resii-
mieren. Immer wieder wurde das Bemiihen beider
Kiinstler um die Rezeption antiker Kompositionen
hervorgehoben, was besonders deutlich an den Isaak-
Gestaltungen wird. Brunelleschis Isaak-Relief zeigt
den genauen Umriss antiker Figuren, die er und seine
Zeitgenossen an Sarkophagen studieren konnten. Die
gewaltsame Verdrehung des knabenhaften K6rpers,
mit den gespreizt angewinkelten Knien und den, auf
den Zehen balanzierten, zur Flucht bereiten Fiissen,
spricht voller Lebendigkeit zum Betrachter. Doch
erscheint die Bewegung des Isaak zu gespannt, beinahe
gekiinstelt iibertrieben. Vergleichen wir den Isaak
Ghibertis, so dokumentiert sich hier ein "freiesGegen-
iibertreten" gegeniiber der Antike, eine "freie Wahl
der Vorbilder."65Ghibertis Isaak ist als athletischer
junger Mann gebildet, nicht unmittelbar von antiken
Sarkophagreliefsabgeleitet, sondern eine freie Rezep-
tion, eine Unwandlung in die Formensprache des
beginnenden I5. Jahrhunderts. Sein Widerstand gegen
den gottlichen Spruch erscheint im Vergleich zu
Brunelleschi spielerisch, die geballte Kraft fehlt, das
Spannungsmoment. Im Gegensatz zu Brunelleschis
Isaak, der noch nichts ahnt von seiner Erlisung durch
den Spruch des Engels, erscheint Ghibertis Isaak sich
dieser Erlosungbereits bewusst zu sein. Dies zeigt nicht
nur die entkrampfte Haltung des jugendlichen Kor-
pers, sondern auch die, mitten in der Bewegung
60. Keller, "Ein Engel," S. I I9.
6I. Keller, "Ein Engel," S. 120.
62. Wundram, Der Meisterder Verkiindigung.
63. Schadler, DeutschePlastik.
64. Krautheimer, Ghiberti,S. 31. ff.
65. Herbert von Einem, "Die Monumentalplastik des Mittel-
alters und ihr Verhaltnis zur Antike," Antike und AbendlandIII
(Hamburg, I948) S. I25.
29
 ABB. 28
Piero di Giovanni Tedesco, Anbetender Engel.
Frankfurt, Liebieghaus, Inv. Nr. 1446

*
i
c.

1 -.
I I.!,

itI

II

k :~~~~~~~~~~~~~~~~~~4
-1i.

t r

ABB. 26, 27
Piero di Giovanni Tedesco, Anbetende Engel. Florenz, Museo del-
l'Opera del Duomo (Photo: KunsthistorischesInstitut, Florenz)

innehaltende Gestalt Abrahams, wiederum gegen-

iibergestellt der aggressiven Haltung des Abraham im
Brunelleschi-Relief, der mit Gewalt vom Engel von
seinem Vorhaben abgehalten werden muss. Diese
Befreiung von jedem Zwang, die Gelostheit der Bewe-
gungen zeigt sich bei Ghibertis Gestaltung an der
gesamten Komposition des Reliefs, das vertragsgemass
in die Vierpassform eingefiigt werden musste. Nur der
felsige Grund der Darstellung richtet sich nach diesem
Umriss, die Begleitfiguren stehen aufrecht und unab-
hangig in der Reliefflache. Betrachten wir dagegen
die Gestaltung Brunelleschis,so fallt auf, wie sehr sich ABB. 29
die Begleiter Abrahams der Form des Vierpasses Piero di Giovanni Tedesco, Anbetender Engel.
integrieren. Die grossartigrezipierte Gestalt des "Dorn- The Metropolitan Museum of Art, gift of J. Pier-
ausziehers" zur Linken korrespondiert mit dem, in pont Morgan, 17.I90.752

30
 ABB. 30
Lorenzo Ghiberti, Opferung Isaaks. Bronze vergoldet.
Florenz, Museo Nazionale (Photo: Anderson)
AF~
.11

j
1%"i
.l

A1
4 k

I<

/ i
.\'i
ii

[I s

ABB. 31

Filippo Brunelleschi,Opferung Isaaks.Bronzevergoldet.

Florenz, Museo Nazionale (Photo: Alinari)

3'
i.
"""-~~---
-7
ABB. 32
Filippo Brunelleschi, zwei Propheten, Silberaltar des HI. Jakobus. Pistoia, Dom (Photo: Soprintendenza)
sich zusammengezogenen, gebiickten Begleiter zur
Rechten. "Variatio" der Bewegungen, wie sie Alberti
spater forderte, doch nicht die beruhigte, vom Umriss
gepragte Eleganz des "Internationalen Stils," wie sie
das Relief Ghibertis verkorpert. Seine Figuren leben
vom wechselvollen Faltenspiel der Draperie, von der
Eleganz der Ponderation, vom ausgeglichenen Mass
der Anordnung der Figuren. Es zeigen sich also in
Florenz verschiedene Stilrichtungen: die eine, zu ver-
binden mit den Werken Giovanni d'Ambrogios, ver-
sucht ein neues Verstandnis der Antike, das auf der
Literatur des ausgehenden Trecento basiert und lehr-
haften Charakter tragt. Im Werk des Nordlanders
Piero di Giovanni Tedesco begegnen wir der Rezeption
der Errungenschaft der neuen, burgundischen Statu-
arik, die moglicherweise durch die Mailander Dom-
bauhiitte vermittelt wurde. Lorenzo Ghiberti benutzt
Ausdrucksformen des "Weichen Stils," um seiner
Interpretation antiker Statuarik zeitgemasse Form zu
verleihen. Brunelleschi verbindet pathetische Formen
der ausgehenden Gotik mit einer neuen, fur das Florenz
32
des ausgehenden 14. Jahrhunderts ungewohnten,
vitalen Ausdrucksformder Emotion.
Diese Art der Darstellung findet sich bereits an
Brunelleschis Friihwerk, an den Propheten des Silber-
altars von S. Jacopo in Pistoia (Abb. 32).66 Mit diesen
beiden Propheten, vielleicht mit Jeremias und Jesaias
zu identifizieren,67begann der damals dreiundzwanzig-
jahrige seine Karriere. Wie das Wettbewerbsreliefvon
einem Vierpass gerahmt, zeigen die beiden Propheten
Prophetenreliefseine vergleichbareAttitude. Wahrend
die linke der zwei Biisten voller Ernsthaftigkeit und
tOberzeugungskraftdas Haupt in fast dozierender
Weise neigt, blickt der Rechte der beiden in Erleuch-
tung und Sehergabe nach oben. Beide Propheten-
biisten sprengen den Rahmen, ihre starke Emotion
spiegelt sich in den bewegten Falten der Drapierung.
66. S. Ferrali, Der SilberaltardesHI. Jakobusin derKathedralevon
Pistoia (Florenz, I958). Erich Steingraber, "The Pistoia Silver-
Altar: A re-examination," The Connoisseur (1955/56) S. 148 ff.
67. Ferrali, Der Silberaltar.
 Der Auftrag, um den sich die Teilnehmer des
Wettbewerbs von 140I bewarben, war die Gestaltung
der Nord-urspriinglich Siid-Tiir des Florentiner
Baptisteriums, die im, seit Arnolfos Zeiten nicht mehr
im Grossformat geiibten, Bronzeguss ausgefiihrt wer-
den sollte. Dank Krautheimers Untersuchungen kon-
nen wir die einzelnen Arbeitsphasen an der Nordtir
unterscheiden.68Zu den ersten Darstellungen gehoren
die Verkindigung, die Geburt Christi und die Anbe-
tung der K6nige; sie wurden I404-I407 fertiggestellt.
Die Verkiindigung an Maria (Abb. 33), wie die
iibrigen Relieffelder einem Vierpass eingebunden,
besteht aus einer ausgewogenen Drei-Figurenkompo-
sition, angereichert durch architektonische Versatz-
stucke. Maria, in der zuriickgebogenen, in sich zusam-
mengezogenen, S-f6rmigen Gestaltung des Korpers
vollig Abwehr und Zurickweichen, gleichzeitig aber
auch Empfangen der Botschaft verdeutlichend, steht
in einer arkadengewolbten, giottesken Nische, die den
Ort der Handlung angibt. Ihr nahert sich der Engel
im eiligen Flug, die Lilie als Zeichen der Verheissung
in der Linken haltend. Die Falten, die sich um den
Korper Gabriels in wirbelartigen Bewegungen schlin-
gen, errinnern an die Gestaltung des Verkiindigungs-
engels im Palazzo Communale in Certaldo,69 der
meines Erachtens nicht sienesischen Ursprunges ist,
sondern in Zusammenhang mit diesem ReliefGhibertis
stehen mag.
ABB. 33, 34, 35
Lorenzo Ghiberti, Verkiindigung, Geburt Christi,Anbetung der Knige. Florenz, Nordtiir des Baptisteriums
(Photo: Alinari)
Die Geburt Christi (Abb. 34) zeigt im Gegensatz
zur vorigen Darstellung eine vielfigurige, bewegte
Szene, die ikonographisch in den byzantinischen
Reprasentationen der Hohlengeburt wurzelt. Maria
ruht entspannt, den Oberkorperhalb aufgerichtet und
sich dem Kind zuneigend, auf einer Felsplatte. Zu
ihrem Fiissen kauert zusammengesunken, in seinem
Umriss an die Prophetenzeichnungen Andre Beau-
neveus errinnernd, der H1. Joseph, kontrapostisch
erganzt durch die schlafenden Tiere, Ochs und Esel,
am linken Reliefrand. Im Hintergrund scheinen die
teils erstaunten, teils erschrecktenGestalten der beiden
Hirten den Rahmen zu sprengen, erregt durch die
Botschaft des Engels, der auf das Ereignis weist.
Das Relief der Anbetung der Konige (Abb. 35),
ebenfalls eine vielbewegte Szene, gibt den Ort der
Handlung durch eine gewolbte Arkade an. Ein
kniender, bartiger Konig beugt sich demitig zum
Kind hin, um dessen Fisse zu kissen, eine Komposi-
tion, die spater Gentile da Fabriano in seinem Anbe-
tungsbild der Uffizien ubernahm. Die beiden anderen
Konige stehen erwartungsvoll im Hintergrund, die
Spannung in ihren Gestalten durch die machtige,
diagonale Drapierung ihrer Gewander ausgedrickt.
68. Krautheimer, Ghiberti,S. 103.
69. Carlo del Bravo, SculturaSenesedel Quattrocento(Florenz,
1970) Abb. 117, I 9.
- - I
33

ABB. 36
Florentiner Meister, dat. 1407, HI. Christo-
phorus. Bronze. Boston, Museum of Fine Arts,
Arthur Tracy Cabot Fund, 51.412
Wie Krautheimer vermutet, scheint Ghiberti Anre-
gungen aus franzosischen Musterbuchern erhalten zu
haben. Diese enge, motivische und stilistische Verbin-
dung zum Norden, die sich an den Reliefs der Nordtiir
zeigt, wird bestatigt durch einige Kleinbronzen, die
teils aus einer Pariser Werkstatt, teils aus einer Floren-
tiner bottega stammen, und das Verbindungsglied
herstellen zwischen der franzosischen Auffassung des
"Internationalen Stils" und dem Ghiberti-Kreis.
Es sind dies der HI. Christophorusin Boston (Abb.
36),70datiert I407, und die beiden knienden Propheten
in Cleveland (Abb. 37) und Paris, die als Tragfiguren
des I409 in Auftrag gegebenen, verschollenen Schreins
von St. Germain-des-Pres identifiziert werden konn-
34
ten.7' Der Bostoner Christophorus ist ikonographisch
in Nordfrankreichoder Flandern verwurzelt, stilistisch
aber in einer Florentiner Werkstatt beheimatet. Die
aufgeknitterten,in reichen Kaskaden iiber den Korper
schwingenden Falten zeigen enge Verwandschaft zu
den ersten Reliefs der Nordtiir, obwohl Krautheimer
mit Recht bemerkt,72dass Ghiberti nicht als Autor der
Statuette in Anspruch genommen werden kann. Uber-
raschend ist die Ahnlichkeit der beiden Propheten vom
Reliquiar von St. Germain-des-Presmit dem hocken-
den Pharisaervom gleichzeitig enstandenen Relief der
Nordtiir, Christus unter den Schriftgelehrten (Abb.
38). Der halb kniende, halb sitzende Gelehrte mit der
orientalischen Miitze und den grossziigig uber den
Korper drapierten, die Bewegung unterstreichenden
Faltenschwiingen scheint sich von den Pariser Pro-
pheten herzuleiten, die Ghiberti m6glicherweise durch
Skizzenbiicher bekannt waren.
SCHLUSSBEMERKUNG
Uberblickt man diese wenigen ausgewahlten, hier vor-
gestellten Beispiele aus dem Schaffen der italienischen
Bildhauer um I400, so wird deutlich, warum die
Bezeichnung "Internationaler Stil" dieses Phanomen
nicht genugend kennzeichnet. Es handelt sich um
keinen einheitlichen Stil, wie ihn z.B. der Barock
reprasentiert; er ist ein Konglomerat verschiedenster
Richtungen, denen Eines gemeinsam ist: die Bedeu-
tung von Linie und Korpervolumen als gestaltende
Elemente. Er ist auch nicht "international," sondern
gekennzeichnet durch Koinzidenzerscheinungen, die
topographisch so entfernte Werke, wie die Skulpturen
der Parler, mit den Figuren der dalle Masegne ver-
binden. "International" sind hingegen die Kiinstler,
die auf ihren Wanderwegen mit den verschiedensten
Einflussbereichenkonfrontiert wurden: der legendare
Meister Gusmin, der eine wichtige Rolle in Ghibertis
70. Georg Swarzenski, "A Bronze Statuette of St. Christopher,"
Bulletinof the Museumof Fine Arts (Boston, I951) S. 92. ff. Kraut-
heimer, Ghiberti,S. 83.
71. Virginia Wylie Egbert, "The Reliquiary of St-Germain,"
BurlingtonMagazine (1970) S. 359. ff. J. L. Schrader, "Mysticism
to Humanism in Kansas: watching the middle ages wane," The
Connoisseur (Sept. 1970) S. 37. ff.
72. Krautheimer, Ghiberti,S. 83.
 ABB. 37
Meister des Reliquiars von St. Germain des
Pres, 1408, knieender Prophet. Bronze vergoldet.
The Cleveland Museum of Art, Leonard C.
HannaJr. Bequest, 64.360

SUMMARY IN ENGLISH

This article tries to clarify and explain the outside

influences on Italian sculpture around the year I400.
Its four divisions deal with the most important centers
of artistic endeavor at the beginning of the century:
Milan, Bologna, Venice, and Florence. The founding
of the Cathedral of Milan in 1386 brought to the city
numerous architects, stonemasons, and sculptors from
France, Germany, and other European countries. Sev-
eral of them are known to us, including Ludovico Le
Roy, who probably was the author of the Pieta Relief,
and Hans von Farnech, the German sculptor who
carved the archway of the Cathedral'ssouthern sacristy
door. A copper lantern in the Metropolitan Museum,
ascribable to the Cathedral'sworkshop, brings together
various influences. Claus Sluter's prophets of the Char-
treuse de Champmol near Dijon in Burgundy, the
Bohemian Madonnas of the "Weiche Stil," and the
nature studies of the Lombard, Giovannino de'Grassi,
are combined in this work.
After spending only a few years in the Milan cathe-
dral workshop, the itinerant artists spread throughout
Commentarii spielt,73Piero di Giovanni Tedesco, des-
sen Name auf deutschen Ursprung schliessen lasst, ABB. 38
dessen Anfange aber im Dunklen liegen, Hans von Lorenzo Ghiberti,Jesus und die Schriftgelehrten.
Farnech und Aegidius von Wiener Neustadt oder Paul Florenz, Nordtiir des Baptisteriums (Photo: Ali-
von Limburg, der Florenz besuchte und die Porta nari)
della Mandorla studierte.74
Die Zeit um I400 ist ein Ubergangsstil, nicht der
Endpunkt einer Entwicklung, ein Stil, der der Gotik
die letzte, preziose, hofische Verfeinerung bringt und
gleichzeitig, durch das erwachende Interessean Natur-
studium und Antike den Keim der Friihrenaissancein
sich birgt.

73. Julius von Schlosser, Lebenund MeinungendesFlorentinischen

Bildners LorenzoGhiberti(Basel, I94I). Georg Swarzenski, "Der
Kolner Meister bei Ghiberti," Vortrageder Bibliothek Warburg,
1926/27 (Leipzig, I930) S. 22. ff. Richard Krautheimer, "Ghiberti
and Master Gusmin," Art BulletinXXIX (1947) S. 25. if.
74. Friedrich Winkler, "Paul de Limbourg in Florence,"
BurlingtonMagazineLVI (1930) S. 95. ff.

35
Italy. Only four years after the founding of the Cathe-
dral, San Petronio in Bologna was started. Since
Bologna had no native sculpture workshops,it became
the center for Milanese, Venetian, Lombard, and
Florentine stonecarvers, among them the Venetian
brothersPierpaolo andJacobello dalle Masegne. They
were commissioned to erect the main altar of San
Francescoin Bologna in 1388. This outstanding master-
piece of the fourteenth century greatly influenced the
young generation of the early Renaissance, notably
Jacopo della Quercia, who most probably was active
in the dalle Masegne workshop. A small marble
Madonna in the Kress Collection, Washington, ascrib-
able to Quercia, most probably was carved in Bologna
before 1403.
The "Nordic" influence on Venetian sculpture
around I400, pointed out by several art historians, is
geographically understandable, since all the major
mountain passes from Austria and southern Germany
lead to Venice. The iconostasis of San Marco, an
important sculptural ensemble finished in 1394, was
carved by the dalle Masegne brothers, commuting
between Bologna and Venice. In this work especially,
the South German and Austrian influence is clearly
evident; therefore one can compare the statues of the
apostles with sculptures belonging to the circle of the
Parler in Prague. A relief depicting the Coronation of
the Virgin in the Untermyer Collection shows the same
36
tendencies: the combination of native Byzantine ele-
ments and South German stylistic prototypes.
The style of the Florentine sculptorswas from the be-
ginning greatly influenced by the discovery of antique
literature and the knowledge of antique monuments,
which started as early as the fourteenth century. The
most striking example of this trend is Giovanni d'Am-
brogio's Hercules relief of the Porta della Mandorla of
the Cathedral of Florence; the relief combines political
and literary meanings.
Another astonishing and monumental work has been
connected with the oeuvre of Giovanni d'Ambrogio:
the marble annunciation group in the Museo dell'
Opera in Florence. The Metropolitan owns one of
eight marble adoration angels that once decorated the
old facade of the Florence cathedral, and are ascribed
to Piero di Giovanni Tedesco, whose name indicates a
German origin. The "international" courtly style that
dominated, especially in France, even since the middle
of the previous century was revived by Lorenzo Ghi-
berti, whose victory over Brunelleschi in the competi-
tion of I401 initiated a new epoch. The early reliefs
from the north door of the baptistry show a new
approach to the various influences that ruled during
the last decades of the fourteenth century: the combi-
nation of the French courtly style with studies after
the antique, expressed independently from earlier
prototypes. C.F.
 Skulpturen und andere
Battista Lorenzi
HILDEGARD UTZ
Institutder UniversitatStuttgart
Kunsthistorisches
ALS BILDHAUER DER SPATRENAISSANCE teilt
Battista (I527-1592) das Schicksal anderer Bildhauer
seiner Epoche, bisher nur wenigen Spezialisten bekannt
zu sein. Nach grundlegenden Studien' ist es gelungen,
die liickenhaften Angaben in den Viten Vasaris und
Borghinis durch Regesten zu erganzen (vgl. Appen-
dix), mit denen erstmalsdas umfangreicheLebenswerk
dieses Bildhauers zu Tage tritt.
I CHRONOLOGIE
Battista trat gegen 1540 in die Werkstatt des Baccio
Bandinelli ein, wo er in den folgenden Jahren zum
Bildhauer ausgebildet wurde. Um 1558 verlieB er
Florenz, um in Rom an einer Aufgabe mitzuarbeiten,
die Vincenzo de' Rossi ubertragenwar; bis zum August
I559 hatte er eine der vier Knabenfiguren des Ehren-
mals fur Papst Paul IV. gemeiBelt, das nach dem Tode
des Papstes zerstort wurde. Nach seiner Ruckkehr
erhielt er den Auftrag, fur die Guadagni in Florenz
Statuen der Vier Jahreszeiten auszufiihren, die fur
einen Besitz dieser Familie bei Paris bestimmt waren.
Bis 1568 waren die Statuen des "Friihlings,"des "Som-
mers" und des "Winters" vollendet; der "Herbst"
folgte. Diese Skulpturen wurden nach Frankreichver-
bracht und im Garten der Guadagni aufgestellt.2
Fur die Festdekoration von Florenz anlaBlich der
Hochzeit des Prinzen Francescode' Medici modellierte
er, zwischen April und November 1565, den Hoch-
zeitsgott Hymenaeus und die FluBg6tter Arno und
Arbeiten des
Donau fur den Arco de' Ricasoli, sowie zwei Statuen
und Ornamente fur die Piazza della Signoria, den
Borgo Ognissanti und den Canto alla Paglia.
Um I564 hatte der Bildhauer die friihere Werkstatt
Michelangelos in der Via Mozza bezogen. Zur Dekora-
tion der Exequienfeier fur Michelangelo in der Kirche
San Lorenzo, am I4. Juli I564, hatte er die Figur der
"Malerei" modelliert, die linker Hand unter dem
Katafalk zu sehen war. Im November I564 wurde er
beauftragt, das geplante Grabmal auszufuhren ein-
schlieBlich des Sarkophags, der Portraitbuste Michel-
angelos und einer der Personifizierungender Kiinste,
wahrend zwei der Figuren Giovanni Bandini und
Valerio Cioli anvertraut wurden. Im Januar I565
reiste er in die Bruche von Carrara, um den Marmor
auszusuchen und die Figuren zu abbozzieren. Im
Oktober 1567 traf Marmor fur den Sarkophag in
Florenz ein, so daB die Bearbeitung beginnen konnte.
Im April 1568 wurden die Fundamente des Grabmals
in Santa Croce verlegt. Der groBereTeil des Marmors
traf zwischen Juli und Oktober 1568 ein. Mit Unter-
stutzung seines Gehilfen Romualdo d'Antonio Mala-
spina aus Settignano meiBelte Battista die Marmorver-
blendung und den Sarkophag. Er arbeitete an der
Portraitbuste (Abb. i) und an der Sitzfigur (Abb. 2),
I. Hildegard Utz Kissel, BattistaLorenzi.Studienzur Entwicklung
derFlorentinerSkulpturin der zweitenHalfte des i6. Jh. (Munchen,
I968).
2. L. Passerini, Genealogia
e storiadellafamigliaGuadagni(Florenz,
1873) S. 138-139.
37
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
Metropolitan Museum Journal ®
www.jstor.org
die als Mittelfigur geplant war und die "Skulptur"
darstellen sollte (Abb. 3). Leonardo Buonarroti griff
ein und wiinschte, daB er die "Malerei" ausfiihre; so
erganzte er rechts seitlich, wo noch unbearbeiteter
Marmor vorhanden war, Pinsel, Palette und andere
Kennzeichen der "Malerei." Bis zum Friihjahr 1572
waren die Arbeiten ausgefihrt. Fur den Attico des
Monuments waren zwei Putten geplant, deren einer
halb vollendet war. Reliefs mit den Kennzeichen der
Skulptur, der Malerei und der Architektur waren am
Grabmal versetzt. Der Sarkophag, die Portraitbiiste
und die Sitzfigur waren vollendet. Leonardo Buonar-
roti befahl, die Reliefs mit den Zeichen der Kunste zu
entfernen; er wies die Skulpturenbesetzungdes Attico
zuriick und der Bildhauer lieB den zum Teil gemei-
Belten Putto in unvollendetem Zustand. Im August
I574 wurde die als Mittelfigur geplante "Malerei"
(Abb. 2) an die linke Grabmalsseiteversetzt. Um diese
Zeit verlieB der Bildhauer die Werkstattin Via Mozza
und richtete sich in Via della Pergola ein (vgl. Appen-
dix, II, 3).
Seit der Vorbereitung der Exequien im Jahr 1564
war Battista Mitglied der Accademia del Disegno; in
den darauffolgendenJahren wurde er haufig gewihlt,
verschiedene Amter der Akademie zu bekleiden. Im
Oktober 1566 wurde er Provveditore,3 von Juni bis
Oktober I569 war er Konsul,4 seit Dezember 1572
bekleidete er das Amt eines Infermiere;5 im Januar
3. Staatsarchiv, Florenz, Accademiadel Disegno (im folgenden
ASF., Accademiazitiert) 24, c. 77v.
4. ASF., Accademia,24, cc. 24r, 82r.
5. ASF., Accademia,25, c. 22r.
6. ASF., Accademia,25, cc. 3v, 4r.
7. ASF., Accademia,25, cc. 4v, 26r.
8. ASF., Accademia,25, cc. gr-ior. Die erhaltenen Aufzeich-
nungen sind unvollstandig; bereits im Herbst 1570 ging ein Band
verloren: ASF., Accademia,24, c. 26r "... essersi creato un libro
nuouo dello scriuano, p[er]ch[e] il uechio ch[e] ci era fu perso."
9. Archiv Salviati, Pisa, LibrograndeverdeF, 1570-1580, c. 73:
"e addi iij d'Aprile 1573 lire dieci soldi x- di m[one]ta pag[a]ti
alla don[n]a che fu gia di Benuen[u]to Cellini scultore p[or]
togliene Romualdo d'Ant[oni]o scultore p[er] v[alu]ta di vn pezzo
di Marmo p[er] fame vn busto a vna testa Antica come i[n]
g[ior]nale IIg posto c[ass]a I87-fiorini I.lo-" c. i86: "e A
di detto (4 luglio 1577) lire trentacinque p[iccio]li pagati A
romualdo di Antroni]o scultore p[or]to co[ntan]ti lire 14 A 18
d'Ap[r]ile p[assa]to e lire 2 p[er] lui Am[aestr]o Bat[ist]a Lorenzi
scultore p[er] fattura di vn busto di marmo fatto A vna testa di
u[n]o Giouane antica u[scit]a a 123 p[ost]o c[ass]a 298-fiorini
5.-" Romualdo ist bereits im Jahr 1567 als Gehilfe Battistas
38
1573 wurde er abermals zum Konsul gewahlt6 und in
der folgenden Amtsperiode, von April bis August 1573,
war er Consigliere;7 von September I574 bis Januar
1575 iibte er wiederum das Amt eines Infermiere aus.8
Anfang des Jahres 1568 wurde er beauftragt, fur
Alamanno Bandini einen Brunnen auszufiihren. Bis
gegen 1570 schuf er die Brunnenfiguren von Alpheus
und Arethusa (Abb. 4, 5), die im Garten der Villa "II
Paradiso" bei Florenz aufgestellt wurden. Um diese
Zeit erhielt er von GroBherzogCosimo I den Auftrag,
einen weiteren Brunnen auszufiihren. Er meiBelte
einen Triton, der aufdrei Delphinen sitzt und aufeiner
Meerschnecke blast (Abb. 6, 7), fiber einer flachen
Brunnenschale. Gegen I574 wurde dieser Brunnen
nach Sizilien versandt.
Seit Februar I573 arbeitete der Bildhauer fur den
Vetter des GroBherzogs Cosimo I, Jacopo Salviati
(vgl. Appendix, v, 2; I, I). Sein Gehilfe Romualdo
d'Antonio Malaspina restaurierte antike Biisten9 und
dessen jiingerer Bruder, Scipione d'Antonio Mala-
spina, ging seinem Meister zur Hand. Im Juli und
August 1573 entstand in Battistas Werkstatt ein Wap-
pen der Salviati, das fur Pieve San Giovanni in Sugana
bestimmt war (vgl. Appendix, I, 2-5). Wahrend der
Jahre I 574 bis 1579reiste der Bildhauermehrmals nach
Seravezza und Pisa, um Marmor fiir die neuen Projekte
zu kaufen (vgl. Appendix, II, I, 2, 4; IV, 2, 5, 7).10
Salviati hatte von seinem groBherzoglichenVetter die
erwahnt; vgl. Neue Briefe des Giorgio Vasari, herausgegeben von
Hermann Walther Frey (im folgenden Frey, III zitiert) (Burg bei
Magdeburg, 1940) S. 149; Giorgio Vasari, La vita di Michelangelo
nelleredazionidel 1550 e del 1568, herausgegeben und kommentiert
von Paola Barocchi, IV (Mailand-Neapel, 1962) S. 2231; seit
Februar 1573 ist Romualdo d'Antonio Malaspina aus Settignano,
bei den Sitzungen der Akademie, als haufig anwesend aufgefuhrt;
ASF., Accademia,25, cc. 23v-29v. Der Steineinleger Scipione
d'Antonio Malaspina aus Settignano, der in den Salviati-Regesten
als Battistas junger Gehilfe haufig genannt ist, und der nach 1584
in Battistas Werkstatt in der Domopera von Pisa arbeitete, wurde
im Juli/August I580 in die Akademie aufgenommen; ASF.,
Accademia,o0I, c. 88r.
10. Ferner, Archiv Salviati, Pisa, Secondoquadero di cassa F,
1573-1580, c. 75: "e addi detto (2 ottobre 1575) lire ventuna soldi
vj danari viij p[iccio]li resi a m[aestr]o Bat[tist]a Lorenzi scultore
p[or]to co[ntan]ti disse p[er] tanto pag[a]ti sotto 3 sett[em]b[re]
p[assa]to (I574) a Rinaldo di Gio[vanni] Vett[uri]no alla piaza
d[e]l grano p[er] i6 giorn[a]te vn suo mulo seruito p[er] detto
m[aestr]o Bat[tist]a nell'and[a]re et torn[a]re da Serauezza
p[or]to marmi-lire 21.6.8."
Erlaubnis erhalten, den von seinem Vater Alamanno
erworbenen Palast der Portinari in Corso dei Barberi
zu Florenz in groBziigiger Weise zu erweitern und mit
einem Garten auszustatten, der bis zum Domplatz
reichte. Fur die neu errichtete Loggia, die den Garten
abschloB, schuf Battista einen Perseus aus Marmor
(Abb. 8, 9). Zwischen November 1574 und November
1578 arbeitete er an dieser Statue in seiner Werkstatt
in Via della Pergola (vgl. Appendix, II, 3, 8), der
ehemaligen Werkstatt des Benvenuto Cellini, in der
einst dessen Perseus entstanden war. Nach den Ent-
wiirfen Battistas fihrte der Steinmetz Simone di Ber-
nardino Bassi das Brunnenbecken, den Sockel des
Perseusund die Nische mit Stufen aus, die zum Perseus-
Brunnen gehoren (vgl. Appendix, II, 5-7, 14-17).
Derselbe Steinmetz bearbeitete, im Verlauf der Jahre
1578/79, die Architekturgliederder Neubauten Salvi-
atis, die fur die Kapelle, den neuen Innenhof, die
Loggia und andere Anbauten bestimmt waren (vgl.
Appendix, II, 7, I6, 17). Battistaselbst nahm Material-
lieferungen entgegen und bezahlte den Transport von
Stein und Marmor.T" Er lieB, im September 1576,
Marmor im neuen Innenhof und in der Loggia ver-
legen; im April 1579 nahm er Steine an, die fur das
Treppenhaus des neu errichteten Stockwerksbestimmt
waren, und legte die Spesen vor; imJuni 1579 ordnete
er die Bearbeitungschwarzen Marmorsfur die Kapelle
an.'2 Er erhielt laufende Zahlungen, deren Grund nicht
angegeben ist; Zahlungen fur Entwiirfe und Bauplane
erscheinen nicht in den erhaltenen Kontenbiichern.
Nach der Funktion, die Battista fur Jacopo Salviati
ausiibte, scheint es, als habe er, mit Unterstiitzung von
Steinmetzen und Bauleuten, die Erweiterungsbauten
des Palazzo Salviati in Corso dei Barberi aufgefiihrt.
Fur die entsprechendenJahre ist seine Tatigkeit als
I i. Archiv Salviati, Pisa, Secondoquadrnodi cassaF, 1573-1580,
CC.26, I05, 115, 122, 135, 176.
12. Archiv Salviati, Pisa, Secondo quadernodi cassaF, 1573-1580,
c. 105: "... disse hauer'spesi in far mettere dentro (nel cortile
e nella loggia) piu pezzi di marmi..."; c. 176: "... disse dati
a dua facchini che p[or]torno dua carichi di bianco p[er] la
Scaletta d[e]lle Camere N[uo]ue..."; c. 176: "... a Baccino
detto il giamba arenatore p[er] arenatura di u[n]o pezzo di marmo
nero p[er] la Capella...."
13. ASF., Accademia,25, c. 40.
I4. Girolamo Ticciati, Storia della Accademiadel Disegno-
zusammen mit: P. Fanfani, SpigolaturaMichelangiolesca-(Pistoia,
1876) S. 286-287; in seiner Abhandlung berichtete Ticciati, S.
240, iiber einen Vorfall aus dem Jahr 1563 und schrieb diesen
Architekt und Baufuhrerfiurden neuen Sitz der Akade-
mie im Konvent von Santa Maria degli Angeli belegt.
Auf dem Grundstiick befand sich, um I544, eine
Kapelle, die von den Monchen von Cestello oder von
Bartolomeo Scala erbaut worden war;13Bartolomeos
Sohn, Giuliano Scala, uberlieB diesen Besitz der
Accademia del Disegno.14Im Verlauf der Jahre I567/
68 nahmen die Mitglieder der Akademie Um- und
Erweiterlungsbauten ihres neuen Sitzes vor.'s Ales-
sandro Allori hatte am 3. Juli 1567 einen Entwurf fur
den auf diesem Grundstuck geplanten "Tempel" vor-
gelegt, mit dem zehn Mitglieder-unter ihnen Battista
Lorenzi-nicht einverstanden waren; ein Treffen
dieser Mitglieder wurde fir den 17. Juli im Hause
Alloris vereinbart, bei dem ein gemeinsamer Entwurf
zur Vorlage beim Herzog ausgearbeitetwerden sollte.I6
In einer Sitzung vom 14. September i567 wurde iiber
die Genehmigung eines neuen Sitzungsraums in Ce-
stello durch den Herzog gesprochen und iiber die
Finanzierung des Aufbaus, dessen Aufsicht Vincenzo
Danti, Zanobi Lastricati und Francesco da Sangallo
unterstellt wurde (vgl. Appendix, III, 7). Der Aufbau
wurde mit einem ZuschuB des HerzogsI7 und durch
Mitgliederbeitragefinanziert.Der neue Sitz der Akade-
mie in Borgo Pinti/Via della Colonna zu Florenz-auf
dem Grundstiickder Monche von Cestello, das spater
an die Nonnen von Santa Maria degli Angeli uberging
-wurde bei einer Sitzung am 16. Januar 1569 einge-
weiht; zwischen Dezember 1569 und November i570
fand hier eine sonntagliche Vorlesungsreihe iiber
Euklid statt, die von dem Bologneser Mathematiker
Giovanni Antonio gehalten wurde.'8 Der geplante
Umbau der urspriinglichenKapelle in einen "Tempel"
war um 1571 im Bau.19Am 2. November 1576 stellte
Battista eine Quittung aus, er habe f'ir den Aufbau des
irrtumlich Battista Lorenzi zu; es handelte sich jedoch um Bat-
tista di Benedetto Fiammeri, einen der Gehilfen Ammannatis;
vgl. ASF., Accademia,24, C. 2r-5v.
15. ASF., Accademia,25, c. 40.
i6. Frey, III, S. 216, Nr. 23.
17. Frey, III, S. 217, Nr. 24.
I8. ASF., Accademia,24, cc. 23r, 25v, 92v; Compagniereligiose,
1036, inserto 240 (Ammannati-NachlaB), Quittung des Domenico
Poggini vom 23. September 1570. In einem anderen Kontenbuch
sind bereits zwischen Mai und Oktober I563, sowie im Oktober
1565, Ausgaben fur die Ausstattung der "stanza deli angeli"
verzeichnet; vgl. ASF., Accademia,IO1, cc. IOIv, 107v. Uber eine
Sitzung am 14. August 1569, vgl. Frey, III, S. 217, Nr. 26.
19. ASF., Accademia,25, c. 40.
39
"Tempels" bis zu diesem Tag seine Provision seitens
der Akademie aus den Handen Ammannatis erhalten
(vgl. Appendix, III, I).20 In den darauffolgenden
Wochen ordnete er weitere Arbeiten an, die sich bis
zum 17. Januar 1577 hinzogen (vgl. Appendix, III,
2-4). Im Mai 1578 wurden alle Mitgliederbeitrage auf
ein Konto Battistas bei der Akademie verbucht;2I zur
gleichen Zeit erhielt er vorgelegte Spesen zuruckerstat-
tet (vgl. Appendix, III, 5). Zwischen Januar und Juli
I58o lieB er als Provveditore des Tempels und des
Anbaus von Cestello weitere Arbeiten aufdem Grund-
stiick vornehmen, wobei ihm Ammannati und Giam-
bologna zur Seite standen (vgl. Appendix, III, 6).22
Wahrend dieserJahre, in denen er fur die Akademie
tatig war, unternahm er fiurJacopo Salviati zahlreiche
andere Arbeiten. Salviati hatte, durch Vermittlung des
Erzbischofs von Florenz und Botschafters beim HI.
Stuhl, Alessandrode' Medici, und mit Hilfe des Abate
AlessandroPucci eine groBeAnzahl antiker Skulpturen
in Rom erworben, die nach Florenz verschifft wurden
und zwischen Oktober I575 und Oktober I580 ein-
trafen. Diese Antiken waren beschadigt oder fragmen-
tarisch, und ihre Wiederherstellungwurde unmittelbar
nach dem Eintreffen der einzelnen Sendungen vorge-
nommen. Um die Arbeiten zu beschleunigen, wurden
zahlreiche Gehilfen beschaftigt, die Marmor zersagten,
Sockel herstellten und polierten, sowie ahnliche Hilfs-
arbeiten leisteten; ihre Namen waren: Francesco di
Jacopo dell'Opera, Bartolomeo di Francesco Ferrucci
dell'Opera, Giovannozzo di Piero Giovannozzi, Mi-
chele di Chimenti, Bendetto di Francesco, Francesco
di Andrea Cappellini, Niccol6 detto il Romagna,
Giulio d'Alessandro Balsimegli da Settignano, ein na-
mentlich nicht genannter Sohn des Giovanni Petruzzi
dell'Opera, Giovanni Ciolli, Achille da Pisa, Francesco
di Lorenzi Picchietti, Giovanni Maria di Piero und
Alessandrodi Vincenzo Borsighella.23Diese arbeiteten
unter Battistas Leitung. Der Bildhauer selbst restau-
rierte die besseren Antiken, einen Jupiter, einen
weiblichen Torso aus schwarzemund weifem Marmor,
einen kleineren Jupiter, einen Satyr, zweiundzwanzig
antike Portraitsund Biisten mit seinem Gehilfen Scipi-
one, ferner weitere nicht im einzelnen beschriebene
antike Skulpturen (vgl. Appendix, IV, I-7; V, 2, 3).
Einige Antiken wurden zur Wiederherstellung auBer
Haus gegeben, und zwar, eine Buste des Titus an
40
Ammannati und zwei Kinder-Statuetten an dessen
Gehilfen Giovanbattista di Francesco Ferrucci; die
iiberlebensgroBeBiiste eines Hercules, eine Btiste des
Brutus und der Torso eines Satyrs wurden Giovanni
Bandini anvertraut; eine uberlebensgrofe Biiste des
Comodus, eine Biiste des Bacchus und die eines Fauns,
ein Relief-Portrait, ein Titus, eine Venus, ein Cupido
und gewisse Biisten wurden von Giovanni d'Alessandro
Fancelli detto Scherano bearbeitet; die unterlebens-
groBen Biisten eines Satyrs und eines Fauns wurden
von Giovan Antonio Dosio restauriert.
Zwischen Februar 1573 und Februar 1574 arbeiteten
Battista Lorenzi, Domenico Poggini und der Bronze-
giefer Girolamo di Zanobi Portigiani am GuB einer
Neptun-Statuette nach einem Modell Baccio Bandi-
nellis und an der Herstellung eines Pferdesnach einem
Modell Giambolognas (vgl. Appendix, V, I-II, 13,
14). Im Oktober I573 hatte Portigiani einen Stier aus
Bronze gegossen (vgl. Appendix, V, I2), der wahr-
scheinlich auf Giambolognas Modell zuriickging; Por-
tigiani und Antonio Susini gossen im VerlaufderJahre
noch viele andere Kleinbronzen, die fiirJacopo Salviati
bestimmt waren. Dieser hatte in Venedig Abgusse einer
Serie von zwolfantiken Kaiserportraitsbestellt, die den
neuen Innenhof seines Palastes im Corso schmiicken
sollten. Die zwolf Bronzerepliken wurden in Venedig
verschifft und auf dem Landweg iiber Bologna nach
Florenz verbracht, wo sie am 10. Oktober I575 ein-
trafen (vgl. Appendix, V, I5). Francesco Bocchi
schrieb, in seinem 1591gedruckten Fiihrer, die Bronze-
repliken im "Cortile degli Imperatori" der Zeichnung
20. Die Erklarung des Wortes "vanto" gibt der Titel eines
Kontenbuches der Akademie: "Questo lib[r]o ci e entrata e
Vscita e del Acchademia e Compagnia del Disegnio in sulla quale
si terra diligentemente Conto di tutti e danari del vanto fatto il
di 22 di Luglio I576"; ASF., Accademia,138, c. ir-Fuiir ntzliche
Hinweise mochte ich Gino Corti und Alessandro Parronchi danken.
2I. ASF., Accademia,138, cc. 3-4. Bis 1576 waren viele Bei-
tragszahlungen iiber Ammannatis Konto bei der Akademie ge-
laufen, und iiber sein Konto wurden auch einige Zahlungen aus
dem Jahr 1578 verbucht; ASF., Accademia,138, c. 3r.
22. Fur weitere Ausgaben bis zum Januar 1591, vgl. ASF.,
Accademia,25, cc. 56, 57v, 63r; I38, c. 50.
di cassaF, 1573- 580,
23. Archiv Salviati, Pisa, Secondoquaderno
cc. I 15-I94. Aus diesen Kontenblattern geht auch das im folgen-
den Erlauterte hervor.
24. Francesco Bocchi (159 )-Giovanni Cinelli, Le Bellezzedella
citta di Firenze(Florenz, 1677) S. 374.
des Giovanni Bologna zu, was wahrscheinlich ein
MiBverstandnismit ihrem Versandort, Bologna, ist.25
Ende Marz I575 reiste Battista nach Rom, um an
den Jubilaumsfeierlichkeiten teilzunehmen.26Bis zum
26. April war er nach Florenz zuriickgekehrt. Am i.
Februar I580 unternahm er eine Reise nach San
Gimignano,27die bis zum 27. Februar beendet war.28
Seit etwa 1577 war Battista mit einem neuen Projekt
fur Jacopo Salviati befaBt. Salviati erwarb am i9.
Oktober 1579 vom Sekretar des GroBherzogs,Dottor
Piero di Giovanni Conti, und dessen Brudern ein Haus
mit Gartengrundstiick hinter der Santissima Annun-
ziata zu Florenz,29das sich bis zum Besitz der Scala in
Borgo Pinti erstreckte30und den Vorgangerbau des
Palastes und Gartens der Capponi in Via Gino Cap-
poni/Via Giuseppe Giusti bildete.31 Seit dem 2. Juli
1577 war die Verlegung der Wasserfuhrungen zu
einem Brunnen und einer Grotte im Gang (vgl.
25. Die Bronzebiisten wurden in den Palast der Salviati in
Via del Palagio gebracht, der spater in den Besitz der Borghese
uberging und sich in der heutigen Via Ghibellina I Io zu Florenz
befindet. In einem 1755 erstellten Inventar der Salviati sind sie
dort verzeichnet; Archiv Salviati, Pisa, A (I): Inventariodei migliori
Quadridell'Ecc.maCasaSalviatigiudicatonegl'Autoridal sig.e Vincenzo
Meucci.
26. Archiv Salviati, Pisa, Secondoquadernodi cassaF, 1573-1580,
c. 26: "e addi xxiij di Marzo (I575) lire settanta p[iccio]li porto
lui detto co[n]tanti: disse p[er] Andarsene a Roma p[er] Conto
del Giubbileo-lire 70.-"
27. Archiv Salviati, Pisa, Secondoquaderno di cassaF, I573-I580,
c. 122: "e a di primo di febraio (1580) fiorini tre di m[onet]a
p[or]to con[tan]ti disse parte a S. Gimigniano-lire 21.-"
28. In den Kontenbiichern der Salviati sind folgende Hinweise
auf Battistas Familie vermerkt: Am 17. Dezember 1577 zahlte er
einen Teil der Mitgift fur seine Cousine an Francesco di Bartolo-
meo Ambrogi da Prato (c. 122). Am 25. April 1579 zahlte er fur
den Unterhalt der beiden Tochter seines Vetters Stoldo, die sich
zu dieser Zeit in einem Konvent zu Pisa befanden (c. 122). Am 23.
Oktober I579 lief1 er einen Betrag an seinen Vetter Stoldo fiir
Stoffaus Mailand ("saia milanese") zahlen (c. I90). Am 31. Mai
1580 zahlte er eine Rechnung fur seinen Bruder Andrea (c. I94).
Am 12. Juli 1580 schickte er seinen Neffen Domenico zu Salviati,
um Geld zu holen (c. I94). Am 14. September i580 lief1 er sich
Geld aushandigen, um seinem Vetter Antonio di Gino, Stoldos
Bruder, einen VorschuB1zu geben (c. 194). Die genannten Hin-
weise sind im Secondoquadernodi cassa F, 1573-1580, enthalten.
29. Archiv Salviati, Pisa, filza o0, Parte II, no. 53 mit Hinweis
auf Decima, filza 626 (offentlicher Notar Zanobi Paccalli); dort
ferner, Instrumento della Compera del Giardino da Figli di Messer
Giovanni Conti, I9. Oktober I579, ausgefertigt von Zanobi Pac-
calli. Der Besitz befand sich im Viertel von San Michele Visdomini.
Via di Cafaggio war die Fortsetzung der ehemaligen Via San
Appendix, VI, 7), die fur den Garten geplant waren.
Am 23. Juni 1580 erhielt Salviati von Francesco I im
Einverstandnismit der Arte della Lana die Erlaubnis,
die Wasserdes Mugnone vom Garten des Don Luigi di
Toledo iiber ein Grundstiick der Arte della Lana in
seinen Garten zu fuhren (vgl. Appendix, VI, I). An der
Anlage des Gartens,eines Parksund mehrererGebaude
wurde gearbeitet. Bis Mai 1582 hatte Battista einen
liegenden FluBgott aus grauem Sandstein gemeiBfelt,
der eine Urne auf der Schulter trug und Mugnone
genannt wurde; am 19. Mai wurde die Skulptur,
gezogen von drei Paarenvon Ochsen, aus der Werkstatt
Battistas in den neuen Garten Salviatis gebracht (vgl.
Appendix, VI, 2-4) und bis zum 21. Dezember war sie
in der Grotte aufgestellt (vgl. Appendix, VI, 5). Bis zu
dieser Zeit hatte der Bildhauer eine zweite Brunnen-
statue ausgefuhrt (vgl. Appendix, VI, 4). Beide Skulp-
turen sind erhalten und konnen hier erstmalsvorgestellt
Bastiano, die spater Via Gino Capponi genannt wurde; Via del
Mandorlo tragt heute den Namen Via Giuseppe Giusti. Der
Besitz grenzte an das Kloster der Verlassenen Madchen, Convento
della PietA, das nach der Sakularisierung von Capponi erworben
und umgebaut wurde und spater an die Incontri iiberging; vgl.
Eva Briies, "Palazzo Capponi-Incontri, der neue Sitz des Kunst-
historischen Instituts in Florenz," Mitteilungendes Kunsthistorischen
Institutsin FlorenzI 2 (1966) S. 3 9-354.
30. Salviatis Grundstiick umschloB einen Teil des spateren
Giardino della Gherardesca; iiber diesen vgl. Walter Limburger,
Die Gebdude vonFlorenz(Leipzig, 191o) S. 66, Nr. 283, ohne Kenntnis
des Gartens Salviati. Uber den Fries des ehemaligen Palastes der
Scala in Borgo Pinti 93, vgl. Alessandro Parronchi, "The Lan-
guage of Humanism and the Language of Sculpture. Bertoldo as
the Illustrator of the Apology of Bartolomeo Scala," Journalof the
Warburgand CourtauldInstitutes27 (1964) S. 108-136. Es lag dem
ehemaligen Haus des Andrea del Sarto und dem spateren des
Federico Zuccari (nach 1591) gegeniiber; vgl. Detlef Heikamp,
"Federico Zuccari a Firenze (1575-1579) II: Federico a casa sua,"
ParagoneN.S. 23-207 (1967) S. 8-I6.
3 I. Limburger, GebaudevonFlorenz,S. 32, Nr. 152, ohne Kennt-
nis vom Besitz Salviatis. Als Garten Salviatis zweimal kurz erwahnt
von Cinelli (I677); vgl. Bocchi-Cinelli, Bellezze, S. 480-48I, 483.
Vom Herzog Francesco Maria Salviati am 9. Juni 1698 an den
Marchese Alessandro Capponi verkauft; Archiv Salviati, Pisa,
filza 10, Parte II no. 52 (offentlicher Notar Piero Antonio Sani).
Zwischen dem 20. November I698 und dem 3. Mai 1713 wurde
das Haus umgebaut und der Garten verandert; Biblioteca Nazio-
nale Centrale, Florenz, Mss. Capponi 197 (Hinweis Gino Corti).
Am 30. Juli 1702 wurde Carlo Fontana fur seine Zeichnungen und
den Bauplan bezahlt (c. 107) und am 14. Marz I 703 fur das Modell
einer Treppe (c. 221). Zahlungen fur die Ausmalung des Palazzo
Capponi in den Jahren 1703-I 705 auf cc. 216-503.
41
werden (Abb. I0-13). Zu Zeiten Salviatis umfaBte der
neu angelegte Besitz hinter der Santissima Annunziata
drei Hauser, eine Kapelle, ein Stanzone (Abb. 29), ein
Casino (Abb. 30), eine Spalliera, Garten, und Park
mit Brunnenanlagen und funfundsiebzig Skulpturen;
diese waren in der zum ehemaligen Hauptflugel geho-
renden Loggia, in den Nischen des Casinos und des
Fliigelbaus, sowie im Garten und Park aufgestellt.32
Plan und Bau dieser Anlage scheinen auf Battista
zuruckzugehen, vielleicht in Zusammenarbeit mit
AlessandroAllori, der mit seiner Werkstattden Mittel-
teil des Casinos ausmalte. In Battistas Werkstatt
entstanden, zwischen August und Dezember 1582,
zwei figurliche "termini" aus Marmor, die als kleine
freistehende Brunnen mit Vasen auf den K6pfen kon-
zipiert waren; sie wurden vor dem Gartenzaun aufge-
stellt (vgl. Appendix, VI, 8-12). Ihre Beschreibung
trifft auf eine Skulptur zu, die heute im angrenzenden
Garten des KunsthistorischenInstituts steht.
Bis zum Dezember 158 wurde in BattistasWerkstatt
eine Grabplatte aus Marmor fur Alessandro Allori
ausgefuhrt, die fur die Grabstatten des Angelo Bron-
zino, des Alessandro und des Cristofano Allori in der
Kirche Santo Cristofano zu Florenz bestimmt war.
Ferner hatte er fur die Scarlatti zwei Weihwasser-
becken entworfen (Abb. I9), die mit dem am Palazzo
Scarlatti vorhandenen Familienwappen versehen und
in Santa Trinita aufgestellt sind, sowie eine antike
Urne aus Granit zu einem figiirlichen Weihwasser-
becken erganzt (Abb. 20), das sich in Santa Maria
Novella befindet. Um 1583 arbeitete er an einer Statue
des HI. Michael fiber dem Damon, die zum Versand
nach Spanien bestimmt war; sie war bis zum Februar
1584 nahezu vollendet.33
Gegen Ende des Jahres 1583 war er zum Bildhauer
der Domopera von Pisa ernannt worden. Am i.
November 1583 hatte er den neuen Vertrag unter-
zeichnet und sich verpflichtet, seine Werkstatt nach
Pisa zu verlegen. Im Februar sandte er zwei seiner
Gehilfen voraus und folgte selbst wenig spater, um in
der Domopera zu arbeiten. Im Verlauf seiner zehn-
jahrigen Tatigkeit fur Jacopo Salviati hatte er den
Musiker Vincenzo Galilei naher kennengelernt, der
Salviatis Sohne Francesco und Lorenzo in Musik und
Lautenspiel unterrichtete,34und wahrscheinlich auch
dessen um 1584 knapp zwanzigjahrigen Sohn Galileo.
Bis zum Juni I584 hatte Battista das Modell einer
Lampe fur den Dom zu Pisa vollendet, die als "Lam-
pada di Galileo" legendare Beruhmtheiterlangen sollte
(Abb. I8). Die Ausftihrung der Lampe in Bronze und
Messing ubernahm der Goldschmied Vincenzo Pos-
santi; zu Weihnachten I586 wurde die Lampe im
Scheitel des Triumphbogens der Kathedrale aufge-
hangt. Galileo sah sie wahrscheinlich an Weihnachten
1589, nach seiner Riickkehr nach Pisa; I590 erschien
sein Traktat "de motu" und nach seiner Berufung als
Mathematiker an die Universitat zu Padua, im Sep-
tember 1592, arbeitete er iiber den Isochronismusder
Pendelbewegungen. Dieses Gesetz wird durch Battistas
Lampe anschaulich gemacht und die Legende, die
Galileo die Findung des Gesetzes beim Anblick der
Lampe im Dom zu Pisa zuschrieb, mag den Tatsachen
entsprechen.
Als Dombildhauer und Architekt in Pisa fiihrte Bat-
tista mit seiner Werkstatt, bis zum Jahr 1586, die
ostlichen und westlichen Seitenschiffseinbauten aus
(Abb. 14, 21-23), die sich im siidlichen Querschiffder
Kathedrale befinden. Seine Werkstatt fiihrte, bis zum
Jahr 1588, die beiden korrespondierendenEinbauten
im nordlichen Querschiff aus. Der Bildhauer selbst
kehrte um 588 nach Florenz zuriick. In Pisa arbeiteten
BattistasGehilfen am Langhausaltardes HI. Raynerius
mit Reliquiensarkophagund Relieflunette, die bis 1592
vollendet waren. Fur die Nischen der Querschiffsein-
bauten waren Statuen geplant; Battista selbst fiihrte
die iiberlebensgrof3eStatue des HI. Ephysius aus (Abb.
I4, 15), die Anfang desJahres 1592 im ostlichen Seiten-
schiff des Siid-Querhauses aufgestellt wurde; ein HI.
Potitus als Pendant blieb beim Tod des Bildhauers
unvollendet.
32. Archiv Salviati, Pisa, filza 38, Parte II, no. 9 (Stima di
FilippoBaldinuccidel 1676), ferner Inventar vom 9. November 1699.
33. Igino Benvenuto Supino, Lettereineditedi Artisti(Pisa, 1893);
in meiner Monographie S. 302, Nr. 65. Die Bemerkung Battistas
in seinem Brief vom 8. Februar 1584-"... et io, come Raffaello
le potra dire, verro di certo, che li 6 mostro e vedo quanto poco
6 da ffare e mi consumo .. .."-wird auf die bevorstehende Fertig-
stellung des HI. Michael und den bevorstehenden Umzug nach
Pisa zu beziehen sein.
34. Archiv Salviati, Pisa, Quadero di cassa bianca G, c. 182:
"1582 Vincenzo Galileo de[v]e dare a di xxvij di Marzo fiorini
quattro di m[one]ta port6 con[tan]ti p[er] le mani d'Andrea
Torini A buon conto del suo salario dal primo di Febbraio pass[a]to
in qua, che venne a insegnare a Signorini sonare il liuto et musica
a fiorini 2-il mese-lire 28.-"
 Wahrend seines Aufenthalts in Florenz, 1588/89,
arbeitete Battista an der Festdekoration anlaBlich der
Hochzeit des GroBherzogs Ferdinando I. Bis Ende
April 1589 modellierte er zwei uberlebensgroBe Sta-
tuen aus Gesso, Sankt Minias (Abb. I6) und Sankt
Antoninus (Abb. 17), die in die auBeren Seitennischen
der Florentiner Domfassade eingestellt und spater in
das Innere der Domkuppel gebracht wurden.
II. ZEICHNUNGEN
Battistas ehemaliger Lehrer Baccio Bandinelli war
als guter Zeichner bekannt. Eine Anzahl von Blattern,
die mit seinem Namen verbunden waren, konnten als
eigenhandige Zeichnungen identifiziert oder seinen
Schulernzugewiesen werden.35Ein bisherunbeachtetes
Blatt der Uffizien36zeigt, neben anderem, die Studie
eines mannlichen Kopfes (Abb. 25), der sich im Ver-
gleich mit einer Skulptur Battistas (Abb. 24) als Kopf
des Alpheus herausstellt.Das Gesicht ist ausgearbeitet,
wahrend die Locken des Haupthaares nur fliichtig
angedeutet sind, wie es haufig bei vorbereitenden
Studien vorkommt. Auf der Vorderseite des gleichen
Blattes37befindet sich, auBer zwei fliichtig skizzierten
Szenen, einer Draperiestudie und einem verkiirzten
Arm, die Zeichnung eines weiblichen Modells (Abb.
26), dessen Mieder geoffnet und dessen Rechte ange-
hoben ist. Das Motiv der entbloBten rechten Brust
erscheintan BattistasFigur am Grabmal Michelangelos
(Abb. 2, 3) und wir durfen annehmen, in dieser Zeich-
nung eine Vorstudie zu der Grabmalsfigurvor uns zu
haben. Eine andere bisher unbeachtete Zeichnung der
Uffizien (Abb. 27)38 stimmt in Technik und Duktus
gut mit den anderen uberein und zeigt die Stellungs-
studie eines weiblichen Modells. Die linke Hand ist
diagonal zum rechten Knie gefuhrt und die Stellung
der Beine halt den Moment fest, bevor sie iberein-
andergeschlagen werden; das Modell sitzt auf einer
Draperie, auf die der rechte FuB gestellt ist und deren
Falten vom Sitz bis zur Erde herabfallen.Diese seltenen
Motive erscheinen, in weiterentwickelter Form, alle
an Battistas Figur der "Malerei" (Abb. 2) und wir
diirfen vermuten, in dieser Zeichnung eine andere
Vorstudie Battistas fur diese Skulptur gefunden zu
haben. Die Existenz einer weiteren Zeichnung ist
durch die handschriftliche Notiz ihres ehemaligen
Besitzers bezeugt. Dieser fugte der Beschreibung Raf-
faello Borghinis im "Riposo" ("Opera sua e la bella
statua, che rappresenta la Pittura sopra il sepolcro del
Buonarroto, la quale, oltre all'altre ben fatti parti,
dimostra nel viso grandissimoaffetto di dolore") hinzu:
"II disegno del Lorenzi della figura della Pittura io lo
posseggo ed e molto bello, e che tengo carissimo nella
mia collezione del Numero di 4000.-Giovanni Lom-
bardi."39 Die so beschriebene Zeichnung ist bisher
unbekannt.
Eine Federzeichnung40enthiillt sich, im Vergleich
mit Battistas Sankt Minias von 1588/89 (Abb. I6), als
Studienblatt zu dieser Statue (Abb. 28). In ihr wird
die Anordnung des Mantels und die Stellung der
Hande geklart, und zweimal werden die Falten des
lbermantels und die Handhaltungen verandert. Beide
Motive wurden bei der Statue in abermalsveranderter
Form gelost.
Im Louvre befindet sich eine weitere Zeichnung,
und es ist zu hoffen, daB noch andere Blatter zu Tage
kommen, die einen besseren Eindruck vermitteln als
die hier erstmals veroffentlichten, die einerseits dem
Jugendwerk um 1568 und andererseitsdem Spatwerk
um 1588 angehoren. Dennoch beleuchten sie die groBe
Sorgfalt, mit der der Bildhauer seine Skulpturen vor-
bereitete-ein Charakteristikum,das sich in ahnlicher
Weise bei der Betrachtung seiner Brunnen zeigt.
35. Zuletzt DetlefHeikamp, "Vincenzo de' Rossi disegnatore,"
Paragone16-I69 (1964) S. 38-42; Walter Vitzthum, "A Drawing
by Vincenzo de' Rossi," Master Drawings 3 (I965) S. 165; diese
Zeichnung ist aus dem Besitz von Dr. Marita Horster inzwischen
an das Kupferstichkabinett, Berlin, iibergegangen; Detlef Hei-
kamp, "Die Entwurfszeichnungen fur die Grabmaler der Medi-
ceer-Papste Leo X. und Clemens VII.," Albertina-Studien4-3
(I966) S. 134-152; Maria Grazia Ciardi Dupri, "Per la cronologia
di Baccio Bandinelli (fino al 1540)," Commentari 17 (I966) S. 146-
170; Hildegard Utz, "The Labors of Hercules and Other Works
by Vincenzo de' Rossi," Art Bulletin53-3 (1971) S. 344-366.
36. Uffizi 531 Fv, 42,1 x 28,1 cm, graue Kreide (Kopf) und
Rotel (Kamel).
37. Uffizi 531 Fr, Rotel.
38. Uffizi I4214 F, Rotel, 36,6 x 27,5 cm, rechte Seite beschnit-
ten und aufgeklebt.
39. Nachdruck der Ausgabe von 1584 mit Anmerkungen von
Giovanni Bottari (Florenz, 1730) S. 490. Der Band befindet sich
in der Bibliothek des Kunsthistorischen Instituts in Florenz. Die
ehemalige Sammlung des Giovanni Lombardi ist bei Lugt nicht
verzeichnet und scheint bisher nicht bekannt geworden zu sein.
40. Hamburg, Kunsthalle 21570, Feder und Biester, 28,7 x
21,8, links oben beschnitten und auf gelbliches Papier geklebt.
43
 ABB. 2
"Malerei," von Battista Lorenzi. Marmor. Flo-
renz, Santa Croce, Grabmal Michelangelos
(Photo: Alinari)

wk g -
?" i:;8 ...e

ABB. I
Portraitbiiste Michelangelos, von Battista Lo-
renzi. Marmor. Florenz, Santa Croce, Grabmal
Michelangelos (Photo: Alinari)

... , . . -
:- ..- _ . M . . i
_ _ " ,",~_ _
_", u _
S........ -

ABB. 3
Torso in der Rechten der als "Skulptur" ge-
planten und auf Wunsch Leonardo Buonarrotis
in eine "Malerei" geanderten Figur, von Battista
Lorenzi. Detail der Figur in Abb. 2 (Photo:
Alinari)

44
46
ABB. 4, 5

Alpheus und Arethusa,

von Battista Lorenzi.
Marmor, Hohe 1,485 m.
The Metropolitan
Museum of Art, Fletcher
Fund, 40.33

47
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...

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cp
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,u.

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1

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ut 1. 1.t I.?1C

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r t?? .a r i ,? ill

-r IkClj
r t

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r .r I ;?:r I

t"
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.?: t.
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??91r ?
 '

ABB. 6, 7
Triton, von Battista Lorenzi. Marmor, Hohe 2,03
m. (ohne Basis). Museo Archeologico, Palermo
(Photos: Soprintendenza alla Antichita Palermo,
Gabinetto Fotografico)

ABB. 8, 9
Perseus, von Battista Lorenzi. Marmor. Palazzo
Nonfinito, Florenz (Photo 9: Alinari)

bi*-*> :P."-.i
* t_ i
*4
E .- ;#
~~~~~~~.ii

49
 f

kp* . V
r^sj
C, .. i .^L

ABB. IO, II

Mugnone, von Battista Lorenzi. Sandstein,

Hohe I,40, Tiefe 0,80, Lange 1,90 m. Garten
Salviati-Capponi, Florenz

ABB. I2, 13
Wascherin, von Battista Lorenzi. Sandstein,
Hohe 1,20, Tiefe 0,45, Breite 0,35 m. Garten
Salviati-Capponi, Florenz

50
 ABB. 14
HI. Ephysius, von Battista Lorenzi. Marmor. Dom zu Pisa, 6stliches Seitenschiff des
Siid-Querhauses
ABB. 15
Kopfdes HI. Ephysius

51
 ABB. I6
HI. Minias, von Battista Lorenzi.
Gesso. Dom zu Florenz, Inneres der
Domkuppel (Photo: Alinari)

*: II' t
aJ: .,p I
r:
1:?
n.
I" Ir r?
I
rh; 1 vo I -? "'
.?a: 'i I
t; R * i
.?r a I c,
: I.i*
t
i'

?r.
.?
h c .r.r.r*h. CL r

52
ABB. 17
H1. Antoninus, von Bat-
tista Lorenzi. Gesso. Dom
zu Florenz, Inneres der
Domkuppel (Photo:
Alinari)

53
 p
-
ik

ABB. i8
"Lampada di Galileo," von Battista Lorenzi. Bronze und Messing. Dom zu Pisa
Photo: Alinari)

ABB. 19
Weihwasserbecken der Scarlatti, nach Battista Lorenzi. Marmor. Santa Trinita,
Florenz

ABB. 20
Antike Urne als Weihwasserbecken montiert, nach Battista Lorenzi. Marmor,
Santa Maria Novella, Florenz
ABB. 21, 22
Sockel mit Hermen und Engelskopf, nach Bat-
tista Lorenzi. Details von Abb. 14

ABB. 23
Sockel mit weiblichen Hermen und Engelskopf,
nach Battista Lorenzi. Marmor. Dom zu Pisa,
westliches Seitenschiff des Sud-Querhauses
 ABB. 25

Kopf des Alpheus, hier Battista Lorenzi zuge-

schrieben. Kreidezeichnung Uffizi 531 Fv (Photo:
Gabinetto Disegni e Stampe degli Uffizi)

it *V i i
. -
.- . -
.;,
'
Al. ' I ' ;
? . j._?
.

7: A
i''7 4c

. - .A -

., : 1,-

/ ..
.,1

>.

9
It' 1V
ABB. 24

Kopf des Alpheus, von Battista Lorenzi. Siehe '. :.

lb.

Abb. 4, 5

ABB. 26

(Rechte Seite) Studie zur "Malerei" und andere

Skizzen, hier Battista Lorenzi zugeschrieben.
Rotelzeichnung Uffizi 53I Fr (Photo: Gabinetto
Disegni e Stampe degli Uffizi)

56
 ABB. 27
Studie zur "Malerei," hier Battista Lorenzi zuge-
schrieben. R6telzeichnung Uffizi I4214 F (Photo:
Gabinetto Disegni e Stampe degli Uffizi)

'4,~~~~~~I

4'~~~~~~~~~t

i
I
1
iI
A, S

.t. . :.7 ?
f

K.~~
'.4:<-

1 I' '..

iI '
,
.: ,
"'~
o
.-

*;
i ir
FI
...1.
,' . '. ,. '*'
'

ABB. 28

Zwei Studien zum HI. Minias, hier Battista

Lorenzi zugeschrieben. Federzeichnung 21570,
Kunsthalle, Hamburg (Photo: Kunsthalle)

57
ABB. 29

Seitenflugel des Palazzo Salviati-Capponi, Flo-

renz

ABB. 30
Casino im Garten Salviati-Capponi

ABB. 31
Garten Salviati-Capponi mit Brunnen der Wa-
scherin in der Grenzmauer zum Garten della
Gherardesca
III ALPHEUS UND ARETHUSA
Den friihesten der Brunnen beschrieb Raffaello
Borghini mit folgenden Worten:
"Di sua mano si veggono due graziose figure di
marmo, l'una finta per lo flume Alfeo, e l'altra per la
fontana Aretusa sopra la fonte del bel giardino di
Messer Alamanno Bandini Cavaliere di Malta, nella
sua villa, detta il Paradiso."41
Der "Paradies" genannte Besitz des Alamanno
Bandini liegt jenseits des Arno auf einem Hugel, der
die Ebene von Ripoli beherrscht. Sein Garten grenzt
an ein ehemaliges Kloster, das den Namen seiner
Griinder tragt, "Paradiso degli Alberti." Der Uber-
lieferung nach soil Leon Battista Alberti hier die
Sommerabende in Gesprachen mit seinen Freunden
verbracht haben. Zur Zeit als Battista an seiner Figur
fur Michelangelos Grabmal arbeitete, um 1568, be-
stellte Alamanno Bandini einen Brunnen fur seinen
Garten. Battista war in enger Verbindung mit Don
Vincenzo Borghini, der fast alle gelehrten Programme
in Florenz verfaBte, und dieser mag den von Ovid
iiberlieferten Mythos der Liebe des Flusses Alpheus
zur Quelle Arethusa vorgeschlagen haben.
Die in den "Metamorphosen" enthaltene Fabel (V,
573-641) erzahlt von der Nymphe Arethusa, die an
einem Sommerabend, erhitzt von der Jagd, die
stymphalischen Walder verlieB. Sie stieg in den
nahegelegenen FluB um zu baden. Hier erblickte sie
Alpheus und rief sie beim Namen. Sie erschrak und
floh; der FluB folgte ihr; am Abend war er so nah, daB
sein Schatten vorauseilte. Sie bat Diana um eine
Wolke, die sie den Blicken entzog. Alpheus suchte die
Nymphe. Diese-von AngstschweiB verzehrt-wurde
zu Wasser.Alpheus verlieBdie Gestalt und verwandelte
sich zum FluB, um sich mit der Quelle zu vereinen.
In seiner Marmorgruppeverkorperteder Bildhauer
den dramatischen Hohepunkt der Fabel (Abb. 4, 5);
er zeigte die Flucht und Verfolgung; Arethusa eilt
voraus, dicht gefolgt von Alpheus, der sie umschlingt
und ihren Laufanhalt. Nach Ovid war Arethusa nackt,
stark und sch6n; so ist sie dargestellt. Ihr schrag
gestelltes Gesicht, die aufgerissenen Augen und der
geoffnete Mund kennzeichnen die Angst, die-nach
Ovid-der Grund ihrer Flucht und Verwandlung war.
4I. Raffaello Borghini, II Riposo(Florenz, 1584) S. 598.
In der Eile lie3 sie ihr Gewand am FluBufer zuruck;
es erscheint, in ihrer Linken, hinter ihr am Boden.
Alpheus ist dargestellt als junger Gott und als FluB
charakterisiertdurch die Urne in seiner Rechten, sein
Attribut. Er ist, durch den angespannt aufdas Gesicht
der Nymphe gerichteten Blick, als mythischer Lieben-
der gezeigt, der nach Arethusa verlangt und sie mit
der Linken umfaBt, was einer Umarmung gleicht. Das
Zueinander der Glieder und Gesten im Formenaufbau
der Gruppe deutet diese an, und sie wird fur den
Kenner des Mythos unmittelbar anschaulich im Was-
ser des Brunnens,in dem-nach der Metamorphose-
die Vereinigung beider stattfindet. Das zu FtiBen der
Gruppe hervorstromendeWasser ist Teil der Darstel-
lung und letzter Akt der iiberlieferten Metamorphose.
Der wenig bekannte Mythos veranlaf3te den Bild-
hauer zu einer Neusch6pfung, in der Neuerfindungen
mit vorhandenen Traditionen zu einer Synthese
gelangten. Die von mir untersuchten Beispiele der
Antike zeigten entweder Alpheus oder Arethusa-als
FluBbeziehungsweiseals Quelle-doch nie ein Paar;in
Ovid-Illustrationen wurde Arethusa bei ihrer Begeg-
nung mit Ceres dargestellt, der Einleitung der Fabel
nach Ovid. Durch Darstellungen des Mythos von
Apollo und Daphne, die als Paar in Flucht und Ver-
folgung durch die Ovid-Illustrationen des 15. Jh. und
durch Pollaiuolos Tafelchen iiberliefert waren, mag
der Bildhauer die Anregung erhalten haben, seinen
Mythos von Alpheus und Arethusa, der sich allein
durch die Form der Metamorphose unterscheidet, in
ahnlicher Weise darzustellen. Formale Motive, in
denen der Bildhauer bewuBt oder unbeabsichtigt
Gesehenes in seiner Gruppe verarbeitete, hangen von
Raphael ab wie die Fluchtbewegung der Nymphe von
der Stellung der fliehenden Mutter im "Bethlehemi-
tischen Kindermord," und von der hellenistischen
Laokoon-Gruppewie die Kopfwendung der Arethusa.
Formal und thematisch gehort die Gruppe der Serie
der Frauenraubdarstellungenan, die in der zweiten
Halfte des I6. Jh. beliebt wurden. Ihre Wiedergeburt
wurde durch das aufblihende Interesse an antiker
Literatur erotischen Inhalts gefordert; die meisten
Mythen wurden, seit dem Ende des 15. Jh., durch
Nachdrucke und tbersetzungen der "Metamorpho-
sen" Ovids und der "Genealogien" Boccaccios be-
kannt, wahrend Vergils "Aeneis" und die Geschichten
des Livius gelegentlich als Quellen benutzt, aber brei-
59
teren Kreisen nicht zuganglich waren. Bildhauer der
Florentiner Schule, die sich gegen 1560 in Rom auf-
hielten, schufen die fruhesten groBfigurigen Frauen-
raubgruppen aus Marmor, und es scheint, als habe
auBer der Literatur und hellenistischen Satyrgruppen
die bewunderte antike Skulptur eines Paares mitge-
wirkt, das Interesse zu entziinden: Die "Mars und
Venus" genannte Gruppe war Teil der gefeierten
Antikensammlung des Papstes Julius III. in seiner
Vigna in Via Flaminia zu Rom; dort war sie den
Bildhauern bekannt. Mit den iibrigen Statuen aus der
Vigna erhielt Kardinal Giovanni Ricci da Montepul-
ciano diese Gruppe von Pius V., und er erlangte bald
darauf die Erlaubnis, sie als Geschenk an Francesco
de' Medici nach Florenz zu senden; ihre Verschiffung
erfolgte im Dezember 1569;42 aus der Sammlung der
Medici gelangte die Gruppe in die Uffizien.43 R6mische
Kenner m6gen das Entstehen moderner Gruppen von
Gotterpaaren gefordert haben. Francesco Moschino
schuf in Rom seine sitzende Gruppe von "Mars und
Venus," die sich in der Nelson Art Gallery in Kansas
City befindet; gegen I560 entwickelte Vincenzo
de' Rossi daraus in Rom seinen Frauenraub zu einer
Dreiergruppe iiber einem Eber und nannte ihn "The-
seus und Helena"; vor 1570 schuf Battista Lorenzi
"Alpheus und Arethusa" als Paar in Flucht und Ver-
folgung fur seinen Brunnen; gegen I580 meiBelte
Giambologna seine Dreifigurengruppe "Raub der
Sabinerin"; sein Schiler, Hubert Gerhard, goB bald
darauf seinen Brunnen des "Mars und Venus mit
Cupido," der sich in Munchen befindet, und Adrian
de Vries schuf seine Bronzegruppe von "Merkur und
Psyche," die sich formal und thematisch an die Reihe
anschlieBt. Daneben entstanden in Giambolognas
Werkstatt Kleinbronzen mit dem "Raub der Dejan-
eira," und alle diese Sujets erfreuten sich gr6ofter
Beliebtheit bei Kennern, so daB die wiederbelebte
antike Tradition, durch zahlreiche originale Varianten
bereichert, an das 17. Jh. weitergegeben wurde und
bis ins I9. Jh. Nachfolge fand.
IV. TRITON
Zu Anfang der siebziger Jahre schuf Battista einen
Brunnen, uber den Raffaello Borghini folgendes be-
richtete:
6o
"Fece poi a richiesta del Gran Duca Cosimo una
fontana, che da Sua Altezza fu mandato a donare a
un signore Spagnuolo: e questa fu una tazza di marmo
col piede di mistio, in mezzo a cui sedeva sopra tre
delfini un tritone maggiore del naturale."44
Dieser Brunnen wurde einem spanischen Edelmann
gesandt, der vermutlich dem Gefolge der Vizekonige
von Neapel und Sizilien angehorte. Der Bruder von
Cosimos erster Gemahlin Eleonora, Don Garzia di
Toledo, war zur fraglichen Zeit Vizekonig von Sizilien;
I577 wurde der Sieger von Lepanto, Marcantonio
Colonna (1535-1584), von Philipp II. zum Vizekonig
von Sizilien ernannt. Zu dieser Zeit befand sich Bat-
tistas Triton-Brunnen im Garten des vizekoniglichen
Schlosses zu Palermo, wo er in einer zeitgen6ssischen
Quelle folgendermaf3en beschrieben wurde:
"Nel giardino vi e una fonte con un Glauco di marmo
che sona la sua buccina, di tal manufattura, che disse
il signor Don Marco Antonio (Colonna) un giorno, che
se quella fosse in Roma si pagherebbe dieci mila
ducati."45
Die der bewundernden Beschreibung angeschlossene
Bemerkung Colonnas laIft die Vermutung aufkommen,
Colonna selbst konne den Brunnen von seinem ur-
sprunglichen Besitzer zu einem niedrigeren Preis
erworben haben. Die Brunnenfigur ist in Palermo
erhalten (Abb. 6, 7).46 Auch dieser Brunnen Battistas
ist nach einer Szene aus Ovids "Metamorphosen"
gestaltet (I, 330-348), dessen Einleitung der Giganten-
sturz ist:
Die Giganten erhoben sich wider die G6tter; Jupiter
schleuderte ihnen den Felsen Pelion entgegen und
totete sie; aus ihren blutuberstromten Gestalten schuf
42. ASF., Mediceo, Carteggiodi Cardinali,3734, c. 705; ferner
weitere Korrespondenz, die ich demnachst veroffentlichen werde.
43. Guido A. Mansuelli, Galleria degli Uffizi. Le sculture, I
(Rom, 1958) Nr. 160, ohne Hinweis auf die in der vorhergehenden
Anmerkung genannte Korrespondenz.
44. Borghini, Riposo,S. 598.
45. Don Vincenzo di Giovanni, "Del Palermo Restaurato,"
BibliotecaStoricae Letterariadi Sicilia I (serie 2) S. I55.
46. Der Brunnen gelangte im 19. Jh. als Schenkung aus dem
koniglichen Palast von Palermo ins Museo Archeologico zu
Palermo. Die urspringliche, flache Brunnenschale ist durch ein
achteckiges Becken ersetzt. Fur die Serie von 5 neu angefertigten
Photos, die mir zur Verfugung gestellt wurden (Negative I8608-
186 2), mochte ich der Soprintendenza alle AntichitA di Palermo
vielmals danken.
die Erde Menschen. Diese Menschen miBachteten die
G6tter undJupiter beschloB,sie zu vertilgen. Er sandte
die Sintflut und rettete nur ein frommes Paar. Die
Menschen waren ertrunken,Jupiters Zorn verschwand
und er zersprengte die Wolken:
Neptun legte den Dreizack zur Seite und beruhigte
die Wasser. Dann riefer Triton herbei, die Schnecken-
trompete zu blasen, um Wasser und Fluten zum Riick-
zug zu bringen. Triton setzte sein Horn an die Lippen
und blies; die Wasser gehorchten, es fielen die Fluten
und Hugel erscheinen; Walder tauchen empor und
Land wird sichtbar. Wiedergeschenktist die Erde.
"In his autem apparet Tritonis officium" lautet
Giovanni Boccaccios Kommentar dieser Szene,47 die
der Bildhauerin seinem Brunnengestaltete (Abb. 6, 7):
Von drei Delphinen emporgetragen erscheint Triton,
in der jugendlichen Gestalt eines Gottes, iiber den
Wassern, sein Instrument an den Lippen und ganz
seiner Aufgabe gewidmet, zu blasen zum Zeichen des
Friedens zwischen Jupiter und dem geretteten Men-
schenpaar. Die hochgestemmten Leiber der drei Del-
phine, auf denen Triton sich niederlafit, die Stellung
seiner gespreizten Beine, die auf den Delphinen Halt
suchen, sein hochgereckter K6rper, dessen Bewegung
im Blasinstrumentgipfelt, sind formal daraufangelegt,
eine Momentaufnahme des auftauchenden Blasers zu
zeigen. Die Vielansichtigkeit der iiberlebensgroBen
Marmorgruppeist als Mittel benutzt, Triton iiber der
Meeresoberflache darzustellen, die durch die flache
Brunnenschale gekennzeichnet war; sie wurde durch
Wasser aus den Maulern der Delphine und aus der
Meerschnecke des Triton gespeist.
Bei diesem Brunnen ist das Meer in die Darstellung
einbezogen. Triton istjugendlich und in Menschenge-
stalt wiedergegeben, nicht bartig und mit Muscheln
iibersat-wie Ovid ihn schilderte-und nicht mit
Fischschwanzen statt der Beine, wie Raphael ihn im
"Triumph der Galathea" dargestellt hatte, und wie
ihn Montorsoli in seiner Gruppe von "Glaucus und
Scylla" vor dem Palazzo Doria in Genua veranschau-
licht hatte. Die vor der Genesis dieses Brunnens nicht
nachweisbare rein menschengestaltigeDarstellung des
Triton sollte erst durch ahnliche Brunnen des Gian
Lorenzo Bernini, im folgendenJahrhundert, unmittel-
bare Nachfolge finden.
An Ammannatis Neptun-Brunnen auf der Piazza
della Signoria zu Florenz knien drei fischgeschwanzte
Tritonen zu FuBen Neptuns und blasen auftrompeten-
ahnlichen Instrumenten. In lebenden Bildern als
"Glauci" mit Trompeten hatte man sie im Gefolge
Neptuns beim Karneval des Jahres I566 in Florenz
gesehen, als anlaBlich der Hochzeitsfeierlichkeitenfiir
Francesco de' Medici die Maskerade der "Genealogia
degli Dei" veranstaltet wurde. An die Trompeten der
Glauci des Festzuges mochte sich der Bildhauer erin-
nern, als er seine Brunnenfigur in kleinfigurigen
Modellen vorbereitete, von denen drei in Bronze
gegossene Exemplare erhalten sind.48Sie zeigen Triton
als Bliser eines trompetenahnlichen Homes auf drei
Delphinen sitzend, in ahnlicher Stellung wie bei der
Marmorfigur. Wahrscheinlich wurde der Bildhauer
erst im Verlauf der Ausarbeitung seines Brunnens mit
der von Ovid beschriebenen Szene bekannt, in der die
Meerschnecke als Blasinstrumentdes Triton beschrie-
ben ist. Herzog Cosimo I hatte den Auftrag erteilt
und Don Vincenzo Borghini hatte wahrscheinlich die
literarischeVorlage geliefert. Seit den spaten dreiBiger
Jahren wurde Cosimo mit Jupiter identifiziert und der
Delphin, der dreimal an Battistas Brunnen vorkommt,
gait seit Ammannatis "Kreislauf des Wassers" als
Zeichen des Herzogs. Das Programm des Triton-
Brunnens birgt zweifellos eine zweite Bedeutung auf
politischer Ebene, zu deren Entratselung uns bisher
der letzte Schliissel fehlt.
V PERSEUS
"Lavoro poscia il Perseo del marmo, alto quattro
braccia e un terzo, che in casa Jacopo Salviati si vede
con sua gran laude"49--liest man im "Riposo" des
DeorumGentilium
47. GiovanniBoccaccio,Genealogie LibriI/II
(Opere X/XI), herausgegebenvon Vincenzo Romano (Bari,
1951)S. 341-342.
48. Eine der Kleinbronzenbefindetsich im Louvre;vgl. die
Abbildungbei Bertha Harris Wiles, The Fountainsof Florentine
andtheirFollowers
Sculptors from Donatelloto Bernini(Cambridge,
Mass., 1933) Abb. I8I, 183. Die Kleinbronzen im Metropolitan
Museumof Art, sowiedas Exemplarin der SammlungFrick,die
fruherals Arbeitendes Cellini bzw. des Adriande Vries galten,
wurdenzu Recht BattistaLorenzizugeschrieben;vgl. Hans R.
Weihrauch,Europaische ig.-i8. Jh. (Braunschweig,
Bronzestatuetten
1967) S. I88; John Pope-Hennessy, Catalogueof theFrickCollection
(London, 1970).
49. Borghini,Riposo,S. 599.
Raffaello Borghini. Zwischen November 1574 und
November 1578-im Verlauf von vier Jahren, die mit
zahlreichen anderen Arbeiten angefiillt waren-schuf
Battista fur den Vetter des GroBherzogseinen Perseus-
Brunnen. Dieser war fur die neu errichtete Loggia
bestimmt, die den Garten hinter Palazzo Salviati am
CorsoabschloB,der sich zwischen Via dello Studio und
dem Domplatz erstreckte. Die Brunnenfigur wurde,
am I I. November 1578 (vgl. Appendix, II, 8), in ihrer
Wandnische aufgestellt (Abb. 8, 9) und mit einem
Reif mit drei vergoldeten Eichenblattern geschmiickt
(vgl. Appendix, II, 9); der Krummsabel des Perseus
aus Bronze wurde mit eingravierten Weinranken ver-
sehen und bemalt (vgl. Appendix, II, 9-12). Die
Arbeiten an der Wasserzufiihrung zogen sich fiber
zwei weitere Jahre hin, bis der Brunnen-am 5.
November I580-an die Wasser des zwischen Florenz
und Fiesole flieBenden Mugnone angeschlossen war
(vgl. Appendix, II, I8-20).
Bei der Ausstattungseines Palastesmit einem Garten
und bei der Aufstellung von Skulpturen folgte Salviati
dem Beispiel der Medici. Er mag eine Statue ge-
wunscht haben, die derjenigen ahnlich war, die Ben-
venuto Cellini seinerzeitfur Cosimo I geschaffen hatte.
Battista Lorenzi mag es begriB3thaben, in der ehemali-
gen Werkstatt Cellinis in Via della Pergola-wo der
Bronze-Perseusentstanden war-an einem neuen Per-
seus aus Marmor zu arbeiten. Er verkorpertenicht den
Sieg iiber Medusa und nicht den Flug zu Andromeda,
wie Cellini in seiner Statue und in seinem Relief,
sondern er veranschaulichte die folgende Szene aus
Ovids "Metamorphosen" (IV, 726-734):
Im Kampfverwundete Perseusden Drachen. Dieser
spie Wasser und Blut. Perseus vertraute nicht langer
den nassen Schwingen. Er sah eine Klippe im Meer
und flog auf sie zu. An den Felsen gestemmt, durch-
bohrt er dreimal und viermal das Tier mit der Waffe.
Der Bildhauer zeigt die Endphase des Drachen-
kampfes (Abb. 8, 9). Perseus steht auf der Klippe im
Meer. Mit gespaltener Flanke und verletztem Hals
liegt der Drache verwundet zu seinen FiiBen. Er setzt
seinen FuBIauf das sterbende Monstrum, erhebt die
Waffe und offnet den Rachen, um nochmals zuzu-
stoBen. Dem Maul des Drachens entstromt Wasser; es
vergegenwartigt die von Ovid beschriebenen Strome
von Wasserund Blut, die das todwunde Tier entsendet.
62
Den Drachenkampf mit Hilfe des Wassers in einer
Brunnengruppe zu veranschaulichen, war ein schwie-
rigeres Unternehmen als Cellinis Siegergruppe, und
wurde mit Beifall bedacht, wie der eingangs zitierte
Bericht des Borghini zeigt. Was Gesichtstypus und
Standmotiv der Marmorfigurangeht, sind die Allusio-
nen an Cellinis Perseus deutlich; doch der Bildhauer
zeigte kein einfaches Spielbeinmotiv, wie Cellini, son-
dern hob das linke Bein seines Perseusin einer momen-
tanen Bewegung und veranderte die Haltung der
Arme, um die Linke beim Offnen des Rachens und die
Rechte im Augenblick des ZustoBenszu zeigen.
Vor dieser friihesten Darstellung des Drachen-
kampfesnach Ovid hatte Donatello, in seinem Brunnen
mit "Judith und Holofernes," das hervorstromende
Wasser zur Darstellung des Blutes des getoteten Holo-
fernesbenutzt und Ammannati hatte, Pollaiuolosklein-
figuriger Bronzegruppe folgend, in seiner Gruppe des
Herculeskampfes auf dem Brunnen der Medici-Villa
von Castello, die Seele des besiegten Antaeus in Form
eines Wasserstrahlsentweichen lassen. Die Darstellung
von Siegergruppen, die auf die Tradition der Tugend-
Laster-Gruppen des Hohen Mittelalters zuriickgeht,
war andererseits durch Michelangelo wiederaufge-
nommen worden und sein "Sieger"wurde zum Beispiel
fur Bandinelli, fur Cellini, fur Ammannati, fur Danti
und fur Giambologna. Sein Modell des "Hercules und
Cacus" steht als Kampfdarstellung in der Nachfolge
Pollaiuolos, doch seine Zeichnungen des Philister-
kampfes wirkten anregend auf Pierino da Vinci und
fanden Nachfolge in dessen Marmorgruppe und, vor
allem, in kleinfigurigen Bronzegruppen. Diese Vor-
bilder wurden zu lebendigen Kampfgruppen nach
I560 entwickelt, durch Giambolognas Brunnen des
"Samson mit dem Philister" und durch Vincenzo
de'RossisBrunnen der ZwolfTaten des Hercules-Sol.so
Giambolognas Kleinbronzen der Hercules-Taten und
seine spate Marmorgruppe des "Hercules mit dem
Kentaur" stellen, gegen Ende des Jahrhunderts, den
Hohepunkt der Kampfdarstellungen dar, an deren
Entwicklung die Bildhauer der Spatrenaissance gear-
beitet hatten.
50. Vgl. meinen Aufsatz im Art Bulletin53-3.
VI MUGNONE
Ohne Einzelheiten zu uberliefern, erwahnte Raf-
faello Borghini, nach der Beschreibung des Perseus,
Battista habe einen FluB aus Macigno fur Jacopo
Salviati geschaffen. Erst nach der Wiederentdeckung
des ehemaligen Besitzes Salviatis hinter der Santissima
Annunziata und aller Dokumente uiber den Ankauf,
die Anlage und den Verkauf an die Capponi sind wir
in der Lage, diese Brunnenskulpturzu veroffentlichen
(Abb. Io, II). Sie befindet sich im erhaltenen Teil des
Gartens Salviati-Capponi vor der Mauer nach Via
Giuseppe Giusti hin. Sie ist auf einer kiinstlich ange-
legten Insel aufgestellt, die ein Graben umzieht; dieser
ist mit grauem Stein ausgelegt und diente zum Auf-
fangen des Wassers, das aus der Urne des FluBgottes
floB.Die Grotte, die urspriinglichdie Skulpturumfing,
wurde bei der Umgestaltung des Gartens durch die
Capponi, in den Jahren I703-I705, abgetragen.
Die Darstellung erschlieBt sich unmittelbar aus der
Funktion der Skulptur im Garten Salviatis. Am 23.
Juni 1580 erhielt Salviati die Erlaubnis, den Garten
mit den Wasserndes Mugnone zu speisen (vgl. Appen-
dix, VI, I). Bis zum Mai des Jahres 1582 hatte Battista
einen FluBgott gleichen Namens ausgefuhrt. Er zeigte
den Mugnone als hingelagerten Riesen (Abb. Io, 1 ),
der sich auf Felsgestein stiitzt, und meiBelte ihn als
bartigen Greis aus grauem Sandstein, um sein Alter
zu kennzeichnen. Er charakterisierteihn als FluBgott
durch sein Attribut, die Urne auf seiner rechten
Schulter. Ursprunglich war die Skulptur mit ver-
goldeten Blattern geschmuckt (vgl. Appendix, VI, 6).
Seine Ikonographie geht auf die der antiken FluB-
gotter zuriick, die in Rom wiederentdeckt worden
waren, und die Giuliano da Sangallo in seinem Fas-
sadenentwurf fur San Lorenzo, datiert 1516, bereits
im Dreiecksgiebel zeichnete.'5 Sie wurden "Nil und
Tiber" genannt und, spater, von Michelangelo in
einen Brunnen integriert und zu Fuifen des Konserva-
torenpalastes auf dem Kapitol aufgestellt. Beide FluB-
gotter sind mit Fillhornern und nicht mit Urnen
ausgestattet, die im Verlauf des i6. Jh. zum gelaufigen
Kennzeichen entwickelt wurden. Angeregt von den
antiken Beispielen wurde die FluBgott-Ikonographie
51. Uffizi 28I A (Photo: Brogi).
durch alle denkbaren Bewegungsvarianten bereichert
und auf ahnliche Personifizierungen iibertragen, wie
sie die Berggotter Apennin des Ammannati und des
Giambologna darstellen. Bereits zur Hochzeitsdekora-
tion von Florenz, im Jahre I565, hatte Battista die
FluBgotter Arno und Donau modelliert. Seinen Mug-
none fur Salviati zeigte er mit aufgerichtetem und
abgestiitztem Oberkorper, die Urne auf der rechten
Schulter und die Beine angezogen und zur Aufsicht
verkiirzt-in einer Bewegungsvariante, die ich-trotz
der groBen Zahl der FluBg6tter des i6. Jh.-nur an
dieser Skulptur kenne.
VII WASCHERIN
Unmittelbar nach dem FluBgott Mugnone schuf
Battista einen zweiten Brunnen fur Salviatis Garten
hinter der Annunziata (vgl. Appendix, VI, 4, Io).
Seine Brunnenfigurist aus grauem Sandstein, wie der
Mugnone, und zeigt eine Wascherin (Abb. 12, 13).
Ihr Haar ist in Flechten aufgesteckt und sie tragt das
einfache, schmucke Alltagskleid ihrer Epoche. Sie ist
iiber ein Waschbrett gebeugt, das auf einem Pfeiler
liegt, und faBt mit beiden Handen ein Laken, um es zu
waschen. Zwischen ihren Handen floB Wasser hervor,
benetzte das Tuch und fiel in das Brunnenbecken.
Dieses besteht aus einer Wanne aus weiBem Marmor,
die auBen mit farbigem, rustikalem Mosaik verkleidet
ist, wie es die Fassade des Casinos zeigt (Abb. 30). Der
Brunnen ist vor einer Nische aus Tuffstein errichtet,
der auf Achse mit dem Hauptfliigel des Palazzo Cap-
poni steht, und Teil der Grenzmauer des spiteren
Giardino della Gherardesca bildet, in die ebenfalls-
etwa fiinfzig Schritte tiefer im Garten-die urspriing-
liche, rustizierte Fassade der Kapelle Salviati einge-
gliedert ist, die dem erhaltenen Seitenfliigel der ehe-
maligen Bauten gleicht (Abb. 29).
Diese Anlage Salviatis wurde zwischen I577 und
1582 errichtet, das heiBt, nur wenig spater als die Villa
und der Garten von Pratolino begonnen, und etwa
gleichzeitig beendet. Sie war ein vergleichbaresUnter-
nehmen, und wir diirfen mit Recht vermuten, daB
Francesco de'Vieri in seinem dem GroBherzog ge-
widmeten Traktat uber Pratolino auf Salviatis Hauser-
und Gartenanlagen am Corso und bei der Annunziata
63
 anspielte, als er Battista Lorenzi und AlessandroAllori
als Mitarbeiter an den ehrenvollen "Gemeinschafts-
werken" der Epoche nannte.52Ihre Mitwirkung an der
Ausstattung von Pratolino ist nicht bekannt.
Fur den Garten von Pratolino schuf Valerio Cioli
den Brunnen einer Wascherin, dessen Figuren wahr-
scheinlich identisch sind mit der im Boboli-Garten
stehenden Gruppe einer Bauerin, die einem Knaben
den Kopf wascht; sie ist aus Marmor und war einst
hydraulisch betrieben, wie viele Brunnen im Garten
von Pratolino. Die graziose Sandsteinfigur einer
jugendlichen Wascherin (Abb. 13) ist von besserer
Sculptures and Other Works by BattistaLorenzi
THE ARTICLE PRESENTS (a) a new chronology of
the works of Lorenzi, whose life data as given by Vasari
and Borghini have now been completed by a study of
numerous archival sources; (b) an analysis of drawings
identified among drawings from the school of Bandi-
nelli; (c) an iconographic and stylistic study of some
of the artist's lesser-known sculptures.
In the first part, the author tells us that Battista
Lorenzi entered the workshop of Baccio Bandinelli in
Florence in I540, and later worked together with
Vincenzo de' Rossi in Rome (1558-59). In 1564 he
received the commission of the funeral monument for
Michelangelo in Santa Croce, a work that, after alter-
ations of the original plans and quarrels with Michel-
angelo's nephew, remained partly incomplete in 1574.
In 1565 Battista participated in the city decorations
celebrating the marriage of prince Francesco de'
Medici, and until I 568 he worked on the statues of the
Four Seasons for the Guadagni family. The Metro-
politan Museum's fountain group of Alpheus and
Arethusa was executed for Alamanno Bandini in
1568-70. At the same time the sculptor carved another
fountain, representing Triton and dolphins, a com-
mission from Cosimo I, who had it shipped to Palermo.
Through the grand duke, Lorenzi got in touch with
Jacopo Salviati, for whom he carved a fountain figure
of Perseus. As an architect and leading member of the
Accademia del Disegno, he was responsible for the
52. Francesco de' Vieri, Delle maravigliose Opere di Pratolino
(Florenz, 1586) S. 151-I52.
64
Qualitat als Ciolis Gruppe, und die Ikonographie
dieses Genre-Brunnensstellt eine ebenso schlichte wie
iiberzeugende Losung dar. Auch dieses Spatwerk des
Battista Lorenzi ist innerhalb der in der zweiten Halfte
des i6. Jh. aufkommenden Kleinbronzen und Garten-
figuren mit Darstellungen aus dem einfachen Leben
eine Schopfung, deren Originalitat nichts zu wiinschen
iibrig laBt.
Das hier umrissene Werk, das weiterer Untersu-
chungen bedarf, zeigt Battista Lorenzi als fahigen
Meister der Spatrenaissance.
erection of the well-known "tempietto" of Santa Maria
degli Angeli in Borgo Pinti until now given to Amma-
nati. At the same time, he restored antique sculptures,
and also supervised the bronze casting of models by
Bandinelli and Giambologna. From 1577 on he de-
signed and executed a fountain in Salviati's garden,
adorned with a reclining river-god, and another statue,
representing a washerwoman. From 1583 to 1588, he
was appointed as a sculptor and architect to the Opera
del Duomo in Pisa. Back in Florence in I588-89, he
was involved with the decorations for the marriage of
Ferdinand I to Christine of Lorraine, producing large
stucco statues of saints that are still to be seen inside the
Cupola of the Cathedral of Florence, as well as a figure
of Saint Ephysius for the Cathedral of Pisa. He died
in 1592.
In the section devoted to specific stylistic and icono-
graphic discussion, the author stressesthe significance
of the Alpheus and Arethusa group in the Metropolitan
Museum, the Triton in Palermo, and the Perseus now
at Palazzo Nonfinito in Florence. Further on she pub-
lishes for the first time two stone works in Florence that
she was recently able to identify: the figure of the
Mugnone, found in the Salviati-Capponi garden, and
the Washerwoman, now standing along the wall of the
Giardino della Gherardesca.
The appendix contains transcriptionsof documents
found in the Archivio Salviati at Pisa and in the State
Archives in Florence.
OLGA RAGGIO
 Appendix
ISALVIATI-WAPPEN:
Archiv Salviati, Pisa, Secondoquadernodi cassaF, 1573-
1580.
I c. 9: e addi xxvj di Giugnio (I573) lire trentacinque
p[iccio]li pag[a]ti a m[aestr]o Bat[tista] Lorenzi
Scult[o]re p[or]to co[ntan]ti p[er] com[missio]ne d[e]l
d[e]c[t]o r[affae]llo (Doni, curatore della rendita di
messer Giouanbattista Giandonati) disse p[er] resto
della v[alu]ta d'vna pietra p[er] farui l[']arme de'Salui-
ati p[er] metterla alla sop[r]a detta Pieue (San Giovanni
in Sugana presso San Casciano, il padronato dei Gian-
donati)-lire 35.-
2 e addi xxxj detto (Luglio I573) lire quara[n]ta dua
p[iccio]li pag[a]ti p[er] lui a m[aestr]o Bat[tist]a
Lorenzi Scultore p[or]to co[ntan]ti a buo'co[n]to
d[e]ll'Arme da farsi p[er] alla Pieue-lire 42.-
3 e addi iij d'Agosto (1573) lire sei p[iccio]li resi a
m[aestr]o bat[tist]a Lorenzi p[or]to co[ntan]ti disse
p[er] ta[n]ti hau[er]e pag[a]ti di g[abe]lla alla p[or]ta
S. P[ie]ro gattolini dell'Arme di Pietra andata alla
Pieue-lire 6.-
4 e addi xx detto (Agosto 1573) lire vent'otto p[iccio]li
pag[a]ti a m[aestr]o Bat[tist]a Lorenzi scultore p[or]to
co[ntan]ti p[er] c[on]to dell'Arme-lire 28.-
5 e a di vij di Gennaio I578 (1579) fiorini tre di m[one]ta
al [spazio] chiari carradore da San'Ceruagio p[or]to
m[aestr]o Bat[tist]a Lorenzi Scultore co[ntan]ti p[er]
p[or]to d[e]ll'Arme che and[or]no alla Pieue-lire 2 I.-
II PERSEUS:
di cassaF, I573-
Archiv Salviati, Pisa, Secondoquaderno
I580.
I c. 26: 1574. m[aestr]o Batista di Dom[eni]co Lorenzi
scultore de dare Addi xxij di Maggio lire quaranta dua
p[iccio]li p[or]to lui detto co[ntan]ti disse p[er]
ma[n]dar a Pisa p[er] c[on]to de sua marmi, e sono a
buon co[n]to della statua da fare et altro-lire 42.-
2 c. 53: Spese fatte e da farsip[er] c[on]to del Marmo fatto
venire da Seravezza p[er] fame vna Statua p[er] la
Nicchia del giardino deono dare a di xxvii d'ottobre
(I574) lire 14 p[iccio]li [s]Bese (sic) a m[aestr]o Batista
Lorenzi scultore p[or]to co[ntan]ti disse p[er] tante
spese et opere seg[ui]te nel cauar'detto Marmo dal
Nauicellai e porlo in terra a Signia cio e p[er] 8 opere
d'huomini e il resto ai Michele di chimenti scarpellino
che ando a Signia p[er] tal effetto-lire 14.-
3 e addi xiij di Nou[embr]e (I574) lire 54 p[iccio]li
pag[a]ti a Pacq[ui]no di Dom[eni]co sbracci da Santo
L'Ari (Sant'Ilario) detto il Siena porto co[ntan]ti sono
p[er] hauer condotto d[a]l porto a Signa a casa m[aestr]o
Batista Lorenzi scultore nella via della p[er]gola co'4
para di buoi p[er]che ne facci vna statua come di
sop[r]a-lire 54.-
4 c. 26: e addi xxx di Giugnio (I575) lire Ciento di
m[one]ta p[or]to co[ntan]ti a buo[n] c[on]to d[e]lla
Statua-lire Ioo.-
& addi xij d'Agosto (1575) fiorini trenta di m[one]ta
p[or]to co[ntan]ti a buo[n] co[n]to della Gita p[er] di
Carrara et di Seravezza p[er] conto di marmi-lire
210.-
e addi x di Sett[emb]re V cinquanta d['or]o di lire
7 /2 pag[a]ti p[er] lui al Mag[istra]to d[e]l Sale Come
al Camp[io]ne di F[rances]co d[e]l Caccia cam[erier]e
e disse p[er] co[n]to del Cap[ita]no Giuseppe Pelliccia
da Carrara, et allui p[er] co[n]to di marmi Comperi-
lire 375.-
e addi xv d'Ottobre lire settanta p[iccio]li p[or]to
co[ntan]ti a buo[n] co[n]to d[e]l c[amerleng]o de Riccj
-lire 70.-
5 c. 144: e addi detto (12 ottobre 1577) fiorini quindici di
m[onet]a pag[a]ti a m[aestr]o Bat[tist]a Lore[n]zi
Scultore p[or]to co[ntan]ti p[er] darli al Cap[ita]no
Gius[epp]e Pelliccia da Carraraet p[er] lui a Gher[ar]do
di Michele Sarto, et sono p[er] a buon co[n]to di vn
pilo di marmo bianco p[er] la Nicchia d[e]lla Loggia
in testa al Giardino-lire 105.-
6 c. r49: e a'di xviij di Genn[ai]o (1578) fiorini cinque di
m[one]ta pag[a]ti a m[aestr]o Bat[tist]a Lorenzi scul-
tore e p[or]to co[ntan]ti disse p[er] dare al Cap[itan]o
Gius[epp]e Pelliccia da Car[r]ara et p[er] lui alla
Gabella del Sale p[er] la posta di Pietras[an]ta e sono
a buon'co[n]to d[e]l Pilo di Marmo che fa venire p[er]
la Nicchia, d[e]lla Loggia d[e]l Giardino, et sin q[ui]
s[']e spes[a]to fiorini 20- m[one]ta-lire 35.-
7 c. I8: m[aestr]o Simone di BernardinoBassiscarp[elli]-
no de hauere A'di xxj d'Agosto 1578, lire dumila
se[i]cento cinque soldi viij p[iccio]li seli fano buoni
p[er] piu, e diuersi lauori di pietre bigie, e serene, e
lor'fatture fattemi p[er] la muraglia della Galleria e
Loggia nuoua In testa al giardino, e sono che lire 200
p[er] le dua porte di P[ietre] serene nella Loggia lire
60 p[er] 2 Aouati sop[r]a dette lire 93/4 p[er] u[n]o
uscio sereno fra la Gall[er]ia lire I65 p[er] sei piedi
p[er] la volta d[e]lla Loggia co'teste di Castrone lire
2I p[er] 8 cimase ch[e] vi posano lire 3 1/2 p[er] v[n]a
p[or]ta che esce fuori d[e]lla Loggia bigia Io85 p[er]
65
 la Nicchia gra[n]de di pietra bigia di braccia 713 alta,
vano braccia 3 Y8co'stipiti: e fascie e mensole, e altra
i[n]tagliata lire 60 p[er] 3 gra[n]di scalini sotto la detta
lire 401/4p[er] v[n]a pietra a vso di pilo p[er] d[e]c[t]a
lire I5 12 p[er] braccia 15 di listre di P[ietra] serena nel
ricetto aca[n]to la gall[e]ria lire 207 p[er] braccia 39
di lastrone bigi sop[r]a il tetto di d[e]c[t]a Loggia lire
19 p[er] 3 dadi p[er] il cond[ot]to d[e]lla Nicchia lire
2512 p[er] 2 pezi di scaglioni bigi p[er] le fin[estr]e
d[e]lla Log[g]ia lire 60 p[er] 4 sederi sereni p[er] dette
lire 91 p[er] v[n]a fin[estr]a serena p[er] la Capella
lire 17 p[er] 2 chiusini fuori d[e]lla nicchia lire o00p[er]
v[n]o Altare p[er] la Capella lire 410 p[er] sei piedistalli
sereni che 2 co'risalti p[er] figure lire 1 p[er] v[n]o
pilo sul tetto d[e]lla gall[e]ria lire 6 1/2p[er] 3 piedistalli
piccoli p[er] le 2 colone nere et la d'Alabastro orientale,
e il resto p[er] piu altre coserelle alla spicc[i]ola tra e
Comp[r]esoci lire 22 p[er] braccia 8 di lastroni bigi sul
muro d[e]l Cancello d[e]l giardino, [tu]tto d'acc[or]do
con detto m[aestr]o Simone e fatto d[a]l p[rim]o
x[em]bre 1576 a [spazio] p[ost]o dette spese cr[editor]e
i q[uest]o I62-lire I6o5.8.-
8 c. I76: e a'di xj di Nou[embr]e (1578) lire ventuna soldi
viij danari iiij p[iccio]li 'le lire 21 pag[a]ti a i6 facchini
di quei da Santa Croce, p[or]to Ant[oni]o di Gio[vanni]
d[e]ll'agho magg[io]re con[tan]ti p[er] hauer co[n]dot-
to la Statua di Marmo fatta m[aestr]o Bat[tist]a scultore,
da Casa di detto m[aestr]o Bat[tist]a alla Nicchia giu
d[e]lla Loggia del Giardino, e soldi 8.4 resi a Gir[olam]o
del chiaro p[er] a vn porta p[er] u[n]o pancone di Noce
ch[e] era a Casa di d[e]c[t]o m[aestr]o B[attist]a-
lire 21.84
9 e a'di vj di Dic[embr]e lire otto a[n]zi lire sei soldi viij-
p[iccio]li pag[a]ti a m[aestr]o Matteo di R[affae]llo
Calderaia p[or]to Matteo Neresi co[ntan]ti p[er]
v[alut]a di libre I6 di piombo in vna Can[n]a messa
dietro alla Figura di m[ar]mo sop[r]adetta p[er] c[on]to
d[e]l Condotto-lire 6.8 e a'di xxiij detto lire quara[n]ta-
dua p[iccio]li pag[a]ti a Gio[anbattis]ta Lanfranchi
orefice p[or]to co[ntan]ti p[er] Valuta d[e]lla Cinta
co'tre foglie di quercia di rame [tu]tto indorato p[er] la
Statua ch[e] fece m[aestr]o Bat[tist]a Lore[n]zi e disse
che lire 81/2 d'oro soldi 57 fil'd[']ottone soldi 25 le foglie
di rame soldi 35 saldatura e soldi 18 d'arieto vino e
altro il m[aestr]o p[er] sua fattura-lire 42.-
o0 e a'di xij di Marzo (I579) lire sette p[iccio]li pag[a]ti a
m[aestr]o Giul[i]o di B[ar]tt[olome]o Spadaio p[or]to
co[ntan]ti i[n] s[old]i di lire io- sono che lire i p[er]
arrotatura d[e]lla [sciabola] Storta di rame p[er] la
Statua d[e]l Perseo e lire 6 p[er] il fornimento p[er]
detta a viticci-lire 7.-
i e a'di xxviij detto lire dua soldi x p[iccio]li pag[a]ti a
m[aestr]o Gio[van] m[ari]a Butteri Pittore p[or]to
[contan]ti p[er] op[er]a et fattura del [a]rabesco fatto
sulla storta d[e]l perseo-lire 2.10.-
12 e a'di vj di Giugno (I579) lire sette p[iccio]li pag[a]ti
a m[aestr]o Matteo di R[affae]llo Calder[a]io p[or]to
Matteo di Ant[oni]o Nauesi co[ntan]ti p[er] v[alut]a
di una Storta di rame p[er] il Perseo di M[ar]mo-
lire 7.-
66
13 e a'di xviij detto fiorini uentiquatro di m[one]ta lire tre
p[iccio]li pag[a]ti a Michele di Bast[ian]o d[e]l p[or]to
e natale suo fr[at]ello p[or]to Michele detto co[ntan]ti
sono che lire 45 p[er] nolo e g[abe]lle d[a]lla spiaggia
d[e]lla Venza fino a Pisa cio e lire 36- il Nolo et lire 7-
g[abe]lle di Pisa e lire 2 facch[i]ni disse detto Michele
hav[er]li resi a F[rances]co Sa[n]to Regolo, e fiorini I8
p[er] p[or]to da Pisa al p[or]to a Signa di vn pezo
grande p[er] Pilo di marmo grande di peso di Q 912
p[er] la Loggia sotto il p[er]seo-lire I7 I.---Noto che
nel sudetto Nolo vi era comp[r]eso ancora g[abe]lle di
n? 36 pezzi di marmi neri di peso velico a 3 Miglaia
venuti co'detto pilo d[a]l Cap[itan]o Gius[epp]e pel-
liccia da Carrara
14 e a'di xx detto (giugno I579) lire quaranta p[iccio]li
pagati a Fran[ces]co di Piero Gambaccari da Vgnano
carradore p[or]to co[ntan]ti p[er] condottura d[e]l
sudetto Pilo a Bottegha di m[aestr]o Simone Bassi
scarp[elli]no et de 36 pezzi di marmo neri a Casa
m[aestr]o Bat[tist]a Lorenzi d[a]l porto a Signa-
lire 40.-
15 c. 162: & deono dare A'di xxx d'Aprile 1579 fiorini
uentiquatro di m[one]ta p[er] ta[n]ti datone cr[edit]o
a v[n]o Conto di m[aestr]o Simone Bassi scarp[elli]no
i mag[gior] soma p[er] v[alut]a del piedestallo di pietra
serena p[er] la statua d[e]lla Nicchia in q[uest]o 172-
lire i68.-
I6 e a'di xxj detto (agosto 1578) lire dumila se[i]cento
cinque soldi danari viij p[iccio]li p[er] ta[n]ti se n[']e
dato cr[edit]o a vn co[n]to di m[aestr]o Simone di
Bernardino Bassi Scarp[elli]no Come i q[uest]o al 118
e sono p[er] piu e diuersi lauori fattemi di Pietra bigia,
e serena p[er] conto d[e]lla sop[r]adetta Mur[agli]a
(Loggia in testa al giardino et vna Galleria) Comp[r]e-
soci la Nicchia grande le porte d[e]lla Loggia La Cap-
pella e piedistalli, et altro come particularm[en]te e
distintamente si dic[hiar]a cosa p[er] cosa in sudetto
co[n]to da cr[e]d[it]o-lire 2605.-8
17 c. 172: m[aestr]o Simone Di Bernardino Bassi (da
Settignano) scarp[elli]no de hauere A'di primo di
Ap[r]ile 1579 lire Centosessant'otto di p[iccio]li se li
fan[n]o buoni in soma di lire i68 p[er] v[alut]a di vn
piedistallo di Pietra serena ar[r]enato scornic[i]ato e
intagliato di braccia 21/4e grosso braccia i p[er] ogni
r[e]s[t]o p[er] la nicchia p[er] co[n]to d[e]lla statua,
cre[ditore] sp[es]e d[e]lla Logia e galleria I62-lire
i68.-
I8 c. 118: e a'di ix di Genn[ai]o 1579 (1580) lire quaranta
p[iccio]li pag[a]ti a Gir[olam]o Portigiani fondit[o]re
p[or]to [contan]ti p[er] v[alut]a di vna chiaue di bronzo
col suo Mastio peso libra i8 p[er] risciaquare il Pilo di
marmo nella Loggia in testa al giardino-lire 40.-
19 e a'di vj di febraio (1580) lire sedici soldi v p[iccio]li
pag[a]ti a m[aestr]o Matteo di Raffaello Calderaio
p[or]to Matteo d'Ant[oni]o Danesi co[ntan]ti che lire
7.5 p[er] v[n]a Canna di piombo p[es]a libre 142 p[er]
il Pilo e lire 9- jo altra p[es]a libre I8 p[er] detto nel
Muro-lire I6.5-
 e a'di x detto lire quatro p[iccio]li spesi a m[aestr]o
fran[ces]co Giannelli p[or]to Pag[oli]no spend[ito]re
co[ntan]ti sono p[er] piu materie compere p[er] co[n]to
d[e]l Condotto d[e]l sop[r]adetto Pilo-lire 4.-
20 Filza 7, ParteII, no. 5: Sabbato addi 5 di noue[m]bre
1580. Lista d'opere ... al giardino et casa d[e]l s[ign]or
Jac[op]o saluiati... A spese dette lire nouantuna
p[or]to a bart[olome]o Nerini p[er] hauer condotto il
Pilo da mugnone al giardino-lire 9I.-
III CESTELLO-SANTA MARIA DEGLI
A N G E L I: Staatsarchiv, Florenz.
I Compagnie religiose, 1036, inserto 240 (unpaginiert): Io
batista di domenico Lorenzi o riceuto oggi q[uest]o di
ii. di genbre [15176 di m[esser] bartolomeo (Amman-
nati) lire quarantacinque & soldi tre & danari quatro
ttanti a riscossi da lui p[rovi]s[i]one dell achademia et
IV RESTAURATION
conpagnia del uanto facto p[er] il la fabrica del tenpio
sino a q[uest]o di d[ett]o cioe-lire 45-3.4 sul recto:
1576 n? 64 Riceuta da bat[tist]a Lorenzi di lire 45.3.4
Comp[agni]a d[e]l Vanto, scarpellini
2 Accademiadel Disegno, 138, c. 50: Adj 25 di nouembre
1576 / A domenicho di gouanbatista Landinj fornacaio
nella Via della pergola lire setanta p[er] tanto lauoro
ch[e] ci debe dare come p[er] pol[i]tia di batista Lorenzi
porto Contanti el deto-lire 70.-
3 Adi 7 di dicenbre 1576/A iachopo Landinj lire
dic[i]otto p[er] un migliaio di mezane portateci al
n[ost]ro tenpietto come p[er] politia di batista Lorenzi
Scultore porto iachopo deto Contanti-lire i8.-
4 A batista Lorenzi scultore adi 23 di dicenbre 1576 lire
quindicj porto Contanti dise p[er] ispenderli nel nostro
tenpieto porto Contantj-lire 15.-
A batista Lorenzi adi 17 di genaio (1577) lire diecj
e soldj diecj porto detto Contantj come si uede p[er] la
sua pol[i]tia-lire 10. 10
5 Adj 12 di maggio 1578 / A spese di nostra achademia
lire Cinquanta quatro e soldj undicj p[er] tantj resi a
batista Lorenzi porto Contantj e tantj ne asegnjo
d[']auere spesi in piu Cose insino a questo di-lire
54.I I.-
A m[esser] bartolomeo Contucj Casiere de pittj lire
trenta Cinque p[iccio]li achonto di sassj auti da pittj
p[er] murare dettj al deto [tempio] Contantj-lire 35.-
6 A dj 21 di genaio 1579 (1580) pagaj A m[aestr]o Andrea
muratore lire dua e soldj diecj ch[e] tantj sono p[er]
una piana di chastanio p[er] puntelare le traue dela
n[ost]ra stanza di cestello e p[er] manifatura e Altro
Come p[er] poliza di m[aestr]o batista Lorenzi n[ost]ro
proueditore si uede-lire 2.10.-
A dj 14 di Luglio 158o pagaj a m[aestr]o cristofano
dipintore lire trenta Cinque p[iccio]li dise uolere fare
turare e choprire dal pozzo della stanza di cestello e
dise p[er] ordine di m[esser] batolomeo amanatj e di
ganbolognja co la pol[i]tia di m[aestr]o batista Lorenzi
scultore e proueditore del tenpieto di cestello Come si
uede porto detto Contantj-lire 35.-
7 Accademiadel Disegno, 24, c. igr: Questa matina ch[e]
fumo adj 14 di setebre (1567) parlorono sopra la stanza
auta da sua E[ccellenza] j ce[s]tello e de danarj ch[e]
sa dauere p[er] finjre e fare u[n]a stanza
c. I9v: E cosi dopo moltto fecorno dua sopra decta
muraglia co partitto dele piu faue nere e adorno 8
omjnj e rimase questi / Vicentjo da[n]ttj da perugia
s[c]ultor / e Zanobi di ber[nar]do Lastricatj s[c]ultor /
ch[e] auesino in[siem]e co diligentja a tucta la muraglia
di fare di disfare di prouedere ch[e] si facja secondo la
loro ulu[n]ta e p[er] pa[r]titto dele piu faue Rimasono
e sopra nomjnatj... Fr[ances]co da Sangallo p[er]
proueditor dj tucta la muraglia... e Gia[n]iac[op]o
di ser ant[oni]o matocjnj dipi[n]tor
c. 20: ... che in questa nuoua stanza si faccia festa, 13
accademici promettono di dare fine ...
VON ANTIKEN:
di cassaF, 1573-
Archiv Salviati, Pisa, Secondoquaderno
1580.
I c. II5: e addi detto (26 gennaio 1577) lire-soldi viij
danari iiij p[iccio]li resi a m[aestr]o Bat[tist]a scultore
p[er] p[or]to di u[n]a testa rac[c]oncia-lire-.8.4.
2 c. 128: e addi xix detto (giugno 1577) lire dieci soldi x
p[iccio]li resi a m[aestr]o Giou[anbattis]ta Lorenzi
scultore p[or]to co[ntan]ti disse p[er] ta[n]ti spesi nelle
spese p[er] lui et p[er] u[n]o Cauallo q[ua]n[do] ando
a Signa p[er] Conto d[e]l Gioue et d[e]l Pilo, in dua
giorni co' lire 2 dato p[er] aiuti: il r[est]o p[er] lui et
p[er] altri che aiutorno-lire io.-
3 c. 144: e addi xxxj detto (ottobre 1577) lire trentacinque
p[iccio]li pag[a]ti a Scipione d'Antonio (Malaspina)
da Sett[igna]no p[or]to co[ntan]ti sono lire 8 p[er] 4
giornate che 2 alle colon[n]e nere, u[n]a a spiccar' 2
peducci d[e]l troncone d[e]lla Breccia, e di 2 altri d[e]l
pezo v[er]de et vno di Breccia bia[n]ca e rossa lire 9
p[er] fatt[ur]a di vn peduccio v[er]de p[er] il Gioue
lire 9 p[er] fatt[ur]a di vn'altro di b[r]eccia b[ianc]a e
rossa p[er] u[n]o puttino e lire 9 p[er] u[n]o altro
peduccio e Basa, di marmo di carrara-lire 35.-
4 e addj xj detto (gennaio 1578) lire cinque soldi xij-
p[iccio]li che lire 2.5 pag[a]ti a m[aestr]o Gio[vanni]
Ginanelli mur[ator]e, lire 2.5 a Scipione da 7[igna]no,
e lire 1.2 a Ant[oni]o seg[ato]re di m[ar]mo, p[or]torno
co[ntan]ti p[er] hauer aiutato rizzar il Gioue nel Cortile
et appiccarli il b[raccio] e il collo-lire 5.12.-
c. 194: e a'di xvij detto (ottobre 1579) lire dua soldi
xiij danari iiij p[iccio]li pag[a]ti a Scipione d'Ant[oni]o
da 7[igna]no p[or]to co[ntan]ti p[er] un'opera % nel
far'laspranghaal braccio d[e]l Gioue antico-lire 2.13.4
5 c. 122: m[aestr]o Batistadi Dom[eni]co Lorenzi Scultore
de hauere A di xxx d'Aprile 1579 fiorini se[i]ce[n]to
quaranta di m[onet]a se li fano buoni che ... fiorini 24
p[er] hauer Restaurata u[n]a figuretta Antica sopra la
p[or]ta d[e]lla grotta fiorini 132 p[er] hauer fatti xj
petti a xj teste antiche mezzane di piu maniere, fiorini
67
 I60 p[er] altri petti dieci a altre x teste Antiche mag-
g[io]ri con e'Peducci cioe fatture fiorini 28 p[er] hauer
Restaurato u[n]o Satiro V 5 p[er] hauer forn[i]to u[n]a
testa antica e fatto certi altri petti a u[n]a altra V 35
p[er] 3 gite fatte a Pisa e Serauezza messosi 2 mesi p[er]
n[ost]ro c[on]to V 30 p[er] hauer rifatto il posam[en]to
a Gioue piccolo repiccato figura asettat[u]re et altre
fatiche p[er] Casa e fiorini 200 p[er] la statua come
a v f. 84 & de hauere pruto di q[uest]o co[n]to porto
dare vn altro sim[il]e in q[uest]o 194
6 c. 176: e a'di xj d'Ap[r]ile detto (I 579) lire cinque soldi
viij p[iccio]li pag[a]ti a Aless[and]ro di Vinc[enz]o da
B[or]sighella p[or]to co[ntan]ti p[er] g[iorna]te 423 a
seghare marmo nero p[er] co[n]to d[e]lla figura che
restaura m[aestr]o Giou[anbattis]ta Lorenzi scultore-
lire 5.8.-
e a'di xxij detto (aprile i579) lire quarantasette soldi
vj danari viij p[iccio]li pag[a]ti che lire 47 A m[esser]
Gianvettorio Soderini p[or] togliene m[aestr]o Fran-
[ces]co lustratore d[e]ll'opera co[ntan]ti p[er] v[alut]a
di una mezza Colonetta di Marmo nero, di Roma di
braccia 13/ grosso braccia %/ largha braccia
23 p[er]
seruirs[e]ne alla figuretta che restaura m[aestr]o bat-
[tist]a Scultore e soldi 6.8. p[er] il porto d[']essa-lire
47.6.8
e a'di vij di Luglio (I579) lire una soldi vj danari viij
p[iccio]li pag[a]ti a Alessandro Romagnuolo p[or]to
co[ntan]ti p[er] hauer'seg[a]ti in dua volte 2 pezzetti
di nero p[er] co[n]to d[e]lla figura ch[e] restaura
m[aestr]o Bat[tist]a-lire i.6.8
c. I94: e a'di xij di Sett[embr]e (1579) lire quatro soldi
vj danari viij p[iccio]li pag[a]ti a 3 facchini p[er]
p[or]to da Casa m[aestr]o Batista Lorenzi a qui vna
Femina col torso Antica di q[ue]lle di Roma con Abito
di marmo Nero, et aiutato metterla sulla Basa-lire 4.6.8
7 e a'di detto (3I ottobre 1579) fiorini Cientosettantuno
soldi viij danari ij di m[onet]a si fan'buoni a m[aestr]o
Bat[tist]a Lorenzi Scultore che fiorini 136.8.2 p[er] piu
m[ar]mi bia[n]chi et misti co[m]p[er]emi a Carara e
Seraueza in piu te[m]pi, et fiorini 35 p[er] la Statua
riestaurat[a]mid[e]lla femina di Marmo nero e b[ianc]o
come a 194-lire 1299.17.4
m[aestr]o Batista Lorenzi scultore de hauere A'di
xxxj d'ottobre 1580 fiorini Cientosetta[n]tuno soldi viij
danari ij di m[onet]a seli fano buoni ... e fiorini 35 seli
fano buoni p[er] la restaurat[io]ne di u[n]o torso di
fem[min]a co[n] pan[n]o nero ch[e] li rifece brac[c]ia,
ga[m]be e testa i[n] 8 mesi p[ort]o d[e]c[t]o et cie a
194-lire
1299.17.4
V E adj 27 deto lire ja soldi xv p[iccio]lj p[aga]ti a
BRONZEN:
Archiv Salviati, Pisa, Quaderno di cassa F, 1570-I573.
I c. 92: Spese p[er] far gittare certe fighure di b[r]onzo
de[v]o dare adj 5 di feb[r]aio giulj x pagh[a]ti a
mjch[e]lagolo di dom[eni]co schultore (= Domenico di
Michele Poggini, cf. no. 5) p[or]to [contan]ti p[er]
fornireja fighura di cera di giro in giro ch[e] a da essere
di b[r]onzo-lire 6.13
68
2 E adj ii di feb[r]aio (I573) lire quatordicj p[iccio]li
[contan]ti a m[aes]tro b[attist]a di Dom[eni]co schul-
tore p[or]to [contan]ti p[er] a buo co[n]to di rasetare
ja antjchachaglia (sic) e gitare ja fighuretta di b[r]onzo
ejo cauallino-lire 14-
3 1573 E adj 22 dj maggio lire trentacjnq[u]e
p[iccio]li
[contan]ti a m[aes]tro b[attist]a sop[r]ad[e]c[t]o
p[or]to [contan]ti p[er] a buo co[n]to del gitare
fighurjne di b[r]onzo et aco[n]cia[re] certe antjchaglie
di marmo-lire 35-
4 E adj 20 di gugnio lire ve[n]totto p[iccio]li porto
[contan]ti al sop[r]adeto m[ae]stro b[attist]a p[or]to
[contan]ti p[er] a buo co[n]to come disop[r]a-lire 28-
5 E adj 7 di L[ugli]o lire ve[n]totto p[iccio]li pagh[a]ti
a Dom[eni]co pogginj p[or]to [contan]ti so[no] p[er] a
buo co[n]to dj nettatura di nettuno gittato-lire 28-
6 E addj 30 deto lire trentacinq[u]e p[iccio]li [contan]ti
a m[ae]stro batt[ist]a schultore p[or]to g[iovan]nj d[e]l
mazantino suo filjastro anzj figljastro del mazantino
[contan]ti porto dj V I6- q[u]alj selj dan[n]o p[er]
av[e]re fatto: piu 3 carij cioe p[er] ja fighura di netuno
p[er] ja uasa d[']esso, e p[er] j? cauallo e gitatoglj dj
cera e interriatj e asetatigli l[']armatj da gitare di
b[r]o[n]zo [tu]tte co[n] cose sua-lire 35-
7 E adj 3I deto lire 32.4 p[iccio]lj a santj di dom[eni]co
ottonaio p[or]to [contan]ti e so[no] ch[e] lire 29.14
p[er] r[e]sto di libre 27 di b[r]o[n]zo andato in ja basa
p[er] co[n]to del netuno di b[r]o[n]zo a lire 1.2 p[iccio]lj
libra e lire 2 12 p[er] libre 2 2 di b[r]o[n]zo andato in
ja testa di jo caualino di b[r]o[n]zo ch[e] gli ebe a
rigitare-lire 32.4
8 E dde[v]o dare adj 9 d[']agosto lire quarantanoue
p[iccio]lj [contan]ti a dom[eni]co pogginj p[or]to
[contan]ti a buo co[n]to dele fighure che rjnetta-
lire 49-
E adj deto lire quarantanoue soldi x p[iccio]lj
[contan]ti a g[irola]mo di zanobj (Portigiani) fo[n]di-
tore p[or]to [contan]ti so[no] p[er] libre 49 di b[r]onzo,
messo in ja fighura dj netuno e i[n] jo Cauallo gittato a
lire ja soldi 2 p[iccio]lj libra co peso, la fatica sua d[e]l
gittarle-lire 49.10-
9 E adj I4 deto lire quatordicjp[iccio]lj p[aga]ti a iac[op]o
dj pagholo spadaio sta a bbott[eg]a di m[ae]stro g[i]no
spadaio p[or]to [contan]ti p[er] av[e]re netto ja basa
del nettuno-lire I4.-
10 E adj 22 deto lire sette p[iccio]lj [contan]ti a simone di
mjch[e]le orefice p[or]to [contan]ti p[er] av[e]re come-
so certe pietre a ja basa e finjto di rjpulirla-lire 7-
Pa[go]lo chalderaio ch[e] sta a suchidjnaj p[er] av[e]re
fatto jo perno e altre cose p[er] mettere a ja basa-
lire I.15
E adj deto lire ja p[iccio]lj p[aga]ti a f[rances]co di
g[i]no lustratore p[or]to [contan]ti p[er] av[e]re diuiso
certe pietre dipinte p[er] metere in ja basa-lire i -
I E adj 29 deto lire ve[n]totto p[iccio]lj p[aga]ti a
m[ae]stro b[attist]a schultore p[or]to [contan]ti p[er]
 a buo co[n]to dj lauorj fa p[er] m[esser] iac[op]o
(Salviati) n[ost]ro magg[i]ore-lire 28-
12 E adj 30 d[']ottob[r]e lire quarantadua p[iccio]lj
p[aga]ti a g[irola]mo di zanobj p[or]tigianj fondjtore
p[or]to [contan]ti p[er] av[e]re fatto jo toro di b[r]onzo
p[er] il n[ost]ro maggore-lire 42-
c. I39: Spe[se] p[er] far gittare certe fighure di b[r]onzo
de[v]o[no] dare p[er] tanto p[or]to aver[e] in jo altro
co[n]to in q[uest]o 92 = lire 350.20-
E adj 14 di 9b[r]e soldi x p[iccio]lj dati a m[ae]stro
batt[ist]a schultore p[or]to [contan]ti p[er] averlj a
m[ae]stro f[rances]co lustratore pier] av[e]re lustrato
la basa del toro-lire 10.-
13 E adj 9 di feb[r]aio (1574) lire settan[ta]sette p[iccio]lj
pagh[a]ti a m[ae]stro dom[eni]co dj mjch[e]le poggjnj
scultore p[or]to [contan]ti e so[no] p[er] r[e]sto di
fiorini 225 et soldi 17- p[er] sua fatica d[']av[e]re rjnetto
il Notturno (sic) di b[ro]nzo d[e]l caual[ier]e b[a]ndi-
nellj ch[e] sj fecie gittare e soldi 5- p[er] av[e]re finjto
dj nettare jo caualljno di b[r]onzo ch[e] sj fecie gettare
-lire 77-
14 LibrograndeverdedebitoricreditoriF, 1570-1580, c. 364:
e a'di xxx d'Aprile (1579) fiorini se[i]cento quaranta di
m[onet]a p[er] ta[n]ti datone cr[edit]o a vn co[n]to di
m[aestr]o Giou[anbattist]a di Dom[eni]co Lorenz!
Scultore, al quaderno di Cassa F ijdo a 122 sono ch[e]
fiorini 36 p[er] hauer fatto l'a[n]i[m]a al Nettunno d[e]l
Bandinello et al Cauallino di Bronzo di Giambologna
con la Base e gettatoli di cera e rinett[at]ogli ...
15 Secondoquaderno di cassaF, 1573-1580, c. 79: e addi xxj
detto (gennaio 1576) lire venti p[iccio]li pag[a]ti a
R[affae]llo Di Fran[ces]co scarpellino, porto contanti
p[er] fattura di 5 peducci di marmo p[er] le xij teste-
lire 20.-
c. 194: e a'di detto (31 ottobre 1580) lire sessanta
p[iccio]li p[er] tanti si pagorno p[er] porto di sei Casse
venute di Bolognia d[e]lle xij teste di Bronzo degli
Inperadori mandate di Ven[ezi]a li Strozzi, sino a x
d'ottobre 1575, ch[e] s[']era lasc[ia]to i[n]dietro-
lire 60.-
VI SALVIATIS GARTEN HINTER DER
ANNUNZIATA:
Archiv Salviati, Pisa
I Filza o1, parteII no. I5: Die xxiij mensis Junij 1580. Li
Mag[nifi]ci S[igno]ri Sei Proueditori dell'arte della
Lana della Citta di Firenze insieme in suffitiente
num[er]o congregati nel loco della loro solita residentia
Per far'l'offitio loro come si conuiene: Per Gratia del
ser[enissi]mo Gran Duca di Toscana N[ostro] S[ignore]
in uirtu di BenignoRescritto di S[ua] A[ltezza] Ser[enis-
si]ma facto con la solita seg[natu]ra I[ta] est F[rancesco]
come in filza s[econ]da di supp[licazio]ni sotto n[umer]o
4 et di ciascun'altra autorita al mag[istra]to loro in
qualunche modo data et concessa seruate le cose da
seruarsiet ottenuto il partito deliberorno et deliberando
dectono et concessono licentia et faculta al
Molto Ill[ust]re il sig[no]r Iacopo Saluiati di
poter'condurr'al suo Giardino posto di la da Santa
Maria de Serui l'acqua di Mugnone che passa dall'Horto
dell'Ill[ust]re sig[no]r Don Luigi di Tolleto: Per il
terreno et Beni di detta Arte facendo la fossa dentro, col
coprirla di terra di maniera ui si possa seminar'et senza
impedimento alcuno delle Case di essa Arte existente in
detto loco: et tutto in ogni miglor modo etc. Mandantes
etc.
Et yo Thomas Terranuoua q[uon]dam serJo[hanne]
baptiste filius ciuis et not[ariu]s publ[icu]s Flor[entinu]s
nec non Coadiutor in dicta Arte depredictis rog[atu]s
in fidem S[ub]s[crip]si.
2 Quaderno di cassabiancoG, I580-1589, c. 185: E a di xix
detto (maggio I582) lire cinquantasette soldi viij
p[iccio]li pagati che lire 3I- a Piero di Gio[vanni]
Miniati per haver condotto la statua del Fiume fatta da
m[aestr]o Bat[tist]a scultore d[e]lla via d[e]lla Colonna
al Giardino con 3 para di buoi a [tu]tte sue spese
3 c. 112: m[aestr]o Giovan Batista Lorenzi Scultore
de[v]e havere a di xxxi di Dic[embr]e 1582 fiorini cento
di m[one]ta, che se li fanno buoni p[er] fattura et altre
spese in condurreuna Statua d'Vn Fiume di Pietra p[er]
la Grotta del Giardino dietro alla Nunziata, posti a
Vsc[it]a G b[ian]ca a 56 a Statue, Pitture, et Anticaglie:
cioe Damn?: in q[uest]o a 200-lire 700.- (inoltre
cc. 34, 112)
4 Entratae UscitaG, I580-I600, c. 56v: A Statue pitture e
Anticaglie fiorini ce[n]to di m[one]ta pagati a m[aestr]o
Batista Scultore p[or]to co[n]ta[n]ti i[n] piu partite
come al quaderno di cassa G bia[n]co a I 12, sono p[er]
sua fatture di una statua quale gietta aqqua alla grotta
del giardino di Fire[n]ze dietro alla an[n]u[n]ziata e
un giga[n]te a giacere co[n] un vaso i[n] spalla detto il
Fiume di Mugnione-fiorini I00.- (inoltre c. 6Iv)
5 Libro grande bianco G, I580-I6Io, c. 20: & a'di xxj di
Dic[embr]e 1582 fiorini Ciento di m[one]ta datone
cr[edit]o a vn conto di m[aestr]o Batista Lorenzi
Scultore al quad[er]no di Cassa bianco G a II2 p[er]
fattura del Fiume di Macigno messo nella Grotta d[e]l
Giardino a Vsc[it]a a 56 p[ost]o c[ass]a 67-fiorini
I00.-
6 Quadernodi cassa bianco G, 1580-1589, C. 214: e a di ij di
Nouembre (1582) lire sette p[iccio]li pagati a m[aestr]o
Bastiano di Benedetto Dipintore p[or]to con[tan]ti
p[er] le mani d'And[re]a Torini che lire 3.10- p[er]
hauer messo d'oro le foglie, che cingono la figura del
flume di pietra, et lire 3.I0- n? 3- cannelle una serpe, e
la foglia, che la cingeua, andatoui in [tu]tto n? 95 Pezzi
d'oro da 14 Luglio a q[uest]o di-lire 7.-
c. 208: e a di detto (I2 settembre 1582) lire uenti quattro
p[iccio]li pagati a Ant[oni]o di Batista d[e]l Susina
p[or]to con[tan]ti che libre 14- a 28 d[e]l pass[a]to e
lire IO q[uest]o di che lire I6.- p[er] fattura d'una serpe
di bronzo vota p[er] gettare acqua a'piedi d'u[n]a
figura di Marmo, et u[n]a foglia d'ottone p[er] cignerla
C. 232: e a'di viij detto (febbraio 1583) fiorini quattro
di m[one]ta pagati a m[aestr]o Pietro di Bastiano
69
 Pagolini orefice p[or]to con[tan]ti a buon conto di 22
rami di fiori di alloro di rame p[er] la fig[u]ra d[e]ll
Idda Mirra, et un'altra-lire 28.-
7 c. I57: & a xxviij detto (dicembre 1581) lire settecento
quara[n]tasei soldi iij danari viij p[iccio]li se ne fanno
d[ebito]ri p[er] tanti fatti buoni a Donato di Giuliano
Calderaio p[er] piuirame, e piombo lauorato in secchie,
Vasi et altro, et altre sue fatture, e racconciature
comp[r]esoci altre robe fatte, e datemi p[er] conto del
Giardino dietro alla Nunziata: tutto da 2 di Luglio
1577 alli 8 st[ant]e p[ost]o I4-lire 746.38
c. z14: (27 dicembre 1581) . . . p[er] lavori nel giardino
per la condotta d'acqua al pozzo ed alla grotta...
(inoltre cc. 208, 214, 225, 232, 247, 257, 308-1583)
8 c. 204: e adi xxvij d'agosto (1582) lire ce[n]to quara[n]ta
sette soldi j p[iccio]li p[or]to co[n]ta[n]ti sono p[er]
resto di 2 terminini (sic) di marmo lauorati e messi al
ca[n]cello de l[']orto p[er] fiorini 45 di m[one]ta e
fiorini 20 p[er] piu giornate lavorate alle spugnie al pilo
et altro al orto saldo co'parola d[e]l n[ost]ro mag[gio]re
d[']accordo co[n] detto (BattistaLorenzi)-lire 147.1I.-
9 LibrograndebiancoG, I58o-I6Io, c. 20: E adi xxxi di
Dic[embr]e (1582) fiorini sessantacinque di m[one]ta
datone cr[edit]o a un conto di m[aestr]o BatistaLorenzi
Scultore al q[uadern]o di Cassa G b[ian]co a 204, sono
che fiorini 50 p[er] v[n]a di dua termini di Marmo
fattomi p[er] il mio giardino co[n] vasi i[n] capo da
gettar acq[u]a col'm[ar]mo di suo, e fiorini 15 p[er] piu
70
sue fatiche nel far la grotta in detto Giardino come in
usc[it]a a 6I posto cassa in q[ue]sto 84-fiorini 65
10 Entrata e Uscita G, 158o-600o, c. 6:.. .. dua termini di
marmo bianco sono che gettano aqqua dina[n]zi al
ca[n]cello e fiorini 15 p[er] sue fatiche a mettere le
spugnie a collocar il fo[n]ticino et altro ...
c. 204: m[aestr]o
11i Quadernodi cassa bianco G, 1580-1589,
Giova[n]batista Lorenzi de havere adi xxxi di Dice[m]-
bre (1582) fiorini sessa[n]tacinque se li fan[n]o buoni
che fiorini 50 p[er] u[n]a di 2 termini di marmo bia[n]co
sono for del ca[n]cello che gettano aqqua e fiorini 15
p[er] sue giornate lavorate al orto a diversi lavori messi
a uscita G bia[n]ca a 6i-lire 455.-
12 c. 232: e a xxv detto (febbraio 1583) lire cinque soldi x
p[iccio]li pagati a Aless[and]ro Pieroni d[e]ll Impruneta
Pittore p[or]to con[tan]ti che lire 2 p[er] colori e lire
3.10 p[er] h[ave]re dato il colore a 12 rame di fogli
d'alloro di Rame p[er] le 2 fig[u]re-lire 5.I0
e a'di xxvj detto lire cinque soldi vj p[iccio]li pagati
p[er] le mani di And[re]a Torini, che lire 3- a m[aestr]o
Piero di Gio[vanni] Scarpellino p[er] essere stato 2
giorni al giardino a mettere 2 figure fuori d[e]l can-
cello ...
e a di xij detto (febbraio I583) fiorini cinque di
m[one]ta pagati a m[aestr]o Piero Pagolini orefice
p[or]to con[tan]ti p[er] fattura e ualuta di n? 12 Rami
d'alloro, cioe fiori fatti di rame, e saldati a argento
p[er] 2 figure di marmo-lire 35.-
 The Surviving Oeuvre
EDWIN M. RIPIN
AssistantCurator,Department
of MusicalInstruments,
The Metropolitan
OF ALL THE ITALIAN keyboard-instrument mak-
ers known to have been working in the seventeenth
century, none enjoyed so great a reputation as Girolamo
Zenti. His commissionsin Italy included the construc-
tion of an organ for the princely Pamphilj family in
Rome, and he is known also to have worked at the
courts of Queen Christina of Sweden, Louis XIV of
France, and Charles II of England. However, for a
man who was once so famous, surprisinglylittle is now
known of his life.
Zenti was probably born in the early years of the
seventeenth century, possibly in Viterbo. Unfortu-
nately, the Viterbo city archives have not yielded con-
firmation of these suppositions,' which are based on
the inscriptionson two surviving instruments and sub-
stantiated by documents in the archives at Stockholm
and Rome in which Zenti is designated as "from
Viterbo." The earliest of these documents, the list of
I. Personal communication from Drssa. Luisa Cervelli, Direc-
tor of the Museo di Strumenti Musicali, Rome, at whose behest a
search of the Viterbo archives was undertaken and at whose sug-
gestion a street in Viterbo has been named for Zenti.
2. Reprinted by Einar Sundstr6m, "Notiser om drottning
Kristinas Italienska Musiker," Svensktijdskrififormusikforskning
43
(196I) pp. 308-309. The entry for Zenti reads "A Girolamo Zenti
da Viterbo ottimo mastro di Clavicembali ed Organi la somma
per Ciascun Anno di tre cento Scudi di Roma." I am indebted to
Prof. Ernst Emsheimer, Director of the Muiskhistoriska Museet,
Stockholm, for bringing this document to my attention.
3. Reprinted with modernized spelling, capitalization, and
punctuation by Vinicio Gai, Gli strumentimusicalidella cortemedicea
e il museodel Conservatorio "Luigi Cherubini"di Firenze (Florence,
1969) pp. 6-22.
of Girolanmo Zenti
Museumof Art
Italian musicians brought to Sweden by Queen Chris-
tina in I652, refers to Zenti as "the best master of
harpsichordsand organs"2but makes it clear that the
status of instrument builders left something to be
desired in the seventeenth century. Zenti's salary was
one of the smallest paid to any member of the troupe,
amounting to only half that of the highest-paid singer.
Zenti presumably returned to Italy by the time of
Christina's abdication in June I654. He was working
in Rome by I656, as evidenced by the inscription on a
harpsichord listed in an inventory of the instruments
belonging to Grand Duke Ferdinando de' Medici
forty-fouryears later.3 In March 166o, Zenti was com-
missioned by Camillo Pamphilj, nephew of Pope Inno-
cent X, to build a large organ for the Church of
Sant'Agnese in Navona, then in process of construc-
tion.4 The work on this instrument can, however, only
just have been begun when Zenti joined the Italian
4. The contract is preserved in the Archivio di Stato Roma
(Not. AC 6675, fols. 424-425) and has been reprinted in part by
Gerhard Eimer, LaFabbricadi S. AgneseinNavona(Stockholm, 1972)
p. 470. The organ was to have been an imposing one by Italian
standards, with a keyboard range of six octaves and fifteen stops
variously made from "genuine walnut seasoned and worked with
the greatest care that Art can bring" and "the finest and most per-
fect English tin to be found." Unfortunately, this contract (which
was kindly examined for me by Father Theodore Cunnion, S.J.)
does not appear to bear Zenti's signature, with the result that it
cannot be used to authenticate the handwriting of the inscriptions
on the surviving instruments purporting to have been made by
Zenti. I am indebted to the Principessa Orietta Doria Pamphilj
for her kindness in providing me with the citation for this contract
and for referring me to Dr. Eimer's monumental study.
7'
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
Metropolitan Museum Journal ®
www.jstor.org
opera company brought to Paris at the behest of Cardi-
nal Mazarin a few months later. He was still in Paris
in September 1661 when a dispatch was sent from
Nantes to the French ambassador in Rome instructing
him to request Prince Pamphilj's permission for Zenti
to remain in Paris without incurring a penalty for fail-
ing to complete work on the organ by the date originally
promised. The dispatch goes on to explain that the
Grand Comedie and Grand Ballet celebrating Louis
XIV's marriage to Maria Theresa of Spain had been
postponed until "the next Carnival," at which time
"His Majesty would again require . .. the said Zanti."5
Thus, Zenti would probably have been free to leave
Paris only after the long-delayed production of Fran-
cesco Cavalli's Ercole Amante, which took place in the
newly completed Salle des Machines in the Tuileries
on February 7, 1662. Even then, it is doubtful that he
returned to Rome more than briefly. He never com-
pleted the Sant'Agnese organ, the work for which was
eventually given to a Flemish master, Willem Her-
mans,6 builder of instruments in Como, Genoa, and
Pistoia. Instead, Zenti appears to have gone to Eng-
land. The date of his arrival has not so far been discov-
ered, but he may have come with yet another company
of Italian musicians, who are the subject of two docu-
ments preserved among the British State Papers and
apparently dating from the latter part of I662.7
On January 27, 1664, a payment order was issued
by Charles II granting Zenti the sum of 50oa year as
"Servt in OrdY in ye place & quality of Our Virginall-
maker."8 Only two days later Zenti was given a pass-
port to return to Italy,9 strongly suggesting that this
payment was for past rather than for future services
and that he had been working in London for some time.
One condition of Zenti's being allowed to leave Eng-
5. Henry Prunieres,L'operaitalienenFranceavantLulli (Paris,
1913) p. 243. The part of the dispatch dealing with Zenti reads
"Vn certainouurierde Rome nommeGirolamoZantiqui fait des
Clauessins,a vn Contractauec le PrincePamfiliode luy fairevne
orguedans vn certaintempsqui est pres d'expirersous peine de
payervne sommeconsiderablea son esgard,& Commela grande
Comedieet le GrandBallet pour la resjouissancedes nopces du
Roy a este differeau Carneualprochain,et que S[a] M[ajes]tea
encore besoin icy pour cette feste dud[it] GirolamoZanti, Elle
desireque vous priez, a son nom, ledict Prince de luy accorder
puor ce peu de tempsla permissionde demeurerde deca sans le
soubmettrea la peine of il l'a engage, l'asseurantqu'aussitost
apresil se rendraa Rome pouracheuerl'orgue."(Paris,Archives
72
land appears to have been that he provide a replace-
ment, and it is from a petition submitted by this
replacement that we derive our only information con-
cerning the place and date of Zenti's death. Early in
I668 one Andrea Testa, explaining that he had been
sent by Zenti "(as one fitly qualified) to supply his
place" and that since commencing his employment he
had "only had a small sum of money," petitioned the
king, asking that he be paid Zenti's salary on the
grounds that Zenti had died "at Parris in ye ffrench
King's service."Io
The inventory of the instruments belonging to Ferdi-
nando de' Medici in 1700 is headed by no less than six of
Zenti's harpsichords and spinets. The inscriptions on
four of these instruments were copied out by the assidu-
ous clerk who took the inventory (Figure I), and the
places and dates they mention give confirmation to the
preceding archival evidence. Two of the instruments
were made in Rome in 1656 and I659, one in Stock-
holm in 1653 and one in Paris in I668. Moreover, the
inventory gives us a valuable insight into the enormous
range of Zenti's work. The Italian harpsichord-build-
ing tradition is notable for its high degree of standard-
ization; accordingly, it is particularly significant that
(as is evident from the following extracts from the
inventory entries) no two of the six Zenti instruments
belonging to Grand Duke Ferdinando were exactly
alike:
A harpsichord by Girolamo Zenti, removable from its
case, with three registers, namely, two unisons and a
suboctave, with sides and soundboard of cypress, with
moldings and jackrail of the same with an ebony stripe,
with three soundholes decorated with openwork, . . .
with a keyboard of ebony and ivory, . . . without di-
vided keys ...
politiqueRome
du Ministere des Affaires Etrangeres, Correspondence
I39, fol. 279.)
6. Eimer, La Fabbrica,p. 470.
7. State Papers, Domestic,29/66, fols. 30, 31. These documents
unfortunately list only singers, "The Poete" (who apparently was
the director of the troupe), and a Signior Vincenzo and "His
Brother," without mentioning instrumentalists or anyone else who
might be supposed to be Zenti.
8. State Papers,Domestic,29/91, fol. 55; minute in State Papers,
Domestic,44/16, fol. I9.
9. Minute in StatePapers,Domestic,44/16, fol. 21.
Io. StatePapers,Domestic,29/233, fol. 244.
 /
No. i V-0
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No. 3 (2,ImA- c* ' yt '6 7 i

tfi ~

,o~f^;.<S< J^X^soat, e@
Jk.f' ?/tM-o i2'o_-vo<

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FIGURE I
Extracts from an inventory of I700 that provide transcriptions of the inscriptions on four Zenti instruments
belonging to Ferdinando de' Medici (Archivio di Stato, Florence, GuardarobaMedicea, 1117, fols. I, 2, 3)

A harpsichord by Girolamo Zenti, removable from its
case, with two unison registers, with sides and sound-
board of cypress,withjackrail and moldings of the same
with an ebony stripe, without a decorated soundhole
but with a single small hole in the soundboard, with a
keyboard of boxwood and ebony without divided
keys ...
A harpsichordby Girolamo Zenti, not removable from
its case, with three registers, namely, two unisons and a
theorbo stop, with a spruce soundboardhaving a sound-
hole in the center decorated with gilded openwork,
with sides painted on the outside to resemble red-and-
white marble with black stripes at the edges and
painted black inside, with gilded moldings, with its
matching music stand and its boxwood and ebony
keyboard with five of the black keys in the center
divided ...
A spinet by Girolamo Zenti, removable from its case,
with only a single register, with golden strings, with a
spruce soundboard painted with foliage and flowers
with a butterfly, with a decorated soundhole in the
center around which there is painted a crown and
various flowers, with sides, moldings, music stand, and
jackrail of cypress, . . . with a keyboard of ebony and
ivory with the second key divided ...
A spinet by Girolamo Zenti, removable from its case,
with only a single register, with a spruce soundboard
having a decorated soundhole in the center ornamented
with gold, with sides, moldings, and jackrail of cypress
in which there are two ebony stripes, with a keyboard
of boxwood and ebony without divided keys ...
A portable spinettina by Girolamo Zenti, removable
from its case, with a spruce soundboard without a

73
decorated soundhole, with sides and jackrail of ebony,
without moldings, with a keyboard of ebony and ivory
without divided keys .. .1
With any builder of Zenti's importance, one must
obviously consider the possibility of misattribution or
outright forgery among the surviving signed instru-
ments. This question is severely complicated by the
diversity of Zenti's output, as evidenced by the pre-
ceding inventory entries and by the fact that very few
instruments bearing (or purporting to bear) Zenti's
i. Original texts in Archivio di Stato, Florence, Guardaroba
Medicea, I I I7, fols. I-4: Vn Cimbalo di Girolamo Zenti leuatoro
di Cassa a tre registri, Cioe due principali unisoni, et ottaua bassa,
Con fascie e fondo di Cipresso, con trauersa, e scorniciatura simile
Con filetto d'Ebano, Con tre rose traforate, cioe una grande nel
mezzo, una mezzana in fondo, et una piccola in cima uicino a
salterelli, Con tastatura d'auorio, et Ebano, che comincia in cisol-
faut ottaua stesa, e finisce in fafaut, Con n[umer]o cinquanta
quattro tasti, tra bianchi, e neri, senza spezzati, e nella fascia
d'auanti ui sta scritto Hyeronimus de Zentis faciebat Roma Anno
D[omi]ni M.DCLVIIII;lungo B[racci]a cinque, e soldi undici, largo
nel d'auanti un braccio e soldi noue Con suo leggio di cipresso, e
sua contro cassa foderata p[er] di dentro di tabi Con fondo dorato,
e rabeschi cremisi, e p[er] di fuora di tabi cremisi broccato con fiori
d'oro, e guarnita di frangie, e passamano d'oro e cremisi, Con
bottoncini dorati, e sua toppa, e Chiauistelli laterali Con sua
Coperta di Cuoio rosso, foderata di taffetta Cremisi, e orlata di
passamano d'oro, e cremisi, Con suoi piedi sciolti dorati, e intagli-
ati, che rappresentano tre arpie, Con Code di Delfino.
Vn Cimbalo di Girolamo Zenti leuatoro di Cassa a due registri
principali unisoni, Con fascie, e fondo di Cipresso, con trauersa, e
scorniciatura simile, con filetto d'Ebano, sensa rosa, ma Con un
solo buchetto nel fondo, Con tastatura di bossolo, et Ebano, senza
spezzati che / comincia in gisolreut ottaua stesa, e finisce in
Cisolfaut, con n[umer]o cinquanta tre tasti, tra bianchi, e neri,
e nella fascia d'auanti ui sta scritto Hyeronimus Zenti faciebat
Romae M.DCLVI; lungo B[racci]a quattro, e un quarto, largo nel
d'auanti B[racci]a uno, e tre ottaui con suo leggio di Cipresso, e
sua Contro Cassa foderata p[er] di dentro di taffetta uerde, e
p[er] di fuora di broccato d'oro fondo raso uerde, Con bullette
dorate, e guarnito di frangette e passamano d'oro, e uerde e p[er]
di dentro la parte d'auanti, che si alza del Coperchio, e foderata
del mede [simo] broccato d'oro uerde; Con sua toppa, e chiauistelli
dorati laterali, e sua Coperta di Cuoio rosso foderata di Ermisino
uerde, orlata di nastrino d'oro Con suoi piedi sciolti, intagliati, e
dorati che anno p[er] finim[ent]a piedi di leone che posano su un
piano scorniciato.
Vn Cimbalo di Girolamo Zenti, non leuatoro di Cassa, a tre
registri, cioe due principali unisoni, e tiorbino, Con fondo di
Abeto, e rosa nel mezzo traforata, e dorata, Con fascie p[er] di
fuora tinte a imitazione di marmo rosso, e bianco, con striscie nere
all' estremita e p[er] di dentro, tinto di nero Con il Corniciame
74
signature have survived into the twentieth century.
With so small a corpus to draw upon in attempting to
arrive at criteria of authenticity for the work of a man
known to have worked in several different styles, the
more usual approaches fail, and one must resort to less
straightforward methods. This becomes all the more
necessary when, as here, one wishes to add a new
instrument to the presently recognized oeuvre.
It is most unfortunate in the light of his great impor-
tance that so few of Zenti's instrumentsappear to have
survived. No organ by him is known to exist, and Don-
dorato, Con suo leggio simile, e sua tastatura di bossolo, et Ebano,
con cinque spezzati nei neri di mezzo, che Comincia in Gisolreut
ottaua stesa e finisce in Cisolfaut, con n[umer]o cinquanta noue
tasti, tra bianchi, e neri, e spezzati, e nella fascia d'auanti ui sta
scritto / A lettere d'oro con alcuni rabeschi Hyeronimus de Zentis
Romanus faciebat in Civitate Holmiae anno Domini 1653; lungo
B[racci]a quattro, e soldi nove, largo nel d'auanti B[racci]a uno,
e soldi dieci Con sua contro cassa di Abeto pura, e sua Coperta di
Cuoio rosso foderata di taffeta uerde orlata di nastrino d'oro.
Vna Spinetta di Girolamo Zenti leuatora di Cassa a un registro
solo, con le corde d'oro, Con fondo di Abeto tutto dipinto di foliami,
e fiori Con una farfalla, Con rosa traforata nel mezzo, dipintoui
torno una Corona di diuersi fiori, con fascie, scorniciatura, leggio,
e trauersa di Cipresso, su la quale ui sta scritto Hyeronimus de
Zentis fecit Parisijs anno Domini I668. Con tastatura di Ebano, et
auorio, con il secondo tasto spezzato, che serue di ottaua a Elami
bimolle, che Comincia in Gisolreut in sesta, e finisce in cisolfaut
con n[umer]o cinquanta uno tasti, tra neri, bianchi, e spezzati,
Con sua Contro cassa d'Abeto coperta p[er] di fuora di sommacco
rosso stampato d'oro, e p[er] di dentro del Colore del legname; la
d[ett]a spinetta e di forma bislunga; ma la fa diuentare quadra
una Cassettina che e p[er] di dentro, Con sua Coperta di Cuoio
giallo; foderata di Canauaccio, e orlata di nastro di filaticcio giallo.
Vna Spinetta di Girolamo Zenti, leuatora di Cassa a a un registro
solo, con fondo di Abeto, e rosa traforata nel mezzo tocca d'oro,
con fascie, scorniciatura, e trauersa di Cipresso, si la quale ui sono
due filetti d'Ebano / con tastatura di Bossolo, et Ebano, senza
spezzati Che Comincia in Gisolreut in sesta, e finisce in cisolfaut,
con n[umer]o cinquanta tasti tra bianchi, e neri, Con sua Contro
cassa tinta di rosso p[er] di dentro, e p[er] di fuora fondo nero,
con filetti e rabeschi gialli, et il coperchio e rifatto di nuouo di
Albero puro.
Vna Spinettina da Collo di Girolamo Zenti, leuatora di Cassa,
Con fondo di Abeto senza rosa, Con fascie, e trauersa di Ebano,
senza scorniciatura, Con tastatura di Auorio, et Ebano senza
spezzati, che Comincia in Gisolreut ottaua stesa, e finisce in
Cisolfaut Con n[umer]o trenta tasti, tra bianchi, e neri, Con sua
Contro Cassa tutta foderata p[er] di dentro, e p[er] di fuora di
Domasco Cremisi, guarnita p[er] di fuora di nastrino d'oro Con
bottoncini dorati, e sotto ui e un' assicina incanalata, che serve
p[er] appoggiarsi allo stomaco quando si suona.
.-! .
B~~~~
- . t Jlrc
zll ?
J;,
~~~y~ ET1 ~1TTJ?--
5111 k\
- i
ald Boalch'2 lists only one extant spinet and five harpsi-
chords.'3 One of the latter may be eliminated at the
outset. It is signed GZ on a key and dated I672 in the
same hand. Since Zenti died in I668, this signature
cannot be his, and there would appear to be no other
grounds for believing that he had any hand in making
the instrument.
Of the remaining five instruments listed by Boalch,
the first, a harpsichord dated I633 (Figure 2), has
dropped from sight since it was exhibited in Geneva in
1927. Presumably this was the same instrument as that
offered for sale by the Florentine dealer and forger,
Leopoldo Franciolini, in three catalogs issued between
I897 and about I908. Franciolini describes it as a
"painted harpsichord showing a seacoast with scenery,
I2. Makers of the Harpsichordand Clavichord(London,
I33.
13. A seventh instrument cited by Boalch is a small harpsichord
in the Musee Instrumental of the Royal Conservatory, Brussels.
The instrument is unsigned but according to Victor-Charles
Mahillon (Cataloguedescriptifet analytiquedu Musee Instrumentaldu
ConservatoireRoyal de Musiquede BruxellesIII [Gand, 1900] p. 167,
No. 1600) "Attribue aJeronimus de Tenbe, a Rome (vers I656)."
Boalch (p. 123) is almost certainly correct in stating that "this is
clearly a mistake for Girolamo Zenti," but, in addition to this
error, there seems to be no evidence to support an attribution of
FIGURE 2
I!I~1iLIHarpsichord signed Hieronimus de Zentis, I633.
Collection Alexandre Mottu, Geneva (from cata-
logue of L'expositioninternationalede musique,
Geneva, 1927). Present whereabouts unknown
I?
figures, and architecture, with the outer case painted
with foliage on a light background, having boxwood
and black keys, and signed Hieronimusde Zentis Viter-
biensisfaciebat1633. Laudate-Evm-In Cordis-et-organo-per-
sempre-secole.Length 2 m. Width o.8 m."I4 Despite the
garbled tag from Psalm 150 (one of Franciolini's favor-
ite "improvements"to instrumentspassing through his
hands), it is possible that this harpsichord is otherwise
wholly genuine. The inscription ascribing the instru-
ment to Zenti takes the same form as that on a clearly
genuine spinet of I637 that will be discussedbelow. On
the other hand, it is at least equally possible that this
portion of the inscription was simply modeled on the
one on the spinet. (The I637 spinet now has virtually
the identical garbled Latin on the front of its name-
board; this strongly suggests that it was at one time in
Franciolini's shop, so that the form of its signature
could have been known to him.) In any event, only an
examination of the harpsichord itself, if it ever again
comes to light, could eliminate this possibility, and
until that time the attribution to Zenti must be con-
sidered doubtful at best.
The I637 spinet (Figure 3) in the Musee Instru-
mental of the Royal Conservatory, Brussels, is some-
what disfigured by the ugly and clumsy inscription on
its nameboard (Figure 4), but this nameboard is wholly
redeemed by the inscription on its back: Hieronimusde
Zentis Viterbiensisfaciebat1637 (Figure 5). This is one
of the very few undoubted examples of Zenti's signa-
1959) p. this anonymous instrument to Zenti or any other known maker.
I4. "Cimbalo pitturato, rappresentante una Marina, paesaggio
figure e architectura con cassa dipinta a ramages fondo chiaro con
tasti de legno bossolo e neri Firmato: Hieronimusde Zentis Viterbiensis
faciebat1633. Laudate-Evm-In Cordis-et-organo-per-sempre-secole.
Lungo
m. 2. Largo o,80." (The text given is the version found in the
catalog of c. I908.) An earlier Franciolini catalog, c. 1895, lists
another purported Zenti instrument; since its date is given as 1676,
this inscription cannot have been genuine. I am soon reprinting
in facsimile all of the known Franciolini catalogs as Vol. VII of
the series Music Indexesand Bibliographies.
75
 b;r

I,
K
? 1.
-L.;- G --E:.i ?r-*
u

"--'9 ?
L

FIGURE 3
Spinet signed Hieronimtus de Zentis, I637. Musee Instrumental du Conlservatoire Royal de Nlusique,
Brussels, Catalogue No. I583 (photo: Patrick Lorette, Brussels;

IL .;0

FIGURE 4
Inscription on nameboard of the spinet shown in Figure 3 (photo: Patrick Lorette, Brussels)

FIGURE 5
Inscription on the back of the nameboard (photo: Giancarlo Sponga, Milan)

76
 I I
m.U.-.
*?_II.. ....
t*?;'?
.II?3?ReFUII'?
-. ?..?i,?
v? ll_l?--i-?*I?4**
i
";k*L I
.......
f :f .....?.
/195Jl'??
FIGURE 6
Top view of the spinet shown in Figuie 3 (photo: Patrick Lorette, Brussels)
ture. The inscription shows no sign of having been
tampered with, and, in fact, the entire instrument is in
a remarkably fresh and unaltered state. For this reason,
the Brussels spinet must be taken as the primary docu-
ment for establishing any criteria of Zenti's personal
style.
The Brussels spinet is not, however, of importance
merely because it is the earliest example of Zenti's work
presently available for study; it is also the earliest
known example of this type of spinet in existence. Such
so-called "bentside" spinets were called "epinettes
italiennes" in France and became the standard domes-
tic keyboard instrument in England in the latter part of
the seventeenth century; and it is tempting to suppose
that Zenti introduced the design in both countries in
the early I66os. It is even eminently possible, as sug-
gested by Frank Hubbard,Is that Zenti actually in-
vented the design. This certainly seems to be the most
plausible interpretation of Giovanni Bontempi's state-
ment, a quarter-century after Zenti's death, that "the
most modern [harpsichords] were invented by Giro-
lamo Zenti, made in the form of a not quite equilateral
triangle."'6 Bontempi goes on to discuss the dimen-
sions of such instruments having two keyboards and two
I5. Three Centuriesof HarpsichordMaking (Cambridge, Mass.,
1965) p. 25.
16. Historia musica... (Perugia, 1695) p. 47: "I piii moderni
[clavicembali] sono stato ritrouati da Girolamo Zenti, fatti in
figura di Triangolo non giustamente equicrure ..."
??_: ilsr ???.+'*?-?--I' - '?'?
*-? _,_.,. '+ ... .. ....:,i?.,p....?*
. I?..:-- rr?f'-----
. ..._,r: ..--,urrrc,r?.u*???- .? ? .*?... . ..?.C.
revr*rc
? -J- ,. ...-.-?r--.,-_ ?- I?- CY
D
?r,..-.X1:? ?*'?''
??6
u+ -?
I.r;?ri-?.??eT''
l''?.?i
or three sets of strings, and although no such instrument
by Zenti has survived, it is not impossible that he may
have built them, especially since harpsichords with two
keyboards (while always extremely rare in Italy) were
well known in France and probably also in England
by the time of Zenti's French and English visits.
The Brussels spinet is housed in a softwood case
painted black on the outside, the inside of whose lid is
decorated with a scene of a sacrifice to Priapus showing
nymphs, shepherds, and satyrs dancing, playing instru-
ments, and draping garlands on a herm of the god. The
instrument itself is made of thin cypress, undecorated
except for delicate moldings at the top and bottom of
the case and scroll-sawn cheekpieces at the ends of the
keyboard. A top view, showing the instrument removed
from its outer case (Figure 6), reveals the visually satis-
fying and spatially economical aspects of the bentside
spinet's design. Unlike those of a harpsichord, the
strings of a spinet run at an oblique angle to the key-
board. This permits the instrument to assume a par-
ticularly graceful shape, since it is both slimmer and
shorter than a harpsichord having a keyboard of the
same range and bass strings of the same length. Both
its pleasing shape and its compactness doubtless con-
tributed to the bentside spinet's great popularity in the
late seventeenth century and throughout the eigh-
teenth, an added bonus being that, when the instru-
ment was placed with its long side against a wall,
additional space did not need to be left along the wall
for the musician's bench.
77
 FIGURE 7
Harpsichord attributed to Zenti. Musikinstru-
menten-Museum der Karl-Marx-Universitat,
Leipzig, Catalogue No. 75 (photo: Sheridan
Germann, Boston)

fully thirty years after Zenti was in Stockholm and fif-

teen years afterhis death need not necessarilymean that
the entire inscriptionis false. However, the clumsy capi-
tal lettersbear no resemblanceto the somewhat crabbed
cursive hand on the back of the Brusselsspinet's name-
board. Furthermore, the form of the inscription has
nothing in common with that of the Stockholm-made
Zenti harpsichord in the Medici inventory,17Hyeroni-
mus de Zentis Romanusfaciebat in CivitateHolmie anno
Domini 1653 (Figure I, No. 3), where Stockholm is
called "Civitate Holmiae," not "Olmia," and where
Zenti proudly refersto himself as a Roman rather than
as "of Stockholm."Adding to these problems, there are
distinct remains on the nameboard of what appears to
be a capital K before "Girolamo," for which there
seems no reasonable explanation whatever.
In this sea of doubt, one fact can be stated with
assurance: the Leipzig harpsichordcannot be the same
as the third one described in the Medici inventory.
It is smaller, has a shorter keyboard, and unlike the
Medici instrument is made of cypress.'8This last fact

I 7. The presence of a Stockholm-made instrument in Italy is

The third instrument purportedly bea rig
Ze nti's
not as surprising as it might at first seem. Queen Christina settled
usu
o he
signature is in the Musikinstrumenten-Mi iseum of the i Rome after her abdication, and it is recorded that "Cinq
Karl Marx University at Leipzig (Figure 7). The back epinettes grandes" belonging to her were in Antwerp in May 1656,
of its nameboard bears an inscription thiat has been awaiting shipment "par expres a Rome." (Quoted by Jeannine
Lambrechts-Douillez, "Documents Dealing with the Ruckers
interpreted as GIROLAMO ZENTI DI OLMIIA / A: I683 Family and Antwerp Harpsichord-building," in E. M. Ripin [ed.],
(Figure 8). The last three digits of the daLteappear to KeyboardInstruments [Edinburgh, 1971] p. 40.)
be in a shakier hand than the rest of the ir scription, so '8. The Medici harpsichord is specifically described as not
being removable from its case and having sides painted on the
the fact that it suggests that the instrumei nt wasma outside to resemble marble. It had a keyboard with a range of
GG-c"', 41 octaves, without a short octave in the bass and includ-
FIGURE 8 ing five divided keys "in the center," and was over 8 feet long (see
I
Inscription on the back of the nameboard of the the third entry in footnote above). The Leipzig harpsichord is
less than 7 feet long. Its present keyboard has an apparent range
harpsichord shown in Figure 7 (from Georg of D-c"', less than 4 octaves, but the D key is divided to yield low C.
Kinsky, Katalog des Musikhistorischen
Museums von There are in addition six divided sharps, two of which are also in
the bass. (See Georg Kinsky, Katalogdes Musikhistorischen Museums
WilhelmHeyerin Ciin, Cologne, 19I
vonWilhelmHeyerinCoinI [Cologne, 1910] pp. 94-95.) The unusual
range of this keyboard suggests that it is not original; presumably
the original keyboard had three fewer keys and provided a range
E.r^AJ44
. of 4 octaves C-c"' with a short octave in the bass. I am indebted
...

"-_*
.... .' to Friedemann Hellwig of the Germanisches Nationalmuseum,
"- 1A
A:- 83 Nurnberg, for his kindness in providing me with photographs and
..
--^.- .. z . additional information on the Leipzig instrument.
.. . .
. : . _ -._:a.. sl ~l~-: .
-_

78
is perhaps the most damning of all. The Leipzig harpsi-
chord is a fairly typical Italian instrument, whereas the
Medici harpsichord is described in terms that (except
for its boxwood keys) make it sound almost like a
Flemish instrument of the time, complete with a gilded
soundhole ornament and thick marbled case. This kind
of harpsichord is in fact very much what one would
expect a builder to make under the influence of north
European instruments and at a great remove from his
normal supply of Italian wood.
The remaining Zenti instruments listed by Boalch
date from 1658 and I666. Both are in the Metropoli-
tan Museum. The earlier one (Figure 9) is an extraor-
dinarily beautiful harpsichord of a decidedly unusual
type. The most common variety of Italian harpsichord,
like the 1637 spinet in Brussels,was constructed of thin
cypress and housed in a stout softwood case. As a rule,
such instruments were undecorated except for finely
profiled moldings and scroll-sawn cheekpieces at the
ends of the keyboard; the outer case lacked moldings
but was often decorated with paintings. The other
common variety of Italian harpsichordpresents a simi-
lar appearance at first glance, but the harpsichord
cannot in fact be removed from the outer case. Instead,
there are only cypresslinings and half-moldingsapplied
to the inside of the thick softwood case to give the
illusion that it holds a removable cypress instrument.
The Metropolitan's harpsichord falls into neither of
these categories. It is constructed in a single massive
case, but this case is decorated on the outside as well as
the inside with cypress moldings. The resulting framed
panels serve as spaces for paintings. Both the inside and
outside of the lid and the outside of the long side of the
case are decorated with landscapes, and the rest of the
case is decorated with groups ofputti interspersedwith
classical masks and garlands. Even the outside of the
nameboard and of the hinged board that closes over
the keyboard are painted with masks and garlands.
(This hinged board is a feature otherwise unknown in
seventeenth-century harpsichords, as is the upward
curve of the bottom below the keys.) The paintings
appear to date at the earliest from the eighteenth cen-
tury. However, this fact need not in any way reflect
on the instrument's attribution to Zenti, since it was
common practice to repaint harpsichordsto suit chang-
ing styles of decoration; thus, a seventeenth-century
Ruckers harpsichord that started life with a marbled
case might pass through one or more intermediate
stages before attaining its apotheosis in brilliant chinoi-
serie in an eighteenth-century Paris salon.
Zenti is known to have built thick-cased instruments
(the Medici inventory states that the instrument made
in Stockholm in 1653 was not removable from its case),
and there is no reason for supposing that he could not
have made an instrument with such unusual features
or of such outstanding beauty as this one. Unfortu-
nately, the ascription of this harpsichord to Zenti rests
on grounds that are far from ideal. The elegantly let-
tered inscription on the jackrail, HIERONYMUS DE
ZENTIS VITERBIENSIS F ROMAE ANNO DOM MDCLVIII
(Figure o), takes a somewhat different form from the
one on a Medici instrument (Figure I, No. i) made
only a year after this one purports to have been made.
Note, for example, the use of "Viterbiensis," which is
found on the 1637 spinet (Figure 5) but is entirely
absent from the Medici inscriptions, all of which date
from much the same period in which this instrument's
inscription proclaims it was built. One's feeling of
uncertainty is only deepened by the clumsily lettered
inscription HIERONIMVS DE ZENTIS FECIT ANNO 1647
on the lowest key (Figure I ). The spelling of "Hier-
onimus" and the date do not agree with those on the
jackrail. Hence, it is not surprisingthat ultraviolet light
reveals that the present inscription overlies other writ-
ing (Figure I2). This earlier writing appears to have
been in a slanted, thin-stroked cursive hand, but only
a few strokes of it are visible, the remainder being
obscured by the thick, unslanted strokesof the present
inscription. What little can be seen of the earlierwriting
fails so completely to correspond with the readable
inscription that one must conclude that the present
inscription represents an alteration or substitution
rather than a freshening of the older one.
As with the Leipzig harpsichord, the failure of the
inscriptions to fall into the pattern of the undoubtedly
genuine ones in the Medici inventory seems crucial. In
the case of the Leipzig instrument, one may suppose
that the inscription derives from a later owner's knowl-
edge that Zenti had at one time worked in Stockholm,
even though he did not know when, or even in what
year Zenti died. Quite possibly that inscription got its
primary inspiration from Bontempi, where Zenti is
referred to as "Girolamo," although there is no record
that he ever signed a nameboard with anything but
79
 3

Am
I- W."
kfc^-m wS

Jr.__aa
.i PH: kV.- .~

4,
.
I..I

FIGURE 9

Harpsichord signed Hieronymus de Zentis, I658. The Metropolitan Museum of Art, Funds from Various
Donors, 86.20. The hinged board that covers the keys is raised, concealing the painted nameboard

80
 -. ...

- ~ ~ * C~ -Y-= F,L -
,
. tK ._....{.... -
:...' = . >t..
...E.r
5-
.,...... .a-:!:
.. ..,. ,*_ , ,. 4 -, . , . . .
. ..--^ .......

FIGURE I

Jackrail of the harpsichord shown in Figure 9

?-. . I,.
. ,, .I

FIGURE II

Inscription on the lowest key of the harpsichord shown in Figure 9, viewed in visible light

>ftl^?;~~ > .-^. A

* -". ,* ;
& .-: . _~ ....
-^*^x ~?.....

FIGURE 12

Photograph by ultraviolet light of the inscription

"Hieronimus." In the case of the I658 harpsichord, trade on Zenti's great reputation, much as in northern
one may suppose that the inscription on the jackrail Europe countless instruments were equipped with
may derive from knowledge of that on the Brussels bogus signaturesfalsely proclaiming that they had been
spinet where "Viterbiensis" also appears. It may well made by one or another member of the Ruckers family.
date from a period after the existing paintings were The second Metropolitan Museum harpsichord (Fig-
applied to the nameboard, covering any inscription ure 13) is an entirely different matter. It is a typical
corresponding to the written-over one on the lowest thin-cased instrument made of cypress, and its attribu-
key that might originally have been present in this tion to Zenti rests on the neatly lettered inscription
more usual location. (The back of the nameboard is HIERONYMVS ZENTI FECIT ROMAE A.S. MDCLXVI /
blank.) All in all, this harpsichord, like the one in JOANNES FERRINI FLORENTINVS RESTAVRAVIT

Leipzig, can be attributed to Zenti only very tenta- MDCCLV appearing on the nameboard (Figure I4).
tively indeed, and its inscription probably represents The entire inscription seems to be in the same hand
the attempt of an unscrupulous builder or dealer to and therefore to date from I755; hence it is not too
 -
lflt
. x
L- 2
Z
'ir1
/

I
/, I
( ,ry?-yrrP"

C. .I.

.. --

A,
%. .,ik

, jv

82
 FIGURE 13
Harpsichord signed Hieronymus Zenti, i666, and restored by Giovanni Ferrini, I755. The Metropolitan
Museum of Art, Crosby Brown Collection, 89.4.1220
FIGURE 14
Inscription on the nameboard of the harpsichord shown in Figure 13
worrisome that the part ascribing the instrument to
Zenti does not correspond in form to the inscriptions
copied out in the Medici inventory. It is not clear
whether this harpsichord's present state dates from
Ferrini'srestorationor from subsequent alteration. The
wrestplank bridge has been moved closer to the jacks
than it was originally, and the instrument's range was
at some point increased by three notes to yield the
present compass of AA-f"'. The existing keyboard has
obviously come from another instrument and appears
to be dated I659, although the third digit is unclear.'9
Thus, one cannot look for confirmation or refutation
of Zenti's authorship on the keys.
At this point, one would normally try to establish or
refute the attribution of the 1666 harpsichord to Zenti
by comparing it with the known corpus of unarguably
genuine Zenti instruments. However, as the reader will
doubtless have gathered, this corpus consists of only a
single instrument, the Brussels spinet, made some
twenty-nine years earlier, which is in addition con-
ceived on a totally different scale. Whereas the spinet
is only four feet long, the harpsichord is nearly eight
19. This keyboard originally had 53 keys. The lowest key was
discarded and five new keys were added in the treble to change
the range from the original GG-c"' (without GG#) to the present
AA-f"'. Zenti's keyboard probably had a range of GG-c"',
although C-f"' is also a possibility.
feet long, and its bottom moldings, bridge cross-sec-
tions, and other features reflect this difference in scale.
At least one highly suggestive correspondence does,
however, seem to be present. A molding used on the
outside of the harpsichordas part of the three-piece top
molding is identical with the bottom molding on the
spinet (Figure I5)20 and would appear actually to have
been shaped by the same plane. The overall handling
of the moldings on the harpsichord is, of course, far
more sophisticated than on the spinet, but one would
expect this in an instrument made only two years
before Zenti's death. On the spinet the balance between
the top and bottom moldings on the outside is not
aesthetically pleasing, and the top molding, when seen
across the open instrument, appears too bulky. This
problem is almost inevitable, however, since in one
instance the top molding is seen as the top of the rela-
tively low rim above the soundboard and in the other
instance as the upper edge of the instrument as a whole.
The solution employed in the harpsichord is highly
ingenious. Instead of creating a symmetrical molding
by attaching identically formed strips to the inside and
20. I am indebted to Dr. Nicolas Meeus of the Musee Instru-
mental for providing me with measurements and drawings upon
which the left-hand part of Figure 15 is based. In addition, his
generous assistance during my examination of the 1637 spinet and
his procuring of the special photographs of it required for this
study are herewith gratefully acknowledged.
83
 4-

FIGURE 15 :
Comparisonofmoldings on the 1637spinet shown
in Figure 3 (left) and the i666 harpsichord
shown in Figure 13 (right). Arrows indicate the
molding used on both instruments.

FIGURE 16

Cheekpiece of the 1637 spinet (photo: Patrick

Lorette, Brussels)

FIGURE 17
Cheekpiece of the i666 harpsichord i
84
 FIGURE I8
Octave spinet signed GoZi.The Metropolitan Museum of Art, Crosby Brown Collection, 89.4.I227

FIGURE 19

Cheekpiece of the octave spinet shown in Fig-

ure I8

outside of the case below the cap molding, the strips

have different profiles, that on the outside being the
relatively tall molding already mentioned as having
been used as the bottom molding on the spinet and that
on the inside being a shortermolding, much better pro-
portioned to the smallerspace between the cap molding
and the top of the soundboard. (The same molding is
then inverted and used at the point at which the sound-
board meets the side of the case, creating a complex yet
unified decorative pattern.) The asymmetrical profile
of the top molding as a whole is not disturbing on the
instrument itself because the profile cannot be seen
unless the nameboard is removed so as to permit view-
ing the molding end-on. When the nameboard is in
place, the form of the molding can only be imagined,

85
 and the obvious imbalance resulting from the cap
molding's off-center placement goes unnoticed.
A second noteworthy correspondence between the
I637 spinet and the i666 harpsichord is in the scroll-
sawn cheekpieces at the ends of the keyboards (Figures
I6, I7). Although it was standard Italian practice to
provide the cheekpiecesof thin-cased harpsichordswith
a scroll-sawn outline, the patterns used were not
standardized. The particular combination of only a
few simple curves terminating in a horizontal ledge
that is found in these two instruments is not common,
and the fact that it occurs in two instruments that may
reasonably be attributed to Zenti suggests that it may
be a valid criterion in attempting to authenticate his
work.
This individual cheekpiece form provides part of the
grounds for adding a third candidate to the highly
select group of surviving instruments that may actually
have come from Zenti's hand. An exquisite octave
spinet in the Metropolitan Museum (Figure 18) has
cheekpieces (Figure 9) identical with those on the
1637 spinet and the i666 harpsichord. The top and
bottom keys bear the signature GoZi (Figure 20). The
instrument is very small-less than eighteen inches
long by nine inches deep-and the sides of its case are
made of ebony boards only 3%inch thick. Despite the
fact that this spinet could hardly have been thought of
as more than a toy, every care in design and execution
was clearly lavished upon it. The notion of construct-
ing an instrument out of solid ebony rather than using
ebony veneer on another wood, or simply staining pear
or some other reasonably tractable wood to resemble
ebony, is in itself mind-boggling. However, there are
many other details that point to a designer-craftsman
of the highest order. Thus, the keys are bent in order to
make the layout of the jacks and strings as compact as
possible and are carved away on their undersides to
reduce the weighting necessary to make them balance.
Again, the blocks that support the ebony jackrail have
quarter-circle indentations to echo the indentation at
the top of the cheekpieces, and the tiny ovolo molding
around the edge of the soundboard presents the reverse
of these indentations and simultaneously echoes the
front face of the wrestplank bridge.
In addition to the pattern of the cheekpieces, the
octave spinet seems to have other clear similarities to
the Brusselsspinet in such details as bridge profile and
86
r 1??.,,.
f Sf ?' ;:
"t.. !C ?'
?.?3
I
4 ?. .; , ,'.
.-L_- I? ??jCI--?
FIGURE 20
Signatures on the top and bottom keys of the
octave spinet shown in Figure I8
the shape and the method of making the sharp keys.
The profiles of the soundboard and wrestplank bridges
in both instruments have different forms, the wrest-
plank bridges having a curved front, whereas the corre-
sponding part of the soundboard bridges is formed by
two planes meeting at an obtuse angle. The sharp
keys on both instrumentsare almost perfectly rectangu-
lar in crosssection and are made with a very thin ebony
veneer on top of black-stained wood rather than being
of solid ebony, even though those of the octave spinet
are on an instrument made of solid ebony. The octave
spinet also shareswith the I637 Brusselsinstrument the
fact that its soundboard is made of spruce, instead of
the more usual cypress, and lacks a decorated sound-
hole. With the exception of the cheekpiece form, none
of these shared characteristics can be considered so
special as to be reliable as a criterion for assigning the
octave spinet to Zenti. However, it is possible to make
use of the fact that the instrument has a number of
highly individual characteristicsnotfound in the Brus-
sels spinet and not found together on any other instru-
ment I have ever seen: it is very small; its case is made
of ebony and lacks decorative moldings; its natural
keys are covered with ivory rather than the more usual
boxwood; and, finally, its keyboard begins on G and
extends only 21/ octaves to c". The Medici inventory
that has already proved so valuable in this discussion
establishes that Zenti made at least one instrument of
exactly this description. The complete entry for the
last of the Zenti instruments in the inventory reads:
A portable spinettina by Girolamo Zenti, removable
from its case, with a spruce soundboard without a
decorated soundhole, with sides and jackrail of ebony
without moldings, with a keyboard of ivory and ebony
without divided keys, which begins on gisolreutextended
octave and ends on cisolfautwith thirty white and black
keys, with an outer case entirely lined on the inside and
the outside with crimson damask, trimmed on the out-
side with a narrow golden ribbon with golden buttons;
and underneath there is a small cut-out board used for
resting it on the stomach when playing it.21
The painted case associated with the Metropolitan's
spinet when it was acquired by Mrs. John Crosby
Brown and presented to the Museum appears to date
from the nineteenth century rather than the seven-
teenth. Accordingly, it is tempting to suppose that this
case is a replacement for the damask-coveredone men-
tioned for the last time in the inventory of 173222 and
that the spinet itself is one of the comparatively few
21. For the Italian text, see footnote I . This instrument
appears to be the same as that recorded in the inventory dated
September 23, 1716, as "A similar [small ebony spinettina] with
a case covered with red damask, trimmed with a golden ribbon,
and ivory keys, item No. 2 I." ("Due Spinette piccole ... Seg[na]ta
N: I9. Vna Spinettina minore delle sud[dett]e di ebano...
Seg[na]ta N: 20. Vna simile con' cassa cop[er]ta di dommasco
rosso, guarnita di nastrino d'oro, e tastatura d'auorio Seg[na]ta
N: 21." Archivio di Stato, Florence, Guardaroba Medicea,1241 bis,
fol. 2 verso.) This entry is repeated verbatim in the inventory dated
September 19, 1732 (Guardaroba Medicea,1410, fol. 3), after which
there are no further mentions of the instrument in the Florentine
archives. It is not among those that are the subject of miscellaneous
notations following the inventory in Guardaroba Medicea,14IO, and
comprising the entire contents of 1411, which cover the period
1732-1765. Thereafter, there seem to be no documents and no
Medici instruments still in existence.23If so, it would
appear to be the sole survivor of the six Zenti instru-
ments in the Medici collection and one of only three
surviving instruments that may safely be attributed to
this celebrated maker, "ottimo mastro di Clavicembali
ed Organi."
ACKNOWLEDGMENTS
In addition to my indebtedness for assistance given to me by
persons outside the Metropolitan Museum and acknowledged
in the notes, I have been generously aided by many colleagues
on the Museum staff. Special words of thanks are due Hyatt
Mayor, an inexhaustible source of information and encour-
agement, Everett Fahy for examining the paintings on the
1658 harpsichord, James Parker for examining the outer case
of the octave spinet, and Olga Raggio for generously offered
advice and valuable information.
inventories until the instruments remaining in the Pitti Palace
were inventoried in preparation for their transfer to the Conser-
vatorio "Luigi Cherubini" in I863 (Gai, Gli strumenti,pp. 25,
34-38). By that time, only 40 of the 173 instruments listed in the
inventory of I 732 were to be found, and the ebony spinettina was
not among them.
22. See footnote 21 above.
23. The fact that the octave spinet bears no distinctive mark or
inventory number that would positively identify it as a Medici
instrument does not militate against this suggestion, since no such
marks or numbers dating from before the nineteenth century are
to be found on the undoubted Medici instruments now preserved
in the Collection of the Conservatorio "Luigi Cherubini" in Flor-
ence. (Information kindly provided by Prof. Vinicio Gai of the
Conservatorio "Luigi Cherubini.")
87
 A Royal Taste: Louis
PENELOPE HUNTER
Curatorial of WesternEuropean
Assistant,Department
The Metropolitan
Museumof Art
THE PERSONAL INVOLVEMENT of Louis XV in the
development of the rococo is
style tacitly recognized in
France, where the designation "style Louis XV" is
usual. In the decorative more than the fine arts, the
client exercised a decisive role in shaping the ultimate
product. If the client was a person of well-defined taste,
his stamp was set more clearly on the works made to
please him than was that of the sculptor, gilder, uphol-
sterer, or the joiner whose signature a given piece of
furniturebears. A client of taste bought what he liked;
a client of importance and taste had what he liked
designed and made for him; the kings of France, having
sponsored the development of the decorative arts since
Francis I, had the world's leading artists and artisans
to create their surroundings. As traditional as royal
sponsorshipwas personal interest in decoration.
Throughout his life Louis XV manifested an enthu-
siastic interest. A few exemplary incidents give an idea
of the extent of his participation in the creative process.
He exercised direct control over each step of the plan-
ning of new and renovated rooms in his chateaux.
A 1728 plan of an extension of the library at Versailles
bears an approving "bon" scrawled with careful flour-
ish by the then eighteen-year-old King.x Louis'senthu-
siasm grew over the years: the Marquis d'Argenson
notes in his diary on July 8, 1739, "Le Roi fait con-
tinuellement dessinerdevant lui en particulier le jeune
Gabriel,2de ses Batiments."3In the diary of the duc de
Luynes we find this same young architect Gabriel has
XV-1738
Arts,
been appointed by the King to the highest post in the
department of buildings on May 29, I742, inspiring
Luynes's comment "I1 n'est pas le plus ancien con-
trolleur des batiments mais S.M. a beaucoup de bontes
pour lui et il travaille tres souvent seul avec le Roi pour
les plans et les projets."4Louis was equally involved in
the furnishingof the chambers he helped plan. He had
preliminary drawings made for his approval, and, in
the case of particularly important pieces, he demanded
wax models. One such model survived the fires of the
Revolution to bear witness to a confection of a bed
commissioned by Louis.5 Garnished with gilded and
silvered shells, flowers, and classical ornaments, the
wax study reveals the care with which Mme du Barry's
bed was prepared by her royal lover. In the decorative
arts Louis XV was a far from passive patron.
The widespread effects of royal decorative projects
were not the King's concern. In his employment of the
foremostcraftsmen,Louis'sonly ambition was to please
himself. The elite of all Europe followed the practice
of imitating the style of Versailles laboriously estab-
I. H. Racinais, Un VersaillesinconnuII (Paris, 1950) fig. 4.
2. Jacques-Ange Gabriel (1698-I782), appointed Controleur
des Batiments du Roi, 1728.
3. Quoted in Yves Bottineau, L'Art d'Ange-JacquesGabriel a
Fontainebleau(Paris, I962) p. I6.
4. Charles Philippe, duc de Luynes, MemoiresII (Paris, i860)
p. 133.
5. Pierre Verlet, FrenchRoyalFurniture(London, I963) p. 27.
89
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 /

.I
WL

1c~C~c

FIGURE I
Louis XV, 1738. Engraving in color by Jakob Christof Le Blon. Bibliotheque Nationale, Paris

90
lished by Louis XIV. In imitating his great-grandson
they simultaneously gratified their natural desire for a
less constrained and pompous manner of living. Com-
fort and escapist fantasy drew a hesitant but not
unwilling Louis XV from the stately rigorsof grandeur.
The royal example stimulated and sanctioned what
was perhaps an inevitable trend. The charm of the
rococo style seduced King, country, and continent.
Louis XV had clearly discernible likings. Chief
among them were the hunt, women, comfort, and
what can only be described as puttering around. His
royal position facilitated pursuit of these interests; but,
at the same time, it imbued him with a guilty con-
science. He revered the example of his great-grand-
father, and he sincerely wanted to preserve the glory
given to the monarchy by the "Sun King."
In the year 1738 Louis XV was, at twenty-eight, just
emerging from youth into manhood (Figure I). His
wife had shut her door to him after the birth of their
tenth child. He was becoming involved with Mme
de Mailly, the first of a series of mistresses.He hunted
and dined more than he attended to affairs of state.
His desire to emulate his predecessorwas losing out to
his own peculiar domestic hedonism.
Focusing on the year 1738 in contemporary docu-
ments, we may glimpse the process by which surround-
ings were tailored to fit the emerging royal personality.
The JournalduGarde-Meuble6 providesa catalogue of the
furnishings acquired for the royal residences. Diaries
and memoirs of the time tell of the style of life and occa-
sionally referto its concrete complementsin decoration.
Pierre Verlet has taken the lead in mining these rich
veins of informationfor the identification of royal furni-
ture (LeMobilierroyalfranfais,I and II, Paris, I945 and
6. The Journaldu Garde-Meubleis the ledger that was kept by
the bureau charged with the furnishing of royal residences. The
entries record location changes, repairs, and, most importantly,
receipt of new acquisitions from their makers. Each new object
was assigned a number that was, when possible, painted on the
piece. A summary description was given, and the intended destina-
tion of the piece was stated. These dated entries follow in unbroken
chronological sequence from the instigation of the system in 1685
to its reorganization in 1784. The Institute of Fine Arts of New
York University possessesa microfilm of this invaluable document,
thanks to the interest of Mr. and Mrs. Charles Wrightsman.
Although my research is based on this microfilm, my citations
refer to the folio numbers and classification designation of the
original Journaldu Garde-Meuble in the Archives Nationales, Paris.
7. Pierre Verlet permitted me to consult an as yet unpublished
I955 and FrenchRoyalFurniture,London, 1963) and the
writing of his comprehensive and definitive history of
Versailles (Versailles,Paris, 196I). The primary sources
on Versailles were first explored by Pierre de Nolhac
("La Decoration de Versailles au XVIIIe Si&cle,"
Gazettedes Beaux Arts, 1895-1897; La Creationde Ver-
sailles, Versailles, I9OI; and Versailles,Paris, n.d.).
Henry Racinais has revealed much about the private
Versailles of Louis XV with previously unpublished
plans and drawings (Un Versaillesinconnu,Paris, 1950).
To my knowledge no comparable work has been done
on Compi6gne, Marly, and La Muette7 for the 1738
period. This is only natural as the decoration of these
hunting chateaux in that era only assumes importance
in a study of the decorative arts in the light of the
influence of the personality of Louis XV.
COMPI LGNE
The young King was most comfortable away from
Versailles, in any one of a series of chateaux he visited
to pursue the hunt. Compi6gne was one of these.8The
first building campaign there was a small-scale prelude
to the major construction undertaken in I745. A
Gabriel design for the King's apartment is signed and
dated 22ejanvier 1737.9The new rooms were ready for
occupancy in the summer of I 738. On June 20, three
carriages of tapestries and upholstery and a large boat
loaded with chairs, marble tables, commodes, and
other items for the use of the king were dispatched to
Compi6gne from the Garde-Meuble.10The duc d'Ar-
genson insinuates that the building was rushed to
completion to provide a love nest for the King and
Mme de Mailly."IThe courtly scandalmongerdeserves
paper on the chateau of La Muette written by Vera Granoffwhile
she was his student at the Ecole du Louvre. In this comprehensive
work I was unable to find material that related directly to the
particular subject of my research.
8. Compiegne remains today a magnificent edifice, many of
its rooms containing their nineteenth-century furnishings. The
Queen's bedroom has recently been restored to its Louis XVI
aspect.
9. Alfred Marie, "Quelques notes sur le chateau de Compiegne
avant sa transformation par Gabriel," Bulletindela Sociti Historique
de Compiegne 22 (Senlis, I944) p. 7I.
0. Archives Nationales o0 3312, fo 120.
I . "On se depeche d'arranger Compiegne, pour que la reine
y aille et par consequent, la petite Mailly." Quoted by Pelassy de
l'Ousle, Histoirede Compiegne(Paris, 1862) p. 341.
9'
 in this case to be heeded since he is supported by the
reliable and perennially discreet duc de Luynes who
stated, "Dans les hauts de chateau de Compiegne on a
fait un grand corridor avec plusieurs logements, tous
numerotes; il n'y a qu'une seule porte sans numero, et
cela a ete remarque."I2
Since Napoleon had the 1738 apartments destroyed,
the only remaining visual evidence of their style is the
Gabriel drawing. Marie, who discovered it, uses the
words "de style Louis XV tres calme."13Luynes tells
us "il n'y a de dorure nulle part, pas meme chez le
Roi. . . " The royal apartments must have been high-
ceilinged for the curtains registered in the Journaldu
Garde-Meublel'measure 17 pieds in height.'s Luynes
complains of the excessively large proportions of the
ministerial residencesof the same building program at
Compiegne. With the evidence of their height, we
might infer similar overall dimensions for the King's
rooms. Luynes consistently uses the adjective "large"
when listing them: "une seconde antichambre [the
first antechamber served the Queen's apartment too],
... une grande chambre a coucher, un grand cabinet
pour le conseil, un autre grand cabinet par dela ou l'on
joue, et plus loin une tres grande salle a manger. .... "
These apartments were filled with portraits of the
King's trustedand beloved co-participantsin the essen-
tial business of the chateau, namely Louis's favorite
hunting dogs. The inventory of paintings for Com-
pi6gne made in I73316 states that, of a series of such
works by Oudry,17three were overdoors to the King's
bedroom. A scene of ducks at Marly and an amusing
12. Luynes devotes his entry of July 27, 1738, entirely to
Compiegne: MmnoiresII, pp. 193-195.
I3. Marie, "Quelques notes," p. 7I.
14. A.N. o1 33I2, fo I20.
15. One ancien pied, the pre-Revolutionary measurement,
equals I123 inches.
16. Relevant passage reproduced by Fernand Engerand, Inven-
taire des tableauxcommandiset achetispar la directiondes bdtimentsdu
Roi (1709-1792) (Paris, 1901) p. 375.
17. Jean-Baptiste Oudry (1686-1755).
18. Jean Locquin in Catalogueraisonnede l'oeuvrede Jean Baptiste
Oudry(Paris, 1912) records that all the dog portraits were then in
the Palais de Fontainebleau, except that of Blanche, which was in
the Louvre: Gaston Briere, CatalogueSommairede peinture,Mus'e
Nationaldu Louvre,icolefranfaise(Paris, I909) no. 666. The portrait
of Blanche was on exhibition at Compiegne when I was there in
July 1969.
I 9. Alexandre-Francois Desportes (166 -I 743).
92
fantasy of a cat dressedas a general were set above the
doors of the passage. In the passage attached to the
Council Chamber were two more dog portraits, while
the chamber itself had another two. The garde-robe had
one as an overdoor and the Cabinet du Jeu held the
last of the series. 8 No mere generalized animal paint-
ings, these were regarded as individual portraits, and
inventoried under the affectionate names (such as
Mignonne and Petite Fille) given the hounds by their
royal master. The supposition of large-scale simplicity
characterizingthe rooms is supported by the inventory
information that each canvas was "5 pieds de large sur
4 pieds de haut avec de simples bordures de bois
blanchy et non sculptees." The series must still have
been in place when Louis commissioned five supple-
mental paintings of the same type from FranCois
DesportesI9to decorate the Cabinet du Jeu, for which
payment is recorded in 1738 and I739.20
The dining room was the focal point of life in the
chateau. Intimate suppersomitting protocol, a practice
evolved by Louis three years before, were held here.
These took place after every hunt-six times in two
weeks, says Luynes. The ladies permitted to follow the
hunt presented themselves in the second antechamber
at the dinner hour. The doorswere opened to them and
they passedthrough the cabinets. Then the King picked
out those with whom he wished to dine and the select
company immediately sat down to their meal. The
service was simple. By Luynes's note, "Le Sr. Lazure,
qui a soin ici des cabinets, sert sur table.... " We know
that use was made of tablesservantes.21The small tables
20. Record of payment quoted by Engerand, Inventaire,p. 158,
who located three of the five works: Merlusine et Coco and Her-
minie et Muscade at Fontainebleau, and Pompee et Florissant in
the Louvre. In July 1969 I saw these three at Compiegne. Mer-
lusine and Coco proved an assorted couple, feisty white Coco
barking up a tree beside timid black Merlusine. Herminie and
Muscade were adorable little black spaniels, while Pompee and
Florissant were gentle noble beasts. Two unidentified spaniels
(lacking the names painted directly beneath the dogs in the other
canvases) must have been Zerbine and Jemite, recorded by
Georges de Lastic ("Desportes," Connaissance des Arts 107 [Janu-
ary, 1964] p. 71) as returned to Compiegne. The fate of the
remaining Mignonne, of which Engerand (Inventaire,p. I59) docu-
ments the repair in 1757, is unknown.
2 I. The first record of tablesservantesis in 1735 when Gaudreau
delivered one to the Garde-Meuble for Versailles (A.N. oI 3312,
f? I12).
 were equipped with shelves, compartments, and bottle
coolers to reduce the need for servants at the King's
"petits soupers."
Indications of the informal, airy atmosphere of these
soirees may be found in the only entries for the apart-
ments in the Journaldu Garde-Meuble. Twelve pliantsfor
the Cabinet du Jeu were recovered in white satin with
yellow flowers outlined in green. The five curtains for
that second antechamber and the six for the dining
room are remarkable as much for their fabric as for
their number and length.22What textile could be less
princely and more informal than cotton with no orna-
ment but a border ribbon of cotton thread ? In such
surroundings with no ceremony, few servants, and a
handful of his favorite people, Louis could enjoy the
warm breezes of a summer evening.
MARLY
Louis XIV undertook the construction of Marly in
I677 in a mood Saint-Simon describes: "Lasse du beau
et de la foule, le Roi se persuade qu'il voulait quelque-
fois du petit et de la solitude."23In this rare moment
the "Sun King" and his successor struck a note of
empathy. The chateau, neglected during the Regency,
lay in a state of decay when it recaptured royal imagi-
nation in I738. Narbonne tells us24that the grounds,
the palace, and the twelve small pavilions echeloned
along the basin constituted an enchanted site resem-
bling a "palais de fees."25This is strong praise from the
22. A.N. o' 33I2, fO 124.
23. Quoted by Emile Magne, Le Chdteaude Marly (Paris, I934)
P- 7
24. Pierre Narbonne, Mmnoires(Paris, I866) p. 415.
25. The gardens of Marly are now a municipal park. The plan
of the palace has been indicated in stone on the site, as have plans
of two of the pavilions.
26. Luynes, MmnoiresII, p. 8I.
27. A.N. o0 3312, fo I 5.
28. An auneequals 3 feet g9'Y1inches.
29. Primary evidence for reconstructing the project carried out
at Marly in 1738 is Luynes's entry of March 29 (MJmoiresII, p. 8 ):
Les changements que l'on a faits AMarly ne sont pas considerables;
le Roi a voulu avoir un cabinet de plus et un endroit pour mettre
son tour, et pour cet effet, dans le cabinet qui est apres le cabinet
du conseil et qui tient au salon du c6te de la chapelle, l'on a fait
un retranchement pour y construire un escalier qui monte A un
entresol au-dessus dudit cabinet. Le cabinet d'en bas est encore
d'une grandeur et d'une hauteur proportiondes, et il y a sur le
double une garde-robe de commoditt de grandeur raisonable. Sur
le comble de l'entresol il y a aussi une piece assez grande.
Versailles Chief of Police, then suffering from the
King's choice of "l'affreuse saison d'hiver" to visit the
abandoned chateau.
On March 29 Luynes records the King's inspection
of the minor construction just done at Marly. Louis
wanted to provide himself with an additional cabinet
and a place for his lathe. To this end he had an entresol
built above the cabinet lying between the Council
Chamber and the salon on the Chapel side (Figure 2).
Luynes assures us that the size of the cabinet was not
disproportionate to its reduced height. As best I can
deduce from his note, the size of the cabinet had been
reduced proportionally to its height by the stair that
would have to have been built to the new entresol.26 The
curtain material noted in the Garde-Meuble27 fits well
with the idea of a nook beside the stair. The single case-
ment window must have been small to be curtained
with only "une aune 12"28of muslin with bouquets of
flowers.29
The furniture for the "cabinet de retrait" entered
the Garde-Meuble on April 2 .30 First came an encoig-
nure and the gradin to top it delivered by "Martin
Vernisseur du Roy." The charm of the fragile piece
with its Chinese-style decoration survives only by its
description:
Une Encognure de Vernis de Martin, fond vert, fer-
mant a clef, un chinois assis sur un tapis, jouant d'une
maniere de guitare a cote duquel est un Enfant tete
nue: Le tout dans un cartouche de Mozaique fond d'or
avec son dessusde marbre breche violette. L'encognure
This was the first of the Marly entresolsthat were executed through-
out the chateau in 1744 (Magne, Marly, p. 222). A plan of Marly
in the Archives Nationales (ol 1468-69), grouped with others and
classified under the date 1733-1 780, is the only one I have found
showing a single entresol.In Figure 2 I have indicated the entresol
areas by shading. In the right margin I have traced the plan of the
area directly below the entresol.As can be seen, it corresponds to
Luynes's description of a small cabinet, garde-robe,and very small
stair leading up to a large entresolroom. A problem arises, however,
in that the entresolis shown in the lower right quadrant of the plan.
The King's apartments, whose location had not been changed
since the time of Louis XIV, should lie in the lower left quadrant.
This was the side toward the Chapel, mentioned by Luynes, since
the Chapel would lie to the left beyond the limits of this plan.
This is but one of the many problems one hopes to see solved in
the forthcoming dissertation on Marly by Betsy Rosasco.
30. A.N. O03312,flI 14.
93
 .. .. _ .. _

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-T

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.:,,?..% IT'I

FIGURE 2
Plan of Marly by Jacques-Ange Gabriel. Shading indicates entresolareas; rooms below entresolin lower right
quadrant are shown at right. After Archives Nationales o1I468-69

de 26 pouces 1/2 de profondeur, portee sur un pied upholsterer figuring in the Garde-Meuble - of "un
separe de 9 pouces de haut, verni et dore dans le gout meuble de cabinet de damas vert, pique de houpettes
de l'Encognure.
d'or, consistant en un canape, un fauteuil, 16 chaises
The green color harmony was continued in the major a dos, un paravent et deux rideaux de fenetres de gros
furnishingsof the room. Luynes says that on the day of de Tours."32Green silk braid garnished the seams of
his Marly inspection, March 29, the King ordered a the sixteen chairs and the large (6 pieds io pouces)
complete set of green damask furniture.3' Only three canape. Gold braid was nailed to the three-panel
weeks later we read of the delivery by Sallior-the only screen and hung in festoons on the curtains. To the

31. Luynes, Mnmoires II, p. 8I. 32. A.N. 013312, foI 14.

94
armchair was attached a mobile arm of gilded metal
described as steel ("acier") supporting a mahogany
writing table covered with a square of green velvet.
Two adjustable steel arms held silver sockets for can-
dles. The IbenisteGaudreau33made the table, while the
metal work was executed by Barge. The Journal du
Garde-Meuble as usual concentrates on the upholstery,
describing the menuiseriewith the standard summary
phrase "le bois sculpte dor6." This is only halfthe story
regarding the furniture in question. Without the de-
tailed accounts of Luynes we would remain ignorant
of an important aspect of the character of the ensemble.
A lovely interplay of color is revealed by Luynes's nota-
tion that the green damask was ordered for menuiserie
painted "un lilas fort clair." If Louis had to sit down
to paperwork, at least he saw to it that he would do so
in a most comfortable chair. The tedium of the task
would be alleviated by the surrounding prettiness of
green and lilac and the silent serenade of a varnished
guitar-playing Chinaman.
The entresolworkshop housing the royal lathe must
have been the site of many hours' happy puttering. We
know that turning objectswas one of the King's favorite
hobbies, shared with his daughters Mmes Adelaide and
Sophie, and later Louis XVI. Luynes says that on
March I6 Louis gave a master key to the duc de
Penthievre in a wooden case he had fashioned himself,
as he had others.34One product of the royal amateur's
turning at Marly is documented in the JournalduGarde-
Meuble.35The material is not wood but rather silver.
Turning on a lathe was not an extraordinary manner
of workingsilverin the eighteenth century. The Havard
Dictionnaire under the definition of"tourner" says "On
tourne presque toutes les mati6res,le bois, l'ivoire, l'os,
la come, l'argent, le cuivre et l'or."36 The Garde-
Meuble entry (Appendix A) concerns four candle-
sticks retired from Marly at the King's request to be
33. Antoine-Robert Gaudreau (about i68o-1751), principal
supplier of veneered furniture to the Garde-Meuble in this period.
34. Luynes, M*moiresII, pp. 66-67.
35. A.N. 0o3312, f6o.
36. Havard, Dictionnairede l'ameublementet de la dicoration(Paris,
1887-1890), p. 1495.
37. Probably Thomas Germain (I673-I748), appointed "orfe-
vre du Roi" in 1723.
38. The chateau of La Muette was demolished in 1920 and is
remembered in moder Paris only in the name of the Metro
station and street in the x6e arrondissement near its site.
engraved with the royal arms. One suspects a made-
with-loving-hands quality about the candlesticks. The
inventory description shows they are simple in design,
a round base supporting a baluster shape. Only two of
the four manage to coincide in weight. The snuffer
must have presented a striking contrast in workman-
ship for it was made by Germain,37the leading Paris
silversmith. Nonetheless the royal handicraft surely
found an extravagantly appreciative audience.
Although the 1738 changes at Marly were minor,
they express the King's desire to escape to a pretty
illusion of the simple life. This dream he shared not
only with the royal generation to follow, but with his
illustriouspredecessorwho had created the idyllic site.
LA MUETTE
The chateau of La Muette38 housed the infamous
orgies of the duchessede Berry, daughter of the Regent.
On her death in 1719 the Regent gave La Muette to
the adolescent Louis. In 1738 it became the scene of
royal revels of a less sordid sort.Jacques Gabriel started
the renovations of the small hunting lodge in the Bois
de Boulogne in I735.39 On May 8, 1738, Luynes in-
forms us that the King inspected the latest works.40
These included a new apartment for the King consist-
ing of an antechamber, bedroom, garde-robe, and cabi-
net on the second floor overlooking the court. The only
surviving plan showing the suite in this period is an
undated rendering4Ipresented by Gabriel to the King,
who signed his approving "bon" just below the desig-
nation of his bedroom (Figure 3). D'Argenson's lip-
smacking elaborations of what went on in these
chambersapparently have some basisin fact. Although
ostensibly housed with her friend Mile de Charolais at
the neighboring chateau, Madrid, Mme de Mailly
reigned at La Muette. Luynes tells of her constant
39. History of La Muette from Georges Pillement, Paris disparu
(Paris, 1966) pp. 54-59.
40. Luynes, MmnoiresII, p. I47.
41. A.N. N II Seine I77, 13. The discrepancy between the
designations of rooms on the plan and those in the JournalduGarde-
Meublecould be explained if the plan were not a final version, and
if, in the definitive layout of the suite, the secondary "Chambre"
on the plan became the "Cabinet" referred to in the Journal,while
the "Cabinet" of the plan became the "Passage de la chambre au
cabinet" of the Journal.
95
 I

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l:IT
I r
i. I
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'P r
m.7 /m
r? n ,,,,.4
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~
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FIGURE 3
Plan of La Muette by Jacques-Ange Gabriel, with the approving "bon" of Louis XV. Archives Nationales
N II Seine 177.13

presence at the all-night suppers in the King's apart-
ments.42Barbier, a member of the Paris Parlement and
a bourgeois not prone to courtly libel, tells us that
during the three-weekJuly sojourn at La Muette, "Les
soupers du Roi en hommes et en femmes ont ete
frequent et se poussaientjusqu'au matin. Madame de
Mailly y a ete fort fetee."43The pattern is repeated in
accounts offrequent trips to La Muette later in the year.
Through the Journaldu Garde-Meuble we can men-
tally refurnish Louis's rooms in the now-destroyed
chateau (Appendix B). The antechamber of the suite
contained fifteenvarnished birchwood tabourets covered
in blue leather with yellow leather piping and trimmed
in blue braid.
The upholstered furnituredelivered for the bedroom
on August 18 carried out the color scheme set forth by
the grandlit a la Duchessewith its baldaquin and hang-
ings in blue damask. Decoration for the blue damask
of two armchairswith set-back arms was limited to silk
braid of the same color. The four panels of the blue
42. Luynes, M6moiresII, p. I25.
43. Barbier, JournalIII (Paris, I885) p. 137.
damask-covered screen were edged with similar braid,
as were two pillows, intended for comfort while pray-
ing. Blue silk fringe was attached to the eight pliants.
The two window curtains were simple lengths of blue
grosde Tours.
We may still have the Gaudreau commode entered
as no. I 131 on August 4 for use in the bedroom. A com-
mode of corresponding description formerly in the
collection of Baron Alphonse de Rothschild, now be-
longing to a Parisian collector, was illustrated in
Connaissance des Arts of June I963 and attributed to
Cressent (Figure 4).44Pierre Verlet corrected the attri-
bution by the inventory number painted on a modern
copy. Francis Watson in his catalogue of the Wrights-
man collection45 identified another Gaudreau com-
mode dating between 1745 and 1749 that, like a similar
piece in the Jones Collection46 at the Victoria and
Albert Museum, is after the same model.
44. Andr6 Boutemy, "Cressent: Les Motifs qui Permettent de
le Reconnaitre," Connaissancedes Arts 136 (June, I963) pp. 70-7I.
45. Francis Watson, The WrightsmanCollectionI (New York,
1966) pp. 146-150.
46. Oliver Brackett, Catalogueof theJones Collection,Victoriaand
AlbertMuseum.Part I: Furniture(London, 1922) no. 16, pi. 8.

96

FIGURE 4
Commode of the same model as that for the
Chambre du Roi, La Muette. From Andre
Boutemy, "Cressent: Les Motifs qui Per-
mettent de le Reconnaitre," Connaissance
desArts 136 (June, 1963)
The two pair of ormolu sconces for the bedroom
bought from the Paris shop of Darnault et Compagnie
on August 4 were fashioned with chicory leaves and
rocailles. The bedroom furnishings were completed
with the September 13 delivery of a toilette mirror by
DeLaroue. The glass was sinuously curving at the top,
and hung with blue and gold brocade lined with gold-
braided blue damask.
As overdoors for the bedroom four landscapes of
the Paris vicinity were commissioned from Charles
Grevenbroeck47for 1,200 livres.48"La vue de Saint
Cloud et du pont de Seve" (Figure 5), "La vue du
chateau de Meudon et du village du c6te du parterre"
(Figure 6), "La vue des Invalides, avec une partie du
fauxbourg Saint Germain" (Figure 7), and "La vue
du chateau de la Muette avec L'arrivee du roy, par
M. Grevenbroeck, Academicien" (Figure 8)49 are
described in the Explication of the Paris Salon of 1738.50
The painting of La Muette pictures for us the chateau
awaiting with open doors the royal carriage and its
military escort. In the coach we can see the crowded
conditions that led ladies of the King's party to defy
convention and shed their voluminous petticoats while
riding with him to the hunt. We can also see the
inducement to the frequent royal visits to La Muette,
for the winged beasts atop the gateway guard a royal
retreat that presents the aspect of a country mansion.
47. Charles Leopold Grevenbroeck (active Paris 1731-1743).
..- - - :Ij
The artist has signed the overdoor painting on one of
the blocks of stone perhaps left over from the construc-
tion of the same year.
The azure color scheme was carried through in the
garderobe,where Gaudreau's veneered rosewood toilet
had a seat of appropriate blue velvet. From Gaudreau
too came the small marble-topped night table. It was
veneered in violet wood and had a single drawer on
the side. The room was lit by ormolu sconces from
Caffieri.5sAlso of a small scale ("9 pouces de haut"),
they carried only one candle. A charming note was
added in the ornamentation of each with a zephyr
mask.
The passage from bedroom to cabinet also had
zephyr sconces, three pair in all. Sunlight entered
through a large window curtained with six widths of
simple blue gros de Tours. Along the corridor were
aligned six damask-covered tabourets.
The cabinet had only one window treated in the
same way as that of the passage. The theme of blue
damask was continued in the cabinet by canapesajoues,
two "a la Reine" chairs, screen, and portieres.Attention
48. Engerand, Inventaire,pp. 2 9-220.
49. Grevenbroeck's landscapes are painted on copper. They
are now in the Musee Carnavalet, Paris.
50. Relevant extract reproduced by Engerand, Inventaire,pp.
219-220.
51. Jacques Caffieri (1678-1755), sculptor and bronze-worker,
became "fondeur-ciseleur" for the Batiments du Roi in 1736.
97
 FIGURE 5
View of Saint Cloud and
the Sevres Bridge, by
Charles Grevenbroeck
(photo: Frick Art
Reference Library)

FIGURE 6
'
,- -, v' - r. F r r ;r C i : r l View of the Village and
Z,.^ . .t. i i Chateau of Meudon, by
Charles Grevenbroeck
(photo: Frick Art
Reference Library)

98
FIGURE 7
View of les Invalides and
part of the Faubourg
Saint Germain, by
Charles Grevenbroeck
(photo: Frick Art
Reference Library)

FIGURE 8
View of the Chateau of
La Muette with the
arrival of the King, by
Charles Grevenbroeck
(photo: Frick Art
Reference Library)

99
 FIGURES 9-I2
The Seasons, by Nicolas Lancret. Musee du
Louvre (photos: Musees Nationaux)

must certainly focus on the writing desk delivered by

Gaudreau along with the bedroom commode. Since
the commode has survived, the chances seem good that
there might some day be discovered

Un bureau de bois violet a placages couvert de velours

bleu, aiant pardevant deux tiroirs fermans a clefs,
enrichi de moulures entrees de serrures, mains et aux
coins et milieux, de cartouches sur l'un desquels sont
les chiffres du Roy entre deux branches de laurier, Le
tout de bronze dore d'or moulu. Le bureau porte sur
4 consolles a jour aussi de bronze dore, long de 45
pouces sur 23 de profondeur et 28 de haut, avec son
tapis de maroquin bleu.
The walls of the cabinet were adorned with Lan-
cret's52rendition of the four seasons (Figures 9-12), for
which the artist was paid 2,000 livres onJuly 22, I 738.53
The paintings, now in the Louvre,54 differ in their
present rectangular shape from their description in
La Muette's inventory as two feet square. The dis-
crepancy could be accounted for by the "bordure
doree" that originally surroundedeach. The inventory
account of Autumn as "un tableau cintre" remains,
however, puzzling. Summer and Autumn are inven-
toried as personified by figures sowing and harvesting.
In the paintings these traditional pursuits have been
relegated to the margin or background. The principal
figures engage in nothing more serious than amuse-
ments and flirtation. Indicative of Louis's personal
penchant is the personification of seasons by the types
of amusement they allowed for. The lighthearted scenes
of decorous frivolity prove Louis XV's taste well de-
fined before the advent of Mme de Pompadour. the terraces above his Versailles apartments. Not only
The gilt-bronze sconces made by Caffieri for this did he commission paintings of his favorite dogs, he
room are small (8 pouces).They consist of a simple stem stooped to feeding the animals himself. It must have
and two arms. A small touch, but one profoundly amused the King to sit before the fire and watch the
Louis XV, is the relief sculpture on Caffieri's gilded light playfully flickerabout a gilded squirreland parrot
copper andirons, or grate. Louis was known to be a unconcernedly nibbling golden fruits.
great animal lover. He kept pigeons and chickens on The lights at La Muette burned all night in 1738 as
they had in earlier years; but the delightful blue royal
chambers were hardly suited to the debaucheries of the
52. Nicolas Lancret (1690-I 743).
53. Engerand, Inventaire,p. 267. Regent's daughter. More likely Louis's games were
54. Briere, Catalogue,no. 462-465. pitched to the scale he sought in his smallish rooms.
I00

"Le Roi est timide naturellement" Barbier tells us.55
Even with gambling and dining and Mme de Mailly,
his delights suggest a rather domesticated animal nib-
bling gilded forbidden fruit.
VERSAILLES
Louis XV lived on the move from one chateau to
another because he simply did not fit in at home. Home
for the monarchy was Versailles. But Versailles was the
creation of Louis XIV. Its stiff grandeur was the
antithesis of the intimate comfort Louis XV liked to
create about him. By 1738 he was beginning to work
out a tolerable coexistence with the still-present aura
of the "Sun King." This he accomplished by building,
around the Cour des Cerfs, a labyrinth of cabinets,
entresols,workshops, and terraces. Contemporaries re-
ferred to it as the "rats' nests." This private world,
closed to all but a privileged few, left the public
Versailles as imposing as ever.
Louis XV seems almost to have started out 1738
with a resolution to effect this compromise. The first
order of business was to get rid of a lot of things at
Versailles that he could no longer endure. Figuring
largest among these was a group of twenty-five bronzes
sent back to the Garde-Meuble on February 5.56Louis,
always fond of cheerful colors, probably found the
somber tones depressing.
Only the most self-assuredruler could live happily
with constant reminders of his predecessor'sgreatness.
Louis XV was none such. The duc de Croy informs us,
"En general, la modestie etait une qualite qui fut
pousse au vice chez lui."57 Considering a justifiable
inferiority complex, it is hardly surprising that an
equestrian statue of Louis XIV "a la Romaine" led
the list of bronzes returned to the Garde-Meuble.58It
had been preceded on January 30 by an equestrian
ivory statuette.59We still have the ten medallions of
Louis XIV at different ages,60retired from Versailles
at the same time (Figure 13) (Appendix C). They are
on a blue painted copper background in a bronze
frame topped with a sun and the royal arms surrounded
by zodiac signs. The gouache medallions were executed
by Antoine Benoist as models for an engraved "His-
toire Metallique du Roi."61No wonder Louis felt better
with a few less icons of his ancestor, whom the nation
looked to him to equal.
For the "Sun King" there was no such thing as a
private life. He transformed every element of royal
existence into state ceremony. Sleeping ranked not the
55. Barbier, JournalIII, p. 125.
56. A.N. 03312, foI Io- I I.
57. Duc de Croy, JournalIII (Paris, 1907) p. Io8.
58. A.N. 013312, fol I0.
59. A.N. 0o3312, foIIO.
60. Now in the Cabinet des Medailles, Bibliotheque Nationale,
Paris.
6I. Charles Mauricheau-Beauprd, Versailles(Paris, I949) p. I4.
IOI
 FIGURE 13
Medallions of Louis
XIV at different ages.
Versailles (photo:
Draeger)

102
 least among solemn royal functions. Louis XV endured
for years the tortuous process of being put to bed and
awakened in the formal manner prescribed by his
great-grandfather.Worst of all was actually weathering
the night in the frigid drafty royal bedroom (Figure I4,
no. 27). In December of I737 he finally caught what
he must have feared was his death of cold. He was
confined to bed until well into February 1738, coughing
constantly, as Luynes reports. It is at this point that I
FIGURE 14
Plan of Versailles. From Pierre Verlet, Versailles
(Paris, 1961)
44
Appartement du Roi (premier etage) uers 1740.
1. Cour de marbre. - 2. Cour royale. - 3. Cour de la Reine.
- 4. Cour dite de Monsieur. - 5. Cour des Cerfs. - 6. Petite
cour iintrieure du Roi. - 7. Degr6 du Roi. - 8. Antichambre
dite des Chiens. - 9. Salon-ovale ou Cabinet des Pendules.
- 10. Nouvelle Chambre du Roi ou Chambre de Louis XV.
- 11. Cabinet de Garde-robe. -12. Cabinet a pans ou Cabinet-
interieur (Cabinet d'angle). - 13. Ancien Salon-ovale de
Louis XIV. - 14. Cabinet en niche. - 15. Petite Galerie
avec ses deux salons. - 16. Degr6 d'Spernon. - 17. Esca-
lier ovale montant aux Cabinets du second etage. - 18.
Chambre des Bains. - 19. Piece des Cuves. - 20. Corridor. -
21. Cabinet-dore. - 22. Escalier demi-circulaire. - 23. Cabinet
de Chaise.- 24. Petit Cabinet particulier du Roi. - 25. Cabinet
des Perruques. - 26. Cabinet du Conseil. - 27. Grande
Chambre ou Chambre de Louis XIV. - 28. Antichambre
de I'Eil-de-Bceuf. - 29. Preminre Antichambre. - 30. Salle
des Gardes du Roi. - 31. Vestibule ou loggia sur l'Escalier
de la Reine. - 32. Escalter de la Reine. - 33. Grande Salle
des Gardes. - 34. Grande Galerie. - 35. Salon de la Guerre.
- 36. Salon d'Apollon. - 37. Salon de Mercure. - 38. Salon
de Mars. - 39. Salon de Diane. - 40. Salon de VEnus.-
41. Salon de l'Abondance. - 42. Grand Escalier ou Escalier
des Ambassadeurs. - 43. Cabinet des M^dallles. - 44. Salon
d'Hercule. - 45. Appartement de la Reine. - 46. Premier
valet de chambre du Roi et passage du Roi chez la Reine.
suspect discomfort outweighed respect for tradition,
and he resolved never more to sleep in that chilly
chamber on which he must have blamed his misery.
He spent his confinement in an improvised bedroom
in the Cabinet des Glaces or Cabinet du Conseil (Fig-
ure I4, no. 26). Here, even if his surroundingswere not
precisely to his taste, he could at least keep warm.62
Although the King continued the ceremonial Coucher
and Leverin Louis XIV's bedroom, as of 1738 he retired
to sleep in his own room. This was the former billiard
room (Figure 14, no. IO) with new paneling sculpted
by Jacques Verberckt (Figure I5).63 The room was
probably chosen because it was the nearest to the state
bedroom-the scuttle back and forth to be put to bed
and awakened had to be taken into consideration-
with a southern exposure for warmth. Here Louis set
about creating his very own type of atmosphere. Ver-
berckt had just completed the Queen's chambers the
previous year. Louis had him use the same motifs,
rendered in a lighter manner. The playful amours are
contained in cartouches and on a much smaller scale
(Figure 6). Less emphasis is put on golden latticework
and more on delicately capricious scrolls (Figure I7).
The airy room was to house the summer furniture of
jonquil and silver silk brocade designed by Lallie. The
Journal du Garde-Meuble contains several accounts of
transactions concerning the fabulous cloth. Manufac-
ture was begun in I731 by Pullignieu, but the lengths
were not delivered untilJuly and August of 1738.64 The
extraordinarily expensive project won approval, at
least in Luynes'scase, because it gave work to the Lyons
silk industry, then in decline.65The effect must have
been worth the time and money, as the silver flowers
dancing upon their gay yellow background put the
royal tenant in a cheerful frame of mind.
The King retained a fondness for the Cabinet du
Conseil where he had hibernated for the duration of
his cold. It seemed to represent to him the best of the
Louis XIV style, a grandeur wholly appropriate to
state functions. He paid symbolic tribute to his prede-
cessor'sconcept of the monarchy by placing an antique
porphyry bust of Alexander in the Council Chamber
62. Luynes, MimoiresII, p. 12.
63. Jacques Verberckt (1704-1771), woodcarver, working for
Batiments du Roi from 1730.
64. A.N. 0133I2, foI42, 148, 153.
65. Luynes, MimoiresI, p. 404.
I03
 ;1

~ ~ ~i !.
-70

......... Ili,
a

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Ur i~~?
r

W.i __

." . " t
?,,_
. . , ? _ !,
1

-.' .,,_ _ .:. ~: t - ' -,- -

FIGURE 15
Bedroom installed at Versailles by Louis XV for his own use in 1738. From Pierre de Nolhac, VersaillesII
(Paris, n.d.)

(Figure I8). This magnificent piece was picked up by
the Intendent du Garde-Meuble as recorded in the
Journalon August 12 (Appendix D). It had been pur-
chased at the sale of the collection of the Marechal
d'Estrees. Luynes in his diary entry of August i666
details the history of the piece, a story too fascinating
and involved to abridge.
Ce buste d'Alexandre est extrement fameux; on pre-
tend qu'il est de Praxitele, parce qu'il n'y avait que
Praxitele a qui Alexandre eiutpermis de le representer;
il est de porphyre. Le cardinal Richelieu le fit venir de
Grece pour lui, mais le buste n'arriva qu'apres sa mort;
sa niece, Mme. d'Aiguillon, ayant fait faire son mau-
solee par Girardon, fut si contente de cet ouvrage
qu'elle voulut, outre le prix convenu, donner une
gratification a l'artiste; elle dit donc a Girardon qu'elle
avoit chez elle plusieurs bustes qu'il devoit y en avoir
de beaux, qu'il les examinat et qu'il choisit.67Girardon
ne balan;a point dans son choix, il loua beaucoup le
buste d'Alexandre et Mme. la duchesse d'Aiguillon lui
en fit present. C'est a la mort de Girardon que M. le
marechal d'Estrees acheta ce buste a I5,ooo livres.

66. Luynes, MmnoiresII, p. 2 1. missioned to search Genoa and Rome for art to beautify the resi-
67. Francois Girardon (I628-I715) had remarkable success in dences of the "Sun-King." His execution of this charge initiated
adapting antiquity to the needs of Louis XIV. In i668 he was com- the high royal favor he enjoyed for the rest of his life.

I04
 5 [.

tshr iit

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V~~~~~~~~ I -

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z6, z?
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i6, 17
FIGURES

Wall panels carved by Jacques Verberckt for the bedroom of Louis XV at Versailles.
From Nolhac, VersaillesII

105
 ..

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= _ ~ ~~__:'L' . ~~~~~~~~~~
::, __
<... ___C :_." __

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ip"I

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.4

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WY>K
r #44%
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ilb t-p-
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Ey

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FIGURE 18

Antique bust of Alexander, with gilt-bronze drapery and ornament by FranuoisGirardon.Versailles (photo:
Musees Nationaux)

io6
 Girardon y a mis une armure; il en essaya trois dif-
ferentes et ne fut point content des deux premieres; les
connoisseursmeme pretendent que la troisieme n'y fait
pas bien. Dix que douze ans apres que M. le marechal
d'Estrees eut achete cette figure, ayant entierement
oublie qu'il en etoit posseseur,il chargea un curieux de
lui decouvrir ou pouvoit etre ce buste; il lui en couta
I00 ecus de frais, et apres une infinite de soins... on
lui apprit qu'il etoit dans sa maison.
According to both Luynes and the Garde-Meuble the
King paid I8,ooo livres, a princely offering in the
Louis XIV cult of glorification of monarchy.68
Yet another lavishly respectfulgesture is represented
by the chandelier given a lengthy description in the
JournalduGarde-Meuble on May 29 (Appendix E). Exe-
cuted by Laroue, it was designed by one of the Slodtz
brothers.69The entry states that the piece is to serve in
the Cabinet du Conseil. However, on June I Luynes
says "Ce meme jour [May 29] on avait mis dans la
chambre du Roi un chandelier de cristal de roche d'une
grande beaute et que l'on estime au moins oo00,000
livres."70Verlet tells us that the chandelier remained
in the Louis XIV bedchamber until the Revolution.71
In either room the intention is obviously to enhance in
grandiose fashion a decor of the Louis XIV aesthetic.
Despite his intellectual appreciation of the import of
monarchial dignity, Louis could not keep it up in pri-
vate. Still in many ways a shy boy, he needed some-
where to sulk or cry or just be alone. There was no such
place accessible to a king before his time. He had
installed in various locations in his apartments tiny
rooms known as Cabinets de Garderobeor de la Chaise.
Their make-up varied in all but two elements, absolute
privacy and a toilet. In 1738 he had one such cabinet
created off the alcove of his new bedroom (Figure I4,
no. I ). Verlet has uncovered much information on
this inner sanctum, including the discovery of the
bronze-mounted Chinese porcelain perfume fountain
purchased from the marchand mercierHebert in 1743.72
68. The bust of Alexander was returned by the Louvre to
Versailles where it is exhibited in the salle des Gardes de la Reine.
Its inappropriate placement is one of the examples used by Pierre
Verlet in his discussion of the problem "Peut-on remeubler Ver-
sailles ?" in Jardin desArts 40 (February, 1958) p. 254.
69. Sebastian-Antoine Slodtz (1695-1754) and Paul Ambroise
Slodtz (1 702-1 758), sculptors and designers, working for the Menus
Plaisirs, successively holding the post of "dessinateur de la Cham-
bre et du Cabinet du Roi."
The furnishingsin 1738 included a toilet with running
water decorated with marquetry by Jean-Philippe
Boulle, and two small night tables. It was to this room
that Louis repaired, in 1739, to sulk when angered by
Cardinal Fleury, who was forced to await His Royal
Majesty's re-emergence in three-quarters of an hour.
He chose the same retreat four years later to mourn his
mentor's death.73 The spoiled and petted King must
have found solace in that cozy cabinet on the few
occasions when he was crossed.
An antechamber was necessary even for the most
informal of suites. Louis installed his in 173874between
the staircase called the Degr6 du Roi and the Cabinet
de la Pendule, through which one would have to pass
to reach his new bedroom (Figure I4, no. 8). It was
for the time being furnished with remnants from the
previous reign: overdoors with gilded eagles, removed
from the billiard room when it was transformed into
the royal bedroom, and eight gilded tabouretsof the
Louis XIV style. It was not long before the young King
marked this waiting room with his own style, in an
unexpected manner, with the creation in I739 of the
most charming plaster cornice at Versailles. It con-
sists of packs of dogs leading putti hunters in a spirited
chase that is not in the least interrupted by rolling
feathered and foliate rocailles. It was in this room that
Louis XV performed one of the few rituals he must
have truly enjoyed: here he presented his favorite dogs
with their daily biscuit. When the King was absent
from Versailles the "maitre d'hotel" or the "premier
gentilhomme de la Chambre" saw that his pets did
not go disappointed. The room still goes by the name
Antichambre des Chiens.
Dear to Louis was the room on the angle overlooking
the Cour de Marbre and the Cour Royale (Figure 14,
no. i2). It was variously called the Cabinet d'Angle,
a Pans, de Travail, Intime, Int6rieur de Retrait, or
just le Cabinet. In 1738 Louis undertook to make its
70. Luynes, MemoiresII, p. 167.
7I. Pierre Verlet, Versailles(Paris, I96I) p. 364.
72. Verlet, Versailles, pp. 523-525, and Verlet, "Bronzes
d'ameublement faits pour Versailles," HumanismeActif, Melanges
Julien Cain (Paris, 1968) p. 383.
73. Verlet, Versailles,p. 524.
74. Verlet, Versailles,p. 519.
I07
square shape more modish by truncating two of its
angles with panels sculpted by Verberckt.75The tone
of the room was a warm red. The mantelpiece was made
of red griottemarble. On the walls crimson damask
provided a backdrop for the royal collection of Old
Masters. Intimacy was the essence of the room for
which a "fauteuil de commodite a joues manniere de
confessional"of red velvet with gold braid was deliv-
ered on July 29.76 This was the first of a set of crimson-
upholsteredfurniturewhich followed on December 24.
One can only surmise that the original chair with its
engulfing red velvet form was meant to be enjoyed by
the King. A damask-covered "fauteuil de commodite
en bergere" extended by a footstool was made for
reclining. Two chairs "ai la Reine" and two tabourets
would seat only a few intimates. Novelty was added to
the Cabinet de Retrait by a fire-screen that opened
into a three-fold paravant.This piece made by Gau-
dreau held a Chinoiseriesurprise:
Un Ecran de bois d'amarante massifet uni le milieu est
a coulisse et les c6tes s'ouvrent en deux feuilles de
paravant par des charniereset se ferment avec de petits
verrouilsa ressorts.Le tout de bronze dore d'or moulu.
Les trois milieux des chassis sont couverts des deux
cotez, de papier des Indes fond d'or, peint de differentes
figures chinoises, haut de 35 pouces sur 22 de large.77
On July 17 the Garde-Meuble registered the receipt
of a secretary from Gaudreau.78It was veneered in
violet wood, set on piedsde biche,and the front corners
ornamented with gilded copper masks. The fall front
"en pupitre" opened to form a writing surface sup-
ported on two sliding bars of gilded iron. Its equipment
included thirteen interior compartments of which six
were drawersthat sprung open at the pressof a button.
One of these drawers was to hold the silver containers
for ink, sand, and a sponge delivered by Germain on
the same day.79Five drawersin the lower structurehad
gilded keyholes so that royal secrets might be secure.
Louis did at times tend to administrativebusiness, and
at this desk within its modest dimensions ("40 pouces
de haut, 3 pieds de large et I6 pouces de profondeur")
75. Verlet, Versailles,pp. 528-530.
76. A.N. 0o3312, fo44.
77. A.N. 0'3312, fo 63-x64.
78. A.N. 0'3312, f?I43.
79. A.N. 0o3312, foi43.
80. Cited by Verlet, Versailles,p. 529.
0o8
he could keep everything he needed at his disposal.
The most appealing picture of Louis in this Cabinet
d'Angle is given by Luynes.80The King could often be
found standing at the windows overlooking the two
courtyards watching the life of Versailles pass below.
We sense the loneliness of the man at the hub of the
courtly universe.
If there was loneliness and ennui in the King's life it
was determinedly dispelled in the maze of apartments
occupying the third and fourth floors. D'Argenson
would have us believe that there was but one pastime
in these small intimate rooms: "Cette affaire a ete
menee fort secretement, comme toutes les galanteries
des princes devroient l'etre. On a amene les choses de
loin. Les entresols et les petits cabinets du roi ont cent
issues."8IBarbier does corroborate to a limited degree
D'Argenson's tales, noting inJanuary of 1739 a change
in the King's pursuits:
... le Roi commence a prendre gout aux plaisirs ordi-
naires. I1n'y a pas grand mal qu'il se defassepeu a peu
de la fureur qu'il avoit pour la chasse, qui repete tous
les jours en tout temps et en toute saison, ne pouvoit
qu'alterer son temperament et lui rendre l'esprit som-
bre et sauvage: le commerce des femmes et des plaisirs
lui prendra moins de temps et lui formera mieux le
genie et les sentiments.82
There were, however, other amusements to keep the
King busy and content in his private Versailles. Much
of the third floor was taken up by a library (Figure 9,
nos. II, 12, I3) featuring a room of maps. By all
accounts the King spent much time here. We know
from the duc de Croy that he was interested in and
well versed in the sciences, particularly astronomy,
physics, chemistry, and botany.83 He had only to climb
one floor from his library to perform his own experi-
ments in his laboratory or "Distillation" (Figure 20,
no. I6). On the terraces (Figure 20, nos. 7, 12, i8) of
the same floor he could study the flowers by day and
the skiesby night. Less lofty royal interestswere catered
to here in the kitchens (Figure 20, no. 17) by the
renowned pastry cook Lazur. With the incredible
81. Albert Meyrac, editor, Louis XV d'apresle journal-m6moires
de d'Argenson,les chansonsdu tempset les memoiresdu duc de Richelieu
(Paris, n.d.) p. 13.
82. Barbier, JournalIII, p. 153.
83. Croy, JournalIII, p. o08.
 FIGURES 19, 20
Plans of Versailles. From Verlet, Versailles

privilege of his own Cabinet (Figure I9, no. 2I) in the

Petits Appartments, we have good reason to believe the
chef was induced to impart some of the culinary arts to
a royal pupil. Mouffle d'Angerville blamed Mme de
Mailly for Louis's involvement in so demeaning a pur-
suit, citing the pleasure he was known to take in pre-
paring "de petits ragoits, genre de divertissement
ignoble."84
The King's equally ignoble lathe was moved up to
the fourth floor too in I737 (Figure 20, no. I3). The
importance Louis attached to this humble hobby is
illustrated by an extraordinary Garde-Meuble entry on
Petits Appartementsdu Roi (secondetage) vers 1741. November 19, 1737:
1. Cour de marbre. - 2. Cour royale. - 3. Cour des Cerfs. -
4. Petite cour int6rieure du Roi.- 5. Dessus du Cabinet Un siege eleve de bois de hestre sculpte legerment dont
des Perruques. - 6. Cabinet-particulier. - 7. Chaise.
8. Toit de l'alcove de la Chambre du Roi. - 9. Anti- le dossier ceintre est garni de bois de canne: Le fond
chambre. - 10. Escalier demi-circulaire. - 11. Premier couvert de velour citron, cloue de clouds argentez porte
Cabinet de la Bibliotheque. - 12. Galerie de la Bibliotheque. - sur 4 pieds de biche. Na. Le Siege fourni par Tilliard
13. Grande Piece de la Biblioth6que. - 14. Cabinet de la
Bibliotheque. - 15. Escalier ovale. - 16. Passage et Garde- menusier. Ce siege a ete a fontainebleau et recouvert
robe. - 17. Petite Galerie. - 18. Salle a manger d'hiver. de velours cramoisy.85
19. Cabinet de la Petite Galerie ou Cabinet d'angle. - 20.
Antichambre. - 21. Cabinet Lazur. - 22. Degre d'Epernon.
- 23. Distillation. Although the recovering of chairs must have been ordi-
nary procedure, it is a rare occasion indeed where the
maker of the chair, its former location, and upholstery
are recorded in the Journal. I can only suppose this
attention was in response to the King's specific request
for a special seat designed by the menuisierTilliard for
his comfort while working at the lathe. The yellow
velvet added to the brightness of the room where sun-
light streamed through the embroidered muslin cur-
tains of three east windows.86 Many a winter morning
1
must have been spent by the King perched high on the
Tilliard seat turning the ivory or rough wood snuff-
boxes that were to be the most prized trophies of the
gift-giving at New Year's, I739.87
Social life was not excluded from the third floor of
2
the King's apartment, but it was of the informal sort in
which the royal host took such pleasure. There was a
dining room here (Figure I9, no. 18), its three windows
Petits Appartements du Roi (troisiPme dtage) draped in curtains of muslin embroidered with bou-
vers 1741.
1. Cour de marbre. - 2. Cour royale. - 3. Cour des Cerfs. -
4. Petite cour intdrieure du Roi. - 5. Dessus de la Grande
Galerie. - 6. Salle a manger d'ete. - 7. Terrasse. - 8. Anti- 84. Mouffle d'Angerville, Vie privee de Louis XV II (London,
chambre des Buffets. - 9. Escalier demi-circulaire. - 10. 1781) p. 36.
Cabinet a niche. - 11. Petit appartement au-dessus du
Salon de la Guerre. - 12. Terrasses.- 13. Piece du Tour. - 85. A.N. oi3312, foIoo.
14. Escalier ovale.- 15. Antichambre. - 16. Laboratoire.- 86. A.N. ol3312, fOI42.
17. Cuisines. - 18. Terrasses. 87. Angerville, LouisXVII, p. 47; Luynes, MemoiresIII, p. 19.

109
quets delivered on July 8. Later in the month the the walls alternating with mirrors. Where the "Grand
dining room's antechamber was furnished with two Monarque" surrounded himself with depictions of his
banquettes of different sizes, covered in crimson damask victories, his successor sought no more than to amuse
with embroideredfleuronsat the corners. himself with fanciful scenes of his favorite sport in far-
The largest room on the third floor was the Petite off lands. The subject of the Chasses Etrangeres was
Gallerie (Figure I9, no. 17). Its antechamber, the appropriate to the use of the room, for it was here that
Piece aux Lanternes (Figure 19, no. 19), had two Louis staged post-hunt soirees like those of La Muette.
banquettes"ceintrees"and ten chairs covered in crimson The portable game tables, delivered by Gaudreau on
damask. The Petite Gallerie itself exemplifies Louis's August 28 and September I3,92probably found their
taste. The curtains provided for the five windows over- way into the Petite Gallerie when the select company
looking the Cour de Marbre in July 8 were of muslin moved from the dining room to their after-supper
embroidered in a delicate overall floral pattern. On amusements.Those not privileged to attend were eager
July 17 an ensemble of green damask furniture was to spread rumors of the Bacchanalian aspect of these
delivered.88The six-panel screen was trimmed with supper and cards parties. It seems unlikely, however,
gold braid. The twelve chairs had gold tassels. The that they were more than pleasant social evenings of
decoration of the eight banquettes with two widths of good food, good wine, good company, and-on a good
gold braid was supplemented at each corner by a night-good cards.
"fleuron de broderie d'or entremesle d'un comparti- The Louis XV style was a way of living and a way
ment de galon." We see Louis's customary flair for of decorating. The determining factor in that style was
color, for the green fabric was to be set off against the the interplay between Louis's position and his person-
room's paneling of golden yellow varnish by Martin.89 ality. As King of France he followed Louis XIV; he was
The gloom that might have penetrated of an evening forced into a role created by the "Grand Monarque"
was dispelled by the light of six candles sparkling in who alone could do it justice. But it was his personality
the rock crystal drops of each of the two chandeliers that determined the compromise he fashioned to make
added to the gallery's furnishingson December 24.90 life endurable. His escape was to a simpler private life,
The contrast between Louis XIV and Louis XV can or rather to the illusion of simplicity manufactured at
be seen in the commission of paintings of exotic scenes royal command. At Compi6gne, Marly, La Muette,
of the hunt for the Petite Gallerie. The series of can- and even in his private Versailles, he could return from
vasses executed between I737 and 1739 by Boucher, a day's sport to direct sociability uncomplicated by
Parrocel, Carle Vanloo, de Troy, and Pater9' lined court etiquette. He could spend hours alone puttering
away in one of his workrooms at a lathe, a kitchen
stove, or with flasksand beakers. He could, if he chose,
88. All these deliveries are in A.N. o03312, foi42 and i44. just sit in an easy chair to read or write letters. All
89. Verlet, Versailles,p. 550. these pursuits he enjoyed in surroundings where the
go. A.N. 013312, fo?64.
91. Engerand, Inventaire,p. 379, gives this information on the quality sought was comfort rather than impressiveness.
Chasses Etrangeres executed for the Petite Gallerie: To please him, rooms should contain cheerful colors
Artist
Date of payment and
present location
and prettily sinuous lines. Most of all, they should be
Subject
Parrocel (Pierre, 1670-1739) Chasse d'clefans 31 mars 1737 intimate and cozy. Such was the royal taste of Louis XV
Muse de Calais
Boucher (FranCois, 1703-1770) Chasse du Tigre 31 mars 1737
in 1738.
Musee d'Amiens
Boucher (FranCois, 1703-1770) Chasse au 20 avril 1739
Crocodile Musie d'Amiens
Lancret (Nicolas, 169o- 743) Chasse de lepards 13 mars 1737
MuseedeFontainebleau
Pater (Jean-Baptiste, Chasse Chinoise 13 mars 1737
1695-1736) Musie deFontaineblau
de Troy (Jean-Francois, Chasse au lyon 12 mars 1737
i679-1752) Louvre
Van Loo (Carle, 1705-1 765) Chasse d'Ours 13 mars 1737
Musee d'Amiens
Van Loo (Carle, 1705-1765) Chasse de 17 dlcembre 1738
1'Autriche Musie d'Amiens 92. A.N. o13312, fo052, I55-156.

110

Appendix A
du 13 Nov. 1738 I6o
Faire recette d'Entrte de 4 flambeaux d'argent a pied
rond, la tige a balustre, tournes par le Roy au chateau
de Marly, lesquels Sa Majeste m'a ordonne de retirer
dud. chateau, pour etre gravez des armes du Roy 3
Couronnes, de Nos. et poids ainsi qu'il ensuit Argent
blanc aux armes du Roy
3 Couronnes
aNo. 2054 Quatre flambeaux a pied rond, la tige a balustre pesans
L'un ..................... 3 3n 3 No. le dessus de marbre fourni par les batimens
L'autre ................... 3 3 I
Et deux, chacun 3m 3on 2 .... 6 6 4
I3 5 0
du I4 Novbre 1738 I6I
Livre par le S. Germain orfevre pour servir avec les
quatre flambeaux cy dessus
Argent blanc aux armes du Roy
3 Couronnes
aNo. 2055 Une Mouchette
Appendix B
The entire list of La Muette entries in the Journal du
Garde-Meuble is reproduced here as a representative
record of a single decorating project.
du p.er aout 1738 145-148
Livre par le S. Caffieri
Pour Servir dans la chambre du nouvel apartem.t du
Roy au chateau de La Muette
aNo. 1408 Une grille a quatre branches en 2 parties, de 24 pouces
de profondeur ornee sur le devant de consoles et
roulots contournes de cuivre dore d'or moulu, sur
lespuels sont raportez differens feuillages de relief, et
de 4 piramides de fer poli, avec pelle, pincette et
tenaille, a pommes de cuivre dore, et 2 croissans
assortissans Pour Servir dans le cabinet du Roy du
meme apartement
1409 Une grille a quatre branches en deux parties de 24
pouces de profondeur, aiant sur le devant des consolles
ou sont en relief, un Ecureuil et un perroquet qui
mangent des fruits, Le tout de cuivre dore d'or moulu
et 4 piramides de fer poly, avec pelle, pincette et
tenaille a pommes de cuivre dore et deux croissans
assortissans
I410 Deux paires de bras a 2 branches, de cuivre dore d'or
moulu, la tige en consolle, haute de 8 pouces avec leurs
bassinets separez Pour le passage et la garderobe du
meme apartement
aNo. 14 11 Trois paires de bras a une branche, de cuivre dore d'or
moulu; La tige ornee d'un masque de zephire, haute
de 9 pouces, avec leurs bassinets separez.
du 4 aout I738
Livre par le s. Gaudreaus Ebeniste
Pour Servir dans la chambre du nouvel apartement
du Roy au chateau de La Muette
aNo. II31 Une belle commode de differns bois de Indes a
placages, enrichie de palmes, guirlandes de fleurs
mains, Entr6es de Serrures et autres ornemens de
relief de bronze dore d'or moulu, aiant pardevant deux
tiroirs, et sur les cBtez, 2 guichets, Le tout fermant a
clef. La Commode a dessus de marbre d'antin portee
sur quatre pieds a roulots et a griffes de Lyon, longue
de 4 pieds Y2sur 24 pouces de profondeur et 33 pouces
de haut
Pour le Cabinet du meme apartement
I 132 Un bureau de bois violet a placages couvert de velours
bleu, aiant pardevant deux tiroirs fermans a clefs,
enrichi de moulures entrees de serrures, mains et aux
coins et milieux, de cartouches sur l'un desquels sont
les chiffres du Roy entre deux branches de laurier, Le
tout de bronze dore d'or moulu. Le bureau porte sur 4
consolles ajour aussi de bronze dore, long de 45 pouces
sur 23 de profondeur et 28 de haut, avec son tapis de
maroquin bleu.
Pour la Garderobe du meme apartement
aNo. 1133 Une table de nuit de bois violet a placage, a double
tablette de marbre de breche d'alep et petit tiroir sur
le c6te, longue de 19 pouces sur 13 de profondeur et
28 de haut.
du 7 aout 1738
J'ay achete et paie comptant des Srs. Darnault et
Compagnie
Pour Servir dans la chambre du nouvel apartem.t du
Roy a La Muette
aNo. 1412 Deux paires de bras a 2 branches de bronze dore d'or
moulu enrichis de feuilles de chicoree, rocailles et
autres ornemens, La plaque haute de 17 pouces avec
leurs bassinets separez.
du 18 aout 1738
Faire recette d'entree des meubles dy apres mention-
nez, faits par le S. Sallior Tapissier du Roy, pour
Servir dans le nouvel apartement de sa Majeste au
Chateau de La Muette
Pour L'Antichambre
aNo. 2913 Quinze Tabourets couverts de maroquin bleu, aians
une petite nervure de maroquin citron et garnis de
galon de soye bleue, Les bois de hetre Sculptez legere-
ment et vernis.
Pour la chambre a coucher
2914 Un Lit a la Duchesse de damas de Genes bleu, garni
d'un galon a crete de soye de meme couleur et d'un
autre galon de soye uni a l'Imperiale, chantournm,
grand dossier et courtepointe, pour servir a 4 pieds
8 pouces de large, sur 6 pieds 2 pouces de long et Io
pieds 4 pouces de haut, compose de 3 pentes de dehors
festonn6es, 4 pentes de dedans aussi festonnees, Imperi-
ale fond, grand dossier chantourne, 2 grands rideaux,
deux bonnes graces, courtepointe et 3 soubassemens
L'entour de 24 lez de gros de Tours bleu uni sur 3
III
 aunes I/6 de haut, avec tringle tournante de fer dore
Le bois du Lit garni de 4 matelas de laine et futaine,
cousus de soye et piques de capiton, un traversin de
duvet et bazin, avec souille de Taffetas blanc, une
couverture de ratine d'hollande Ecarlate, une couver-
ture de ratine blanche Valentin, une couverture de
Marseille piquee et une Couverture d'ouate de satin
blanc des deux c6tez.
Deux fauteuils de commodite a carreaux, couverts
dud. damas bleu et garnis d'un galon de Soye de meme
couleur, cloue de clouds dorez, Les bras reculez et a
manchettes, Les bois Sculptez dores avec housses de
Taffetas doublees de serge.
8 plians couverts dud. damas et garnis de frange de
soye de meme couleur. Les bois sculptes dorez avec
housses comme aux fauteuils. Deux carreaux pour
prier Dieu, couverts des deux c6tez dud. damas, garnis
d'un galon de soye de meme couleur, avec housses
comme aux sieges
Quatre portieres de 4 lez chacune, dud. damas bleu,
sur 7 pieds 0o pouces de haut, bordees d'un cote de
soye de meme couleur et doublees de Taffetas.
Un Paravent de 4 feuilles, couvertes des deux cotez
dud. damas bleu et garnies de galon de soye cloue,
avec housses de Taffetas doublees de serge.
Deux Rideaux de fenetres de six lez chacun de gros de
Tours bleu, unis sur Io pieds 3 pouces de haut.
Pour le passage de la chambre au cabinet
aNo. 2915 Deux portieres de 4 lez chacune dud. damas bleu, sur
7 pieds 10 pouces de haut, bordees d'une Crete de
Soye de meme couleur et doublees de Taffetas
Six Tabourets en banquettes couvertes dud. damas
bleu et garnies dud. galon. Les bois sculptes dorez,
avec housses de Taffetas doublees de serge
Un Rideau de fenetre de 6 lez de gros de Tours bleu,
uni, sur 0opieds 4 pouces /z de haut.
Cabinet
Un Canape aJoues couvert dud. damas bleu et garni
de galon de soye de meme couleur, avec un matelas
et 2 Carreaux pareils: Le dossier et les Joues piquez,
long de 6 pieds /2sur 24 de profondeur, avec housse de
Taffetas bleu, doublee de serge: Le bois sculpte dore.
Deux chaises a la Reine couvertes dud. damas pique
de houpettes de soye et garnies de galon de soye bleue:
Les bois sculptes dores avec housses de Taffetas
doublees de serge
Un Ecran a coulisse couvert des deux cotez dud. damas
bleu, Le bois sculpte dore avec housse comme dessus.
Quatre portieres de 4 lez chacune dud. damas bleu
sur 7 pieds Io pouces de haut bordees d'une creste de
soye de meme couleur et doublees de Taffetas
Un Rideau de fenetre de 6 lez de Tours bleu, uni sur
Io pieds 3 pouces /2 de haut.
dud. jour I8 aout 1738
Livre par le S. Gaudreaus Ebeniste
Pour servir dans la garderobe du Nouvel apartement
du Roy au chateau de La Muette
aNo. 520 Une chaise d'affaire de bois de palissante a placage
avec mains de cuivre en couleur d'or et Lunette de
velours bleu et double sceau de fayance.
II2
dud. Jour 21 aout 1738
livre par le S. Minel
Pour Servir dans l'antichambre du nouvel apartement
du Roy au chateau de La Muette
aNo. 1415 Une paire de bras a 2 branches, de cuivre en couleur
d'or, cizeles de feuilles et autres ornemens, La tige
haute de 18 pouces.
du 13 Sept.bre 1738 I56
Livre par le S. DeLaroue fils
Pour Servir dans la chambre du Nouvel apartem.t du
Roy a La Muette
aNo. 349 Un Miroir de toilette ceintre et chantourne par le
haut, garni de brocart fond bleu et or, double de damas
bleu avec galon d'or devant et derriere.
La glace haute de 16 pouces /Y sur 13 de large avec
sa boette doublee de reveche.
Appendix C
duJan.er 1738 o09
Etat des differentes choses retirees de Versailles le
premier fevrier 1738 par ordre du Roy, lesquelles
n'avoient pas encores ete Inventoriees, et sont a porter
aux chapitres de l'Inventaire general, ainsi qu'il
ensuit ....
Au Chapitre des divers Meubles
510 Un Tableau de I9 pouces de haut sur 14 de large
representant sur fond de cuivre peint facon de lapis,
dix medaillons des portraits de Louis 14, suivant ses
differens ages, dans des Trophees et branches de
palmier de cuivre dore d'or moulu. Le chapiteau de
7 pouces de haut, representant sur fond de lapis, les
armes de france dans un cercle charge des douze signes
et surmonte d'un Soleil.
Appendix D
du 12 aout 1738 146
J'ay ete par ordre de M. le Comte de Maurepas
prendre et enlever pour le Roy a l'hostel d'Estrdes a
Paris
Un beau buste antique representant Alexandre avec
un casque, La tete et le corps sont le porphire et le
reste de marbre de ver d'Egypte veine, orne d'une
draperie de bronze dore, avec un cordon en chaine,
que pend de l'Epaule gauche, et une tete en medaillon
entre deux palmes sur la poitrine, aussi de bronze dore
haut de 42 pouces, porte sur un scabellon de marbre
ser fontaine a trois consolles en guaine, avec un orne-
ment de bronze dore, haut de 43 pouces.
Et le 14 du meme mois. J'ay fait transporter le buste
cydessus a Versailles et poser dans le cabinet du Con-
seil, sans recepisse II a ete achet i8000ocompris dans
plus grand somme a l'inventaire de feu M. le Mardchal
d'Estrees

Appendix E
du 29 may 1738 Ix6
Livre par les Srs. Laroue et Slodz
Pour servir dans le cabinet du Conseil du Roy a
Versailles
No. 250 Un beau et riche chandelier, monte a la modere, en
bronze argente et cristal de roche, A 12 bobeches
distributes trois par trois en girandolle, le corps forme
par quatre grosses branches de palmier en consolles,
jointes par en bas dans un entablement, qui soutient
dans le milieu un gros et magnifique vaze de cristal et
lilies par en haut en berceau: Les quatre branches de
palmier sont ornees de 4 palmettes 4 vazes et 4 belles
piramides, entre lesquels pendent plusieurs pieces
lisses, taillles en bijeau de differentes facons, et 4
grosses boules lisses au dessous des piramides, Le tout
entremeslt de dattes aussi de Cristal au milieu de
Berceau: Dans le haut, il y a une grosse et tres belle
boule lisse, suspendue a la pointe d'une piramide
renversee. Le Couronnement est form6 par un bout
de tige de cristal, entouree de 8 branches, d'ou pendent
8 pieces dentelees a bijeau et quatre moiennes boules
lisses; Chaque girandole est composee de 3 branches
qui soutiennent les bobeches et plateaux de cristal
derriere celle du milieu est un gros vaze. Sous 8 des
bassins pendent 8 grosses et belles pieces en poires a
6 pans et a canaux, Sous les quatre autres, 4 grandes
pieces lisses faconnles. Le cul de lampe est forme de
branches de palmier et de girandoles qui se reunissent
dans l'entablement, d'ou pendent de grandes et belles
piece de cristal, faconnees et tailes en lires, goutes de
suif, calichons et 8 moiennes boules lisses et termint
par une tres belle poire a 6 pans, cannelee attachee a
une grosse piece de cristal et entouree de 4 guirlandes
qui sortent des consoles de l'Entablement. Le chande-
lier haut de 5 pieds sur 42 pouces de diametre
Pour entrer dans la composition duquel lustre
J'ay delivrt au S. LaRoue, 98 pieces de cristal de roche
de differentes formes et grandeurs, pesantes ensemble
I
130on6 faisant partie des 140 pieces de cristal achete
le 5 decembre 1736 des Srs. Civia et Cattanco, pax
ordre et pour le compte du Roy Partant il ne reste plus
ceans que 42 pieces dud. cristal a emploier ainsi qu'il
sera ordonnr par sa Majestt
La poire qui termine et les autres pieces de cristal ont
tt6 acheties comptant ou fouries par le S. Laroue.
ACKNOWLEDGMENTS
I would like to express my appreciation to those who have so
materially helped me in this study: to Pierre Verlet, whose
methods of scholarship in the decorative arts I have tried to
emulate, and who supplied additional information in the
process of correcting my work; to Craig Hugh Smyth, who
made the time to direct its revision; to Michael Levey, whose
suggestions enabled me to expand my research into painting;
and to James Parker, without whose encouragement and
guidance it would not have been completed.
PRINCIPAL SOURCES
Mouffle d'Angerville, Vie privie de Louis XV (London, 1781).
Barbier, Chroniquede la regenceet du ragnede Louis XV ou Journal
de Barbier (Paris, I885).
Ferand Engerand, Inventaire des tableaux commandiset achetes
par la directiondes batimentsdu Roi (1709g-792) (Paris, 190I ).
Journal du Garde-Meuble (Archives Nationales 0o3312).
Charles Philippe, duc de Luynes, Memoires I-III (Paris,
I860).
Albert Meyrac, editor, Louis XV d'apres e journal-mnmoiresde
d'Argenson, les chansons du temps et les memoires du duc de
Richelieu (Paris, n.d.).
Pierre Narbonne, Journal des regnes de Louis XIV et Louis XV
(Paris, 1866).
Pierre Verlet, Versailles (Paris, 1961).
II3
 Manet's Woman with
MONA HADLER
IN THE Woman with a Parrot of I866 (Figure i),
Manet's model, Victorine Meurend, emerges from the
background holding the cord of a monocle in her left
hand and a bunch of violets in her right.' She stares
straight ahead with a fixed gaze matched in intensity
by that of the parrot at her side. Manet unites the com-
position through careful use of color; the gray of the
background reappears both in the folds of the pink
dressing gown and, subtly modulated, in the bird's
plumage.
According to Emile Zola: "Manet would not know
how to sing or to philosophize. He has the gift to cap-
ture dominant tones in their delicacy."2Although Zola
had the perspicacity to appreciate Manet's excellence
as a so-called pure painter-so clearly revealed in the
handling of this work-he dismissed the importance of
subject matter in Manet's oeuvre.
Zola's approach was adopted by the art critics of the
i86os, who, even while critical of the painting, focused
on its formal qualities. Gautier wrote in i868: "but
when in a painting there is neither composition, nor
drama, nor poetry, the technique must be perfect. And
here this is not the case.... The head he shows us is
certainly not flattering. Over commonplace and poorly
drawn features he spreads an earthy color which does
not represent the flesh tint of a young woman's fair
complexion."3 Manet's art, leaving aside the question
I. I thank Professor Theodore Reff for specific references as
well as for general guidance on this study.
2. Emile Zola, Salons (Paris, 1959) p. 92.
3. George Heard Hamilton, ManetandHis Critics(New Haven,
1954) pp. 119-12o.
a Parrot of 1866
of quality, is more than an arrangement of tones but
exhibits a complex iconography based on works of
older art. This is the case with several paintings of the
i86os. It is well known, for example, that Manet's
Dejeuner sur l'Herbe was inspired both by Raphael's
Judgment of Paris and Giorgione's Fete Champetre,
his Old Musician alludes to the Drinkersby Velazquez,
and the Olympia is based on Titian's Venus of Urbino.
Manet combines this knowledge of older art with
an interest in specifically contemporary themes. The
Olympia is one example of this (Figure 2). Theodore
Reff points out that in spite of her dependence on
Titian's Venus she is without doubt a Parisian of the
i86os.4 By carefully altering aspects of the painting,
Manet changes Titian's languid Venus into a haughty,
self-assured courtesan of the mid-nineteenth century.
He replaces the dog, a traditional symbol of fidelity,
with an alley cat--in Manet's circle, an animal associ-
ated with promiscuity. In fact, Manet illustrated the
chapter on cats' sexual habits in Champfleury'smono-
graph on cats. In the Olympia Victorine stares straight
ahead proudly as her maid brings in a large bouquet,
both a gift from an admirer and a tribute to her power.
It was, in fact, during the Second Empire that the cour-
tesan attained a greaterposition of wealth and influence
in Parisian society.5Hence, in the Olympia, Manet has
subtly woven together aspects of older art and contem-
4. Theodore Reff, "The Meaning of Manet's Olympia,"
Gazettedes Beaux-Arts63 (1964) p. I2I. This article presents a
thorough discussion of the iconography of the Olympia.
5. Reff, "Olympia," p. 12 .
1"5
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II6
 FIGURE I
Woman with a Parrot, by Edouard Manet. Oil on canvas. The Metropolitan Museum of Art, gift of Erwin
Davis, 89.21.3
porary symbolism to create a powerful representation
of a courtesan during the Second Empire.
The Woman with a Parrot was completed only a
year after Manet exhibited the Olympia and has cer-
tain similarities in content and approach. In both, his
model Victorine is associated with flowers and a pet
animal. Although in the Woman with a Parrot Victor-
ine is not a courtesan, but a lady wearing a dressing
gown, and her pet is not a cat, but a parrot, there is in
this painting, as in the Olympia, a broader significance
based on both traditional and mid-nineteenth-century
concepts.
FIGURE 2
Olympia, by Edouard Manet. Oil on canvas. Musee du Louvre, Jeu de Paume (photo: Musees Nationaux)
h
Of foremost importance in this painting is the rela-
tionship of the woman and the parrot. Manet empha-
sizes the connection between Victorine and her pet
through their physiognomic similarity. He tilts her
head to the side to show the full view of her left eye.
The shadow under this eye is darkened and extended
to meet the elongated eyebrow, creating a pictorial
shape analogous to the eye of the bird. This formal
similarity immediately suggests a relationship between
the two on a fundamental level. This is not a unique
occurrence in Manet's oeuvre. One year later in his
Portrait of Zola, Manet included a photograph of
I-f
I
. ~'
f
"
""V- - k
II7
Olympia to the right of Zola. As a tribute to the critic
Manet turns Olympia's eyes toward Zola, thereby con-
necting the author with the subject of his writings.6
During the nineteenth century parrotswere esteemed
for their intelligence and anthropomorphic qualities.
In France they were common pets, prized above all,
according to the Larousse-a basic sourceon nineteenth-
century customs and ideas-for their ability to imitate
the human voice.7 Rather than using the traditional
green bird here, Manet has specifically depicted the
ash-colored, red-tailed parrot called the Jaco. This
type, indigenous to Africa, was most appreciated by
Europeans because it had, "to the highest degree the
qualities that characterize parrots."8 In a scientific
study of parrotspublished in 1836, theJaco is described
as "remarkablefor its docility and mimicry, the faculty
it possesses of imitating the human voice.... it sur-
passes the rest of its species, on which account it has
always been held in high estimation by the bird fan-
cier. . . "9 An article from the I834 volume of Le
Magasin Pittoresque,a popular French periodical, not
only mentions the Jaco as the parrot who speaks most
fluently,'1 but considers parrots to be the most intelli-
gent of birds and consequently the most suitable com-
panions for people." Some believed so strongly in the
mental facility of parrots that they consulted parrots
on their affairs, even having them select lottery num-
bers. The article goes on to state, "The reputation of
parrotsis so well establishedthat it is not even necessary
6. Reff, "Olympia," p. 112.
7. Pierre Larousse, GrandDictionnaireUniverseldu XIXe SiUcle
XII (Paris, 1867) p. 656.
8. Larousse, Dictionnaire,p. 657.
9. J. Selby Prideaux, The NaturalHistoryof Parrots(Edinburgh,
1836) p. o06.
lo. Le MagasinPittoresque2 (Paris, 1834) p. 403.
I . MagasinPittoresque,p. 400.
I 2. MagasinPittoresque,p. 319.
13. Karel van Mander, Het Schilder-Boeck, "Uytbeeldingen der
Figuren" (Haarlem, I604) fol. 13I. Cesare Ripa, Iconologia(Peru-
gino, I613) pp. 207-209. For a discussion of the traditional iconog-
raphy of the parrot, see E. K. J. Reznicek, "De reconstructie
van 't'Altaer van S. Lucas' van Maerten van Heemskerck," Oud-
Holland 70, (1955) pp. 239-246. In the time of Augustus Caesar
parrots were taught to chant together "Ave Caesar." In the
Middle Ages this became associated with "Ave Maria," and ulti-
mately the parrot became a symbol of the perpetual virginity of
the Virgin. Beginning in the sixteenth century, however, and
increasing in the seventeenth century with the growing number of
II8
for them to speak in order for us to suppose that they
have ideas and feelings analogous to ours."I2The ver-
bal ability of parrots has long been recognized. In fact,
they have been traditionally considered a symbol of
eloquence. 3
As for the specific relationship between women and
parrots, examples in literature and art can be traced
back for centuries. The relationship between the two is
intimate and borders on the erotic. In the sixteenth
century the parrot was associated with courtly love.I4
Many prominent members of the French nobility, in-
cluding Marguerite de Valois, Marguerite d'Autriche,
and Jeanne d'Albret had pet parrots.'5 It was for
Marguerite d'Autriche, the wife of Philibert le Beau,
that Jean Lemaire de Belges wrote the poem LesEpitres
de l'Amant Vert,in which the parrot is Marguerite's
constant companion. The parrot describes her beauti-
ful body, whether dressedor half-dressed,which he was
privileged to behold. He talks of his growing love for
Marguerite and isjealous of her lovers, whose activities
he must watch.16Similar representationsdepicting the
parrot as the intimate companion of the woman, seeing
her in a state of partial dress, and sharing knowledge of
her personal life, recur over the centuries. They are
found frequently in seventeenth century Dutch and
Flemish paintings. The Woman with a Parrot by Frans
van Mieris (Figure 3) is illustrated in Charles Blanc's
Histoiredes Peintres-a book consulted frequently by
Manet in the I86os.'7 The painting is a genre scene of
parrots in Europe due to the explorations of America, the meaning
of the parrot became secularized. This secular tradition appears
to have continued into the nineteenth century. In fact, whereas
the Laroussementions the "Ave Caesar" (p. 657), there is no
discussion of its religious correlate in the Middle Ages.
14. Portrait of a Lady with a Parakeet, school of Francois
Clouet (1520-1530), shows Marguerite de Valois and her pet par-
rot; illustrated in the catalogue of the Roscoe collection of the
Walker Art Gallery (Liverpool, 1928) pl. iv. For a discussion of
this painting, including additional information on parrots, see
Michael Compton, ForeignSchoolsCatalogue,Walker Art Gallery
(Liverpool, 1943) pp. 7 -72.
15. Compton, ForeignSchools,p. 71.
I6. Jean Lemaire de Belges, Les Epftresde l'AmantVert,ed. Jean
Frappier (Geneva, 1948) pp. 8-9, lines 12-122.
17. In this volume Blanc also illustrates Caspar Netscher's
Woman with a Parrot, p. 3. For a discussion of Manet's relation
to Blanc's oeuvre see Theodore Reff, "Manet and Blanc's 'Histoire
des Peintres'," BurlingtonMagazine 112 (1970) pp. 456-458.
 FIGURE 3
Woman with a Parrot, by Frans van Mieris. In
Charles Blanc's Histoire des Peintres de Toutes les
Ecoles, l'ecole hollandaise, II, p. 2I

a woman, dressed in a morning coat, feeding her par-

rot. Her affected feminine gestures are similar to Vic-
torine's in Manet's work.
In Manet's own time there was a resurgence of these
ideas about the relationship between women and par-
rots. According to the Larousse, it was believed that
parrots spoke more readily in the presence of women
and children.18 Flaubert's story "A Simple Heart,"
written in I876, yields another example of the theme.
F'licite, a servant woman, becomes deeply attached to
her pet:

They had conversations with each other, he repeating

ad nauseam the three phrases in his repertory, she
replying with words which were just as disconnected
but which came from the heart. In her isolation Loulou
was almost a son or a lover to her. He used to climb up
on her fingers, peck at her lips, and hang onto her
shawl; and as she bent over him, wagging her head
from side to side as nurses do, the great wings of her
bonnet and the wings of the bird quivered in unison.I9

Flaubert's last image connects Felicite and Loulou by
stressing a point of physical resemblance in much the
same way as Manet connects Victorine and her pet by
rendering their gazes so similarly.
Remarkably, within several years of Manet's paint-
ing, at least two more renditions of this theme were
produced in his circle. One was a drawing by his close
friend Degas.20 Here, as in the case of Victorine, the
model wears a dressing gown that is open at the neck.
She also gestures with her left hand. Although Degas's
drawing is a straightforward rendition of the subject,
Degas twenty years later wrote a sonnet about the inti-
macy between women and parrots. Dedicating it to
Mary Cassatt and writing of her pet parrot, Coco,
Degas warned her against revealing her personal
secrets to her "open confidant":
But know, like a little saint,
That a Coco collects his thoughts and recites
in his flight
What your heart has said to the confidant.
With the tip of his wing, quickly remove
A piece of his tongue so that he is silent ...
and green.21
The parrot is Mary Cassatt's confidant and shares
the secrets of her love life as did the parrot in Lemaire's

I8. Larousse, Dictionnaire,p. 657.
19. Gustave Flaubert, ThreeTales, trans. Robert Baldick (Balti-
more, 1961) p. 47. The parrot is also referred to as a prophetic bird
in Flaubert's Salammb6(trans. E. Powys Mather [Berkeley, I966]
P. 37)-
20. Ill. in Jean Sutherland Boggs, Portraitsby Degas (Berkeley,
1962) no. 48, now in the Bibliothique Nationale, Paris, BN Carnet
8, p. 27.
21. Edgar Degas, Huit Sonnetsd'EdgarDegas (Paris, I946) pp.
27-28.

II9
 FIGURE 4
Woman with a Parrot, by Gustave Courbet. Oil on canvas. The Metropolitan Museum of Art, bequest of
Mrs. H. 0. Havemeyer, the H. 0. Havemeyer Collection, 29.100.57

poem. The other rendition of this theme was by Cour-
bet in Woman with a Parrot of i866 (Figure 4). This
striking reiteration of subject matter did not go un-
noticed at the time. Chaumelin wrote in La Presse:
"Manet has borrowed the parrot from his friend Cour-
bet and has placed it on a perch next to a young woman
in a pink dressing gown. These realists are capable of
anything!"22Recently the relationship between Cour-
bet and Manet has been a subject for speculation.
George Heard Hamilton has suggested that Courbet's
fully modeled female of 1866was in one sense an answer
to Manet's Olympia exhibited in the Salon of 865. He
notes that the public saw Manet's Woman with a Par-
rot, exhibited in the I868 Salon, as a final rebuttal to
Courbet.23It is tempting to speculate on the possibility
of closer ties between the two versions of the Woman
with a Parrot, but when Courbet's painting was being
exhibited in the salon, Manet's was already being
shown privately to his friends.24 Since Manet and
Courbet knew each other, it is not impossible that
Manet was aware of Courbet's painting while it was
in process, but the clear systematic order of events is
not necessarily valid.
Although Courbet's painting is thematically similar
22. A. Tabarant, Manetet Ses Oeuvres(Paris, 1947) p. 149.
23. Hamilton, Manet, p. I I5.
24. Tabarant, Manet, p. 124.

I20
to Manet's, there are nevertheless major differences, of
which the most important is the sexual. Courbet's work
is considerably more overtly erotic.25 Sexual analogies
between women and birds occur repeatedly in the his-
tory of art. In the seventeenth century birds and
women were often so intimately related that the Dutch
word vogelen, literally "to sell birds," also meant "to
#Jd
copulate."26
For Manet the subject is not explicitly erotic. In
I866 he painted another work of the same theme,
treating it as a purely genre subject. In this painting,
entitled The Guitar Player,27 Victorine wears a bohe-
mian dress, plays a guitar, and is accompanied by a
parrot.
The meaning of Manet's Woman with a Parrot is
also not specifically sexual. The artist chose the gray
parrot-known to be the most intelligent and talkative
of parrots. He emphasized its relationship to the woman
through physiognomic similarities. It would seem that
Manet-like Lemaire, Flaubert, and Degas-is plac-
ing the parrot in the traditional role of close confidant.
The woman's clothes and the objects surrounding her
provide clues to the contents of these secrets.
The orange at the base of the perch is not a clue but
! ,/

is simply the bird's food. It is not cut but torn open.

This is natural, for, in fact, the parrot's beak is particu-
larly well suited for breaking the skins and seeds of
different kinds of fruit.28
Victorine wears a dressing gown or peignoir.29 Black
ribbons with brooches similar to Victorine's were fre-
quently illustrated in the fashion magazines of the
I86os.30 The women who wore them, however, were
either in street clothes or dressed for the theater or a
ball (Figure 5).3' Victorine appears to be part of this
fashionable world, as evidenced not only by her brooch
but by her exaggerated ladylike gestures. However, she
seems to be only half elegantly dressed, as if she were
dressing for, or coming home from, a ball.
FIGURE 5
Illustration from Le Follet, London, I866. Art &
Architecture Division, The New York Public
Library, Astor, Lenox and Tilden Foundations
The violets support this idea. Manet himself con-
nects violets with balls in his painting The Bouquet of
Violets of I872.32 Here the violets are juxtaposed with
a fan and a dance card with Berthe Morisot's name
inscribed on it. In the nineteenth century violets were
proverbially associated with modesty.33 Perhaps this
accounts for the exaggeratedly dainty gesture. Victor-

25. Delacroix's Woman with a Parrot of 1827 falls into this
aspect of the tradition. It is illustrated in EugeneDelacroix,Gabriel
Maurey, ed. (Paris, 1927) pl. 3.
26. E. de Jongh, "Erotica in Vogelperspectief," Simiolus 3
(1969) p. 72, treats this subject in detail with many illustrations.
27. Paul Jamot and Georges Wildenstein, Manet II (Paris,
1932) p. 51, no. 127, now in the Hillstead Museum, Farmington,
Connecticut.
28. Selby, Parrots, pp. 1o8-Io9.
29. Zola, Salons, p. 98, describes her as a young woman in a
pink peignoir smelling a bouquet of violets. Milla Davenport
refers to her attire as a dressing gown in The Book of CostumeI
(New York, 1962) p. 925.
30. Davenport, Costume,p. 9 0.
3 . At times these magazine models were even accompanied by
parrots, as seen in the March 1865 issue of Le Moniteurde la Mode.
32. Jamot and Wildenstein, Manet, p. 192, no. 393. Present
whereabouts unknown.
33. Larousse, Dictionnaire,XV, p. Io89.

121

ine, with her affected gestures and direct gaze, would
seem to be a combination of the coy and the knowing.
The monocle is an unusual-if not shocking-detail,
as testified to by a contemporary caricature (Figure 6).
Here the monocle, disproportionately large, becomes
an object of ridicule. Richard Corson writes that in the
122
FIGURE 6
Caricature by Gil of Manet's Woman with a
Parrot, i868. The Metropolitan Museum of Art,
Gift of Albert TenEyck Gardner, 64.693
nineteenth century only the lorgnette was considered
truly elegant for women.34As for monocles, they were
originally used largely by older men, but later were
adopted by younger men to conform to the fashion.35
Although Corson refers to a passing phase in the i82os
when women wore monocles, it seems that by the mid-
century fashionablewomen carried lorgnettes and fash-
ionable men wore monocles. Consequently one can
speculate that Victorine's monocle is actually a man's
monocle. Accordingly, the flowers could also be a gift
from a man as they were in the Olympia.
Victorine in the Woman with a Parrot is not, how-
ever, a courtesan, as she is in the Olympia, but appears
to be a fashionable Parisian of the I86os. She wears a
peignoir open at the top and jewelry around her neck
as if she is in the process of dressing, perhaps getting
ready for a ball. As in the Olympia she stares sugges-
tively at us. At the same time Victorine smells her
corsage and holds the cord of the monocle. If the
flowers are related to the ball-most likely a gift from
a gentleman-and the monocle is a man's monocle,
then we are provided with the ambience and the clues
to the romantic nature of the shared secrets behind the
knowing stare of Victorine and her gray confidant. In
accordance with the traditional iconography Victor-
ine's parrot is her intimate companion, sees her in the
process of dressing, and appears to share the secrets of
her personal life.
34. Richard Corson, Fashionsin Eyeglasses(1967) p. 142.
35. Corson, Eyeglasses,p. 114.
NOTES

OfferingStands from the Pyramid of Amenemhet I

HENRY G. FISCHER

Lila AchesonWallace,Curatorin Egyptology,The Metropolitan

Museumof Art

IN AN ARTICLE entitled "Two Royal Monuments of which repeats offerings." This may in fact be the right
the Middle Kingdom Restored" (The Metropolitan solution, despite the apparent lack of any parallel for
Museum of Art Bulletin 22 [1963-64] pp. 235-245) I con- such a designation, and despite the likelihood that such
cluded that the upper portion of a red granite offering a designation would more probably employ the infini-
stand donated by Dulaney Logan (63.46) derived from tive of whm ("mansion of repeating offerings") rather
the North Pyramid at Lisht and that it was one of a than a participle.2
pair that stood in front of our offering table from that On the other hand the alternatives I and j were
pyramid (09.180.526). Further evidence for this con- both carefully considered when my drawing was made,
clusion has subsequently come to light among notes and hwttpytactually occurs in the following statements
that were made by William C. Hayes in the winter of referring to a temple of Amenemhet I's grandson,
I933-34, recording miscellaneous material that had Amenemhet II, presumably located at Abydos:3
been excavated at the North Pyramid during previous
seasons. These notes show a fragment of an offering
stand (apparently left at the site) that was identical in
material, scale, and design (Figures I, 2).' Since it ^^ O -O n C
shows the tops of the heraldic plants of Upper and
Lower Egypt, as in the case of the more complete stand
(Figure 3), this fragment confirms the existence of the
pair as well as the correctnessof the provenance.
As the late Dr. T. George Allen pointed out (by letter
to Eric Young), the phrase ^ on the top of the _23^@ n 4 Cl
more complete stand (Figure 4) poses a difficulty. To AA-.
J^S^oLiA^A
him the lack of the indirect genitive after ` (tpt) sug-
gested that the signs in question may actually be j'
(whmt), which would yield the meaning: "mansion

I. Described thus: "Fragment of a red granite column-like
object, circular in plan, with a minimum diameter of 17 cm., but
flaring out toward the top at a rate of 1.5 cm. in 8 cm. Maximum
height of fragment 13 cm. over all. (Breaks of fragment, top and
bottom, are sloping and uneven.) Around the "column" runs the
design shown in the drawing below (projection) carved in relief
8 mm. high: 2 sma signs with upright papyrus clump and looped-
over lotus (?) ... All extant surfaces polished."
2. Theoretically one might interpret the phrase as a passive
construction (the mansion "offerings are repeated"), but in this
case the passive Jdm.f might be expected rather than the sdm.tw.f
form.
3. HieroglyphicTexts in the British MuseumII (London, 1912)
pi. Io (BM 576); III, pi. 38 (BM 256). In both cases the speaker
is "revered with Khentamentiu Lord of Abydos" and has the title
Imy-r'hnwty.But they do not appear to be related by kinship.

123

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 |- p- - &

FIGURE I

Design on fragment of red granite offering stand found at Lisht

FIGURE 3
Design of offering stand from Lisht, accession
number 63.46, front and back, lower two-thirds
restored

FIGURE 2

Fragment of offering stand found at Lisht

FIGURE 4

Inscription in basin of offering stand 63.46

124
FIGURE 5 , I
Y l
Drawing of diorite offering
stand, The Metropolitan
Museum of Art, Rogers
Fund, 07.228.24

/11
i s /.

The first says: "I was one who directed this first man-
sion of the majesty of the King of Upper and Lower
Egypt JNbw-k3w-R'."The second says: "I came to direct
this first mansion of the King of Upper and Lower
Egypt NVbw-k3w-R',may he live forever!"
Probably the problem is to be resolved by interpret-
ing the phrase in question as a case of graphic transpo-
sition: "offerings of the first mansion of Shtp-ib-R'."4
The revised translation suggests a new and more
concrete explanation for the inscription of an earlier

4. The use of as the determinative of = "offerings,"

rather than a more current form, showing one or both ends of the
string on either side of the papyrus sealing (), might suggest

that the three signs are actually --= and that the correct reading
is htp htpt "altar of offerings" (== is not unusual as a writing of
htp; compare A. Erman, "Defective Schreibungen," Zeitschriftfiir
dgyptische Sprache 29 [1891] p. 37). But - recurs more clearly
on the sides of the more intact stand (The Metropolitan Museum of
Art Bulletin 22 [1963-64] p. 239), where it alternates with =_ FIGURE 6
5
in the common expression htpt df3w "offerings/food." Offering niche of Giza tomb 1453

I25
offering stand in the Metropolitan Museum (Figure 5).5
This has been taken to mean: "Re' is content [with]
the Horus Woser-yeb Chephren. . . ," but more likely
refers to "the offering of Re" or "the altar of Re"
5. Acc. no. 07.228.24. Said to come from a site near Bubastis,
specifically Horbeit; this provenance offers a further indication for
the northeastern extension of the Heliopolitan Nome in the Old
Kingdom, which I have discussed in Journalof Near EasternStudies
i8 (I959), pp. I33-134. The drawing derives from William C.
Hayes, Scepterof Egypt, I, p. 64, as does the following quotation.
The initial publication of the stand was by Ambrose Lansing, The
MetropolitanMuseumof Art Bulletin 2 (1907) pp. I80-18i. For a
similar stand of Chephren, bearing a quite different inscription,
see H. G. Fischer, "Old Kingdom Inscriptions in the Yale Gal-
lery," Mitteilungendes Institutsfur Orientforschung 7 (I960) pp.
306-307.
6. As it is designated in the biography of Wni, K. Sethe,
UrkundendesAlten Reiches(Leipzig, I933) p. 107, line 17. There is
little Old Kingdom evidence among which to look for a parallel
for =A in either sense, but one might compare the sign I that
appears on some calcite canopic jars of the Sixth Dynasty, opposite
the column of inscription that identifies the deceased; the addition
I26
[provided by] "the Horus Woser-yeb Chephren. .."
In the second case the word A would designate the
flat offering stone beside which the stand was placed,6
as in the Old Kingdom tomb chapel shown in Figure 6.7
of this hieroglyph "evidently marked them as destined for the
Necropolis" (C. Firth and B. Gunn, Teti PyramidCemeteries
(Cairo,
1926) p. I26, pl. I2 A, B.
7. After a photograph in the records of Albert Lythgoe, now
in the Boston Museum of Fine Arts, representing the offering niche
of Giza tomb 1453. The limestone stand on the left is in Berkeley,
as is the offering basin (H. F. Lutz, Egyptian TombStelesand Offering
Stonesof theMuseumof Anthropologyand Ethnologyof the Universityof
California[Leipzig, I927] pls. 4 [6] and 3 [5]). For examples of
pottery stands in situ see G. A. Reisner, Bulletin of the Museumof
Fine Arts 33 (1935) p. 71; Abdel-Moneim Abu-Bakr, Excavationsat
Giza I949-1950 (Cairo, 1953) pl. 63 B; H.Junker, Gtza I (Vienna,
I929) pp. 199-200, fig. 40, pl. 8 b. These stands are also repre-
sented on the jambs flanking offering niches (Junker, Gtza III
[I938] fig. 3I, p. 7'), where it is seen that they serve for all cate-
gories of offerings. Other representations (e.g., Junker, Gfza III,
fig. 35, p. 19I) show that the tall stands supported relatively small
bowls and dishes.
 In the Shadow of Antinous
JIRI FREL
Curatorof AncientArt,J. Paul GettyMuseum
A MARBLE TORSO in The Metropolitan Museum of
Art' is illustrated here twice (Figures I, 2). At first
glance, one may hesitate to recognize the piece, even
though the view is the same. The difference demon-
stratesthe extent to which the photography of sculpture
implies interpretation. This torso has been praised by
Schuchhardt2as an excellent Roman copy of an out-
standing Greek original from the penultimate decade
of the fifth century B.C. Schuchhardt also said that it
represents a youthful athlete, perhaps performing a
libation, and he saw in its style Polyclitan precision
combined with Attic proportions. Recently Ionian
affinitiesof the torso have been emphasized by another
scholar.3 No exact replicas are known, but L. Curtius4
would like to see in it an echo of the bronze youth from
Pompeii. Gisela Richters took it to be closer to com-
parable sculptures, one in Rome and one formerly in
Darmstadt, to which two others may now be added.6
The latter appear among worksattributed to the School
of Polyclitus in a recent publication,7 where a copy of
the Dresden Boy is considered as a possible replica of
1. Acc. no. 17.230.21. Height 83.8 cm. G. M. A. Richter,
Catalogueof GreekSculptures in The MetropolitanMuseumof Art (Cam-
bridge, Massachusetts, 1954), p. 38, no. 55, pi. 48 a-c; in addition
to bibliography cited there, see W. Schuchhardt, Gnomon30 (1958)
p. 489, and Die Epochendergriechischen Plastik (Baden-Baden, I959)
pp. 72-73, figs. 6o-61, p. 86; D. Arnold, Die Polykletnachfolge,
Jahr-
buchdes deutschen archdologischenInstituts,25. Erganzungsheft(Berlin,
1969) pp. 89-9o, note 326, p. 266.
2. Schuchhardt, Epochen,p. 86.
3. Arnold, Polykletnachfolge, p. 89, note 326.
4. L. Curtius, R6mischeMitteilungen45 (1930) p. 23, note I.
5. Richter, Catalogue,p. 38. Statue [restored] in the Palazzo
Doria, Rome: P. Arndt and W. Amelung, Photographische Einzelauf-
nahmenantikerSculpturen(Munich) no. 2660. Torso formerly in the
collection of Baron Heyl: E. Langlotz, GallerieHelbingSale Cata-
logue, 1930, no. 8, pl. 7.
our piece.8 A technical peculiarity of the New York
torso not previously interpreted provides a key to its
function: while the surface of the obverse is highly pol-
ished, numerous traces of the rasp remain on the unpol-
ished flanks and reverse.9 The statue was evidently
carved to be placed in a niche.
The last point, together with the fact that the torso
cannot be traced as a precise copy of any identified
Greek work, recalls the bronze youth from Pompeii,
whose eclectic nature is generally recognized and whose
classification as an original Roman work is accepted.Io
The idea that the New York torso may belong to the
same category is confirmed by a closer examination.
Some elements of the torso hark back to the severe
style: the basic scheme of the anatomy already occurs
on the Omphalos Apollo. The stance, on the other
hand, is post-Polyclitan of the late fifth century s.c."
A direct comparison, however, reveals that the spirit
differs totally from Greek art. While the modeling
affects old-fashioned simplicity, the lines and contours
display a sophisticated pattern in which volume is
6. One formerly in the art market in Florence (Einzelaufnahmen,
no. 380); the other in the Kunsthistorisches Museum, Vienna
(Einzelaufnahmen, no. 59).
7. Arnold, Polykletnachfolge,p. 266.
8. Arnold, p. 261, no. 18. The replica in Berlin: C. Bliimel,
RomischeKopiengriechischerSkulpturendes 5. Jahrhunderts(Berlin,
1931) pp. 21-22, no. K 156, pl. 4I. The modeling and pattern of
the muscles are different.
9. Battering the grain of the grayish, Asia Minor marble (not
Parian, as suggested in the Catalogue),the sculptor produced a thin
but hard "skin."
io. A. Rumpf, "Lychnouchoi," Criticad'arte 4 (I939) p. I7;
Arnold, Polykletnachfolge,pp. 96-97, note 360.
I . Compare especially the Dresden Boy: one replica has the
head turned to the right (Arnold, Polykletnachfolge, p. 261, no. 14).
127
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 .'^
I i4'

.* : byk

FIGURES I, 2
Torso. The Metropolitan Museum of Art, Rogers Fund, 17.230.2I

neglected. Greek tradition is here reinterpreted by the
neoclassical school; the torso obviously stands in the
shadow of the Stephanos youth.I2 While the image of a
beautiful Greek youth is evoked, this is only an appear-
ance. The charm of a Greek ephebe lies partly in his
modesty. In contrast, the beauty of the New York
youth is glamorous rather than fresh, and no modesty
is evident-the head, which was bent forward, sug-
gests rather a self-consciousintroversion.
Effeminate delicacy is combined here with the awk-
ward charm of a "Narcissus" who, though still very
young, is already tired. For such a person Antinous
inevitably comes to mind, and a comparison with the
usual statues of Hadrian's favorite affirms the identifi-

12. See most recently W. Fuchs, Die Skulptur der Griechen

(Munich, 1969) pp. 150-152.

128
cation. The New York torso seems to be a reduced
replica of the Antinous Farnese in Naples (Figure 3).'3
Comparison of the two pieces suggests a third: the so-
called Hermes-Antinous in the Salone of the Capitoline
Museum (Figure 4)..4 The identification of this statue
as Antinous has generally been denied because the head
differs so radically from the recognized types.15 As the
head is broken and the break is masked, the possibility
of a modern restoration exists.'6 The body, however,
goes together with the statue in Naples and the torso in

13. Fuchs, pp. 151-152; A. Hekler, Die BildniskunstderGriechen
undRomer(Stuttgart, 1912) pp. 25oa, 251-253 (captions for 250 a
and 250 b should be interchanged); arms and legs are restored and
the surface has been repolished, as A. Di Franciscis kindly confirms.
14. Hekler, p. 214; W. Helbig, Fiihrerdurchdie ofentlichenSamm-
lungenklassicherAltertumerin Rom,4th ed., edited by H. Speier, vol. 2
(Tibingen, 1966) no. 1424.
15. For the heads see C. Clairmont, Die Bildnissedes Antinoos,
(Rome, 1966); for complete statues see P. Marconi, Monumenti
antichi29 (1923) pp. 162-300; in general see also F. de la Mazu,
Antinoo,el ultimodios del mundoclassico(Mexico, 1966).
16. E. La Rocca, who checked the break, believes that the head
is genuine and belongs to the body.

FIGURE 3
Antinous Farnese. The .^' ^
National Museum,
Naples (photo courtesy X
the National Museum)

, .
FIGURE 4\ f
Hermes (Antinous?)
Capitoline Museum,
Rome. From A. Hek- , .
ler, Die Bildinskunst der 4
Griechenund Romer F
(Stuttgart, I 9 12)

129
the Metropolitan Museum. Thus all three sculptures
are connected with the shadow of Antinous.17
The image of Antinous was rightly called the last
creation of classical sculpture. The incongruity be-
tween the head and the body reveals the taste of the
late period, underlining the rhetorical character of this
artistic achievement. But the decadent melancholy of
a "waking dreamer"'8persistseven in the body alone,
as demonstrated by the New York torso. The work
recalls another conception of Narcissus:
17. The miniature replica of the Capitoline Hermes-Antinous
in the Hermitage Museum, Leningrad, is not ancient; it belongs
to a group of miniature reproductions of famous ancient sculptures,
carved probably in Northern Italy in the seventeenth century. The
heads, arms, and legs were carved separately and added to give
the appearance of restoration. A partial list, given in Eirene 7
(Prague, I968) pp. 77-79, is here revised and completed:
(i) Antinous Capitol, The Hermitage: 0. Waldhauer, Die
antikenSkulpturen derErmitageII (Berlin-Leipzig, 193 ) pp.
43-44, no. I54, fig. 45; G. Kieseritzky, Muzey drevney
skulptury,4th ed. (St. Petersburg, 901o) no. 285 (head,
arms, legs, "restored").
(2) Antinous Capitol, estate of E. Brummer, New York (legs
and arms missing, head "restored").
(3) Herakles Farnese, The Hermitage: Kieseritzky, no. 282
(head, arms, and legs "restored").
(4) Variant of the Herakles Farnese, J. P. Getty Museum,
Malibu, inv. I 49: Guidebook, 2nd ed. (Los Angeles, 1956)
p. 14 (head, arms, legs, support, and base "restored").
(5) Silen carrying the baby Dionysos, The Hermitage: Kiese-
ritzky, no. 291 (both heads, legs of the Silen, legs and right
hand of Dionysos "restored").
13o
J'aime ... J'aime ! ... Et qui donc peut aimer autre
chose
Que soi-meme ? ...
Toi seul, 6 mon corps, mon cher corps,
Je t'aime, unique objet qui me defends des morts.'9
ACKNOWLEDGMENTS
I thankDietrichvonBothmer,AlfonsoDi Franciscis,Eugenio
La Rocca, andJoan Mertensfor theirkindassistancein the
preparationof thisnote.
(6) Nike Apteros, The Hermitage: Kieseritzky, no. 288 (head
and left arm "restored").
(7) Torso of the Polyclitan Doryphoros, Musee Rodin, Paris:
Eirene7 (1968) pls. following p. 78 (head, arms, and legs,
now missing, were intended to be "restored").
(8) Polyclitan torso, Museum of Fine Arts, Boston, acc. no.
08.249: L. D. Caskey, Catalogueof GreekandRomanSculpture
(Cambridge, Massachusetts, 1925) no. 89 (head, arms,
and legs "broken").
(9) Torso, Detroit Institute of Arts, inv. no. 64.575 (head, arms,
and legs, now missing, were intended to be "restored").
(Io) Torso, private collection, New York.
The miniature replica of the Lysippan Apoxyomenos in the
Fiesole Museum, (AntikePlastik 2 [Berlin, I963] pls. 6o-62) is also
modern, but later than our group.
i8. J. J. Winckelmann called him "sch6ner Traumer zwischen
Schlaf und Wachen."
19. Paul Valery, "Narcisse." The two last verses were quoted,
rather inappropriately, in connection with an early classical marble
torso,by L. Curtius(Jahrbuch
59/60 [1944/45]p. 29).
 About the Sword of the Huns and the
"Urepos"of the Steppes
HELMUT NICKEL
Curatorof ArmsandArmor,The Metropolitan
Museumof Art
THE METROPOLITAN MUSEUM'S Department of
Ancient Near EasternArt has in its collection a splendid
gold-mounted sword with jeweled scabbard and hilt,
reported to have been found in northern Iran and
thought to be of the fifth-sixth century A.D. (Figures
I-3). It has a long pommelless grip with two finger
rests and a very short quillon bar; its scabbard is in its
upper two fifths enclasped by a pair of large cufflike
mounts with irregularly P-shaped flanges.' These are
fixtures for the two straps-a short one and a long one
-that held the sword suspended from the waist belt.
The different lengths of the straps caused the sword to
hang at a convenient "quick-draw" angle. This way
of carrying a sword was particularly practical for a
horseman, and is in principle still used for the modern
cavalry saber (Figure 4, right). Sasanian representa-
tions, especially on the famous silver bowls with reliefs
of royal hunters, show cross-hilted swords with round
i. The total length of the sword is I00.3 cm. Its double-edged
iron blade is covered with rusted-on particles of the wooden scab-
bard core, powdered with remnants of the leather lining under the
gold mountings. The scabbard consists of two large pieces em-
bossed with a feather pattern on the obverse side and held together
by two large clasps with P-shaped attachments. The hilt has a
gilt-bronze quillon, and is riveted to the tang by means of two rivets
with large globular silver heads; its decoration consists of a panel
filled with triangles composed of gold granulation, framed by a
row of dotted circles; it is jeweled with one small semiglobular glass
stone at the upper end and a rectangular beveled garnet at the
quillon end. The scabbard mountings are decorated en suite with
one large cabochon garnet and twelve (two now missing) glass
stones. Vaughn Emerson Crawford, Annual Report, The Metro-
politan Museumof Art Bulltin 24 (I965-66) p. 45, ill.; Vaughn
Emerson Crawford, Prudence Oliver Harper, Oscar White Musca-
rella, and Beatrice Elizabeth Bodenstein, AncientNear EasternArt,
The Metropolitan Museum of Art Guide to the Collections ( 966)
p. 37, fig. 60.
pommels and entirely different means of attachment,
resulting in entirely different methods of carrying these
swords. They have either a bridgelike mount on the
outer side of the scabbard in about the upper third of
its length, to slip a bandoleer through, or they have two
large buttons near the scabbard mouth, around which
loops of the loosely slung belt must have been fixed
(Figure 5).2 On the other hand, representationsfrom
the regions to the north of ancient Persia, such as
Soghdia and Turfan, show swords belted on at a slant
with two suspensionmounts. Particularly,a silver bowl
in the Hermitage exhibits a sword with P-shaped scab-
bard mounts and a hilt that is practically identical
with the Museum's sword (Figure 6). Ghirshman has
suggested that the horseman on this bowl may be the
representationof a Turco-Mongol nomad, perhaps an
Avar chief, since it is too late to be a Hun proper.3
Decorative features on the Museum's sword, such as
2. Both these ways of attachment were already used in the
La Tene period (about 800oo.c.). The bridgelike mount was used
by Celtic, Germanic, and Sarmatian tribesmen as well as by
Byzantine, Sasanian, and Chinese noble warriors. It seems to have
been spread among the latter civilizations through the influence
of barbarian mercenaries in their armies. Waldemar Ginters, "Das
Schwert der Skythen und Sarmaten in Siidrussland," Vorgeschicht-
licheForschungen2, Part I (Berlin, 1928); Otto Maenchen-Helfen,
"Crenelated Mane and Scabbard Slide," CentralAsiaticJournal3,
No. 2, pp. 85-138, ill.
3. Roman Ghirshman "Notes Iraniennes XIII: Trois Epees
Sassanides," ArtibusAsiae 26 (1963) p. 293-3 1, fig. I . Interest-
ingly enough, a sword of the type with P-shaped mounts and
double suspension straps appears as the sword of Goliath on one
of the Metropolitan Museum's Cyprus silver plates (17.190.396).
Here the non-Byzantine sword type was intended to indicate the
"enemy." The Huns and Avars were of Turkish stock, though
heavily mixed with splinter groups of other tribes and nations by
the time they appeared in Europe. The Huns, after the death of
'3I
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
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 -;..--;:..... -.i...f FIGURES I, 2
ri;.S? IIron sword with gold mountings and jewels,
:'found
..?.::?'*c*:-"-'-- in north Iran (Deilaman?), fifth-sixth
century A.D. The Metropolitan Museum of Art,
Rogers Fund, 65.28

FIGURE 3
i;Detail
:?S:^^3^^~ of the Museum's sword showing decora-
.....'.'.. tion of minute triangles formed of gold balls on
"..l: ?
:^.-:.,' : : :
' '"'<::~hilt
X and clasp

.... .-
:

:' 4"":
.....
""i."
.
":
t ~~~~~~~":?~~~A' ,.: l ,,,

r' '
,::^'|*x v? tW

00000i1 1t4. \ft

,,i?:'~'a

: , ' ::-
:~b. -,

132
FIGURE 4 FIGURE 5
Left: sword attachment with two clasps and two Sasanian sword attachments. Left: bridge-mount
straps. Right: Modern saber attachment with or scabbard-slide. Right: double button
two rings and two straps

FIGURE 6

Silver bowl, steppe nomad hunting, about 700

A.D. State Hermitage Museum, Leningrad L
I
It!I t.-
*
I

1
I
???'I
I I

.I
:
.r
i,*u
F,
C'114?
i)
I
i"..
iii i
Y ?-

i, 'I
r:

;r

I''*';' R; I

'13
*'
.r
XI
.. a
r?
ri iii
f
r
r

r?? 1 Fi
FIGURE 7 c
Yf *I
Iron swords with gold mountings (left) and silver :4
mountings (right), found in north Iran (Deila- ;?P
flr d
man), fifth-sixth century A.D. The hilt of the
silver sword has been wrongly assembled in i :n?
b:f'
'FF '
r
.1
.r??
;r
restoration. Private collection .r
'I

.Q ?JI
FIGURE 8
Reverse of the gold and silver swords

I33
the "tooled" appearance of the dense "feather" pat-
tern4 on the obverse side of the scabbard, and the
vestigial seam running down the length of the reverse,
indicate clearly that the gold of this scabbard is taking
the place of leather, the material normally used. A
leather prototype would also account for the strange
P-shape of the mounts; here the weight of the sword
would have pulled the originally more regularly formed
flaps out of shape. Later, this half-accidental form be-
came a stereotype and was deliberately styled.
Seven more swords of this type are known. Appar-
ently all came from the same area and are stylistically
and technically closely related, enough so for us to
presume that they were made in the same princely
workshop. Five of these swords are mounted in gold,
two in silver (Figures 7, 8).5 The Museum's sword is
by far the most elaborate and lavishly decorated one
of the group.
Swords with scabbard mountings of this conspicuous
P-shape have been found throughout a vast territory

Attila (453 A.D.) withdrew into the steppes and regrouped. The
next wave, the Avars (seventh and eighth centuries), probably FIGURE 9
consisted largely of Huns under another name. It has been pointed Fragment of an iron sword with
out-Ghirshman, "Trois Epees," p. 308, and Kicharu Horiuchi,
engraved gold mountings,
Taq-i-BustanI (Tokyo, 1969) pls. 89, 90, 92, 97, 98, 99-that on
the hunting panels of Taq-i-Bustan the king is represented with a found 1874 in a Langobardic
sword suspended from his belt by two P-shaped mounts. However, tomb near Chiusi, Italy. Prob-
this is an isolated case in Sasanian art, and it seems significant that
this sword is worn together with a belt with decorative straps
ably Avaric, seventh century
A.D. The Metropolitan Museum
(Riemenzungen) and with an asymmetrical bow. Both features are
considered to be of Turco-nomad origin, Avaric or-in the case of of Art, Administrative Funds,
the bow-even Hunnish. Interestingly enough, in the official
95. 5.88
throne relief the king does not sport Avaric-Hunnish costume, but
wears the traditional sword with bridge-mount.
4. Feather and scale patterns were typical for Hunnish jewelry
as found in Hungary. These patterns were probably connected
with the eagle as a tribal symbol of the Huns. Ghirshman, "Trois
Epees," p. 31 . Andreas Alfoldi, "Funde aus der Hunnenzeit und
ihre ethnische Sonderung," ArchaeologicaHungarica9 (1932) pls.
xiii, xx. The Metropolitan Museum has a helmet (Spangen-
helm) (62.82) with bronze-gilt straps, its iron filling plates overlaid
with sheets of silver stamped in the same feather pattern: Stephen
V. Grancsay, "A Sasanian Chieftain's Helmet," The Metropolitan
Museumof Art Bulletin21 (1962-63), pp. 253-262, ill. FIGURE IO

5. Five of the swords are in Swiss private collections; two of the

gold swords and one of the silver are in Geneva (Ghirshman, "Trois
Iron sword with silver mount- i
ings, found in Imperial tomb
Ep6es," figs. 1-3), the other silver and another of the gold are 1
supposedly in Bern (unpublished). Another of the gold swords is
Pei-Chueu-Shan near Lo-Yang,
in the Louvre, Pierre Amiet, "Antiquites Parthes et Sassanides," Honan Province, China.
La Revuedu Louvreet des Mus6esdeFrance17 (1967) nos. 4-5, figs. I, About 600 A.D. The Metro-
I5; and the fifth one is in the Tenri Sankokan Museum, Tenri
University, Tokyo, Exhibitionof AncientAsianArt catalogue (Tokyo, politan Museum of Art, gift of
1966) no. 16i. Clarence H. Mackay, 30.65.2

I34
-from central Europe all the way across the Eurasian
continental mass to China and Japan (Figures 9, Io)6
-wherever the steppe nomads of the great migration
periods were roaming. Though Europeans usually are
aware only of the waves of steppe riders who swept over
the West, others flooded the Far East and left their
marks there. One of these marks was the introduction
of the horseman's sword with two suspension mounts.
This survived in Japan into the nineteenth century as
the ceremonial tachi or slung sword (Figure I).
The precursor of the P-shaped sword attachment is
to be found in the Scythian akinakes, a short sword
hung along the right thigh from a loosely slung belt,
sometimes strapped to the leg much like the low-slung
six-shooter of the Western badman (Figures I2-I4).
The shape of the scabbard attachments of Scythian
akinakes gives a clue as to the purpose of the large
P- or B-shaped gold plaques in the Siberian gold hoard
found at the time of Peter the Great (Figures 15, i6).7
These have been called belt buckles, parts of horse
trappings, or appliques for clothes,8 but their use as
decorative mounts on scabbards otherwise of leather
appears obvious in the present context. An intriguing
feature about them is that they often come in pairs, in
design and outline mirrorwise reversed; the two plaques
were presumably mounted back to back on a leather or
felt background. On the other hand, it is possible that
these pairs with mirror images may have been used as
mountings for pairs of matching swords, one worn on
the right side of the body, the other on the left.
Sasanian noblemen are regularly represented as
wearing a long sword on the left side and a dagger on
the right thigh (Figure I7). These two Sasanian weap-
ons, however, do not match in decorative and technical
6. S. T. Baxter, "On Some Lombardic Gold Ornaments Found
at Chiusi," ArchaeologicalJournal 33 (1876) pp. 103-110, ill. The
Chiusi tomb contained fragments of two matching swords to be
worn on either side of the body; though always called Langobardic
they were probably booty captured from the Avars. In 1874, the
year of the discovery at Chiusi, the contemporaneous tomb of
Gisulf, son of Grasolf, first Duke of Friuli, was discovered in Civi-
dale, near Udine. Gisulf was killed in battle against the Avars in
61 I A.D., according to Paulus Diaconus, De gestibuslangobardorum
IV, chap. 38. For Far Eastern examples see Stephen V. Grancsay,
"Two Chinese swords dating about 600 A.D.," The Metropolitan
Museumof Art Bulletin25 (1930-31) p. 194, figs. I, 3.
7. S. I. Rudenko, Die sibirischeSammlungPetersI (Moscow and
Leningrad, 1962) pi. 7.
8. Most scholars-Rostovtzeff, Tamara Talbot Rice, Phillips,
FIGURE II
Tachi with mountings in gold, silver, and mother-
of-pearl and jewels, signed by Harunari Hirata,
Yedo, first third of the nineteenth century. The
Metropolitan Museum of Art, bequest of George
C. Stone, 36.25. 695a, b
features, and are furthermore not related to the aki-
nakes. There is, though, in the collection of Ernest
Erickson and at present exhibited in the Metropolitan
Museum as a loan, a shortnorth Iranian sword mounted
in silver (Figures I8, I9) that has a P-shaped scabbard
mounting together with an overall "tooled" feather
pattern so closely related in style to the Museum's
sword and the seven others already mentioned that it
could well have been once the companion of one of the
silver swords. X-ray photos reveal that its badly cor-
roded blade must have been single-edged, a circum-
stance already suggested by its slightly curved shape
and pronouncedly one-sided hilt. The Museum's sword
is double-edged, as, apparently, are the seven others.
The feather pattern and another distinctive decora-
tive feature that appears on the Museum's sword and
on two of the other gold swords-minute triangles
formed of tiny gold balls soldered to the surface (Fig-
ure 3)--are to be found on scabbard mountings and
jewelry from the late Hunnish period in Hungary.9
andothers-have calledthembelt buckles;Tolstoiand Kondakow
suggestthat they werepartsof horsetrappings;Rudenkoregards
them as decorativeappliquesfor robes.NandorFettichand Lajos
Vargyasidentifythem as swordmountings.For P-shapedplaques
with animal motifsshown in situ attached to a long sword, see
TadeuszSulimirski,TheSarmatians (New Yorkand Washington,
I970) p. 56.
9. Alf6ldi, "Hunnenzeit,"pi. x; Nandor Fettich, "Archao-
logischeStudienzurGeschichtederspathunnischenMetallkunst,"
ArchaeologiaHungarica31 (I951) pls. 4, 6-8, Io, 32, 51-52, 55.
A goldenbow was the badgeof rankof a generalor princeamong
the Huns; J. Harmatta,"The Golden Bow of the Huns," Acta
AcademiaeScientiarum
Archaeologica HungariaeI (1951) pp. 107-149.
Among the later Avarsit was the privilegeof a prince to bear a
goldensaber;Ghirshman"TroisEpees,"p. 309.
I35
 FIGURE 12

Tribute-bearing nomad with akinakes, alabaster relief (detail) from Persepolis,

Persian, fourth century B.C.The Metropolitan Museum of Art, Harris Brisbane
Dick Fund, 34.158

FIGURE 13
Gold mounting of an akinakes scabbard, Scy-
thian, late fifth century B.C. The Metropolitan
Museum of Art, Rogers Fund, 30.1 . 12

FIGURE 14
Gold mounting on an akinakes, found in Mound
Solokha (Saporoshje district), third or second
century B.C. State Hermitage Museum, Lenin-
grad

- - - - -- - -- - -

136
 FIGURE 15
P-shaped gold mounting (one of a pair) with
mythical animals, Siberian, from the collection
of Peter the Great, third or second century B.C.
State Hermitage Museum

FIGURE i6
Pair of B-shaped gold mounts, inlaid
with turquoises, with representation of
a boar hunt, Siberian, from the collec-
tion of Peter the Great, third or second
century B.C. State Hermitage Museum.
The plaques show the same scene from
two sides, together approximating a
sculpture in the round

FIGURE 17
Silver bowl, King Peroz hunting;
Sasanian, 459-484 A.D. The Metropoli-
tan Museum of Art, Fletcher Fund,
34-33

I37

This hint at a possibly Hunnish origin for this type of
horsemen's swords is supported by an early literary
source that specifically points out that the Huns wore
two matching swords, a long double-edged sword at
the left side and a single-edged short sword at the right.
This literary source is the oldest preserved epic of the
Nibelungen cycle, Waltharius, also known as the Wal-
tharilied, or the Lay of Walther and Hildegund, com-
posed in Latin after lost German prototypes by a monk
of St. Gall, Switzerland, during the tenth century.10
In this heroic epic Walther of Aquitaine, a Visi-
gothic prince, Hildegund, a Burgundian princess, and
Io. Grimm and Schmeller, LateinischeGedichtedes io. und ir.
Jahrhunderts (Gottingen, 1838). Alwin Schulz (San-Marte), trans.,
Walther von Aquitanien (Magdeburg, I853). The most popular
translations are Victor von Scheffel's appendix to his Ekkehard
(1855), the first romantic historical novel in German, and Karl
Simrock's Das KleineHeldenbuch(Stuttgart and Berlin, I874).
I . Though hostages, Walther and Hildegund were entrusted
with important offices. Hildegund was the queen's lady-in-waiting
and keeper of the stores, and Walther (whose name means "gov-
erning the host, the army") was a general, and for a time even
commander-in-chief of the Hunnish forces. This is another bit of
trustworthy historical information, since this putting of a hostage
into a responsible position was exactly according to Hunnish cus-
138
FIGURES I8, 19
Iron short sword mounted
in silver, found in north
Iran, fifth-sixth century
A.D. Ernest Erickson
collection, New York
Hagen, a noble youth of the royal house of the Rhenish
Franks, are hostages at the court of King Etzel of the
Huns, the Attila of history. Hagen manages to flee,
and Walther and Hildegund, his betrothed from child-
hood, escape soon afterward." In preparing for the
flight Walther arms himself in Hunnish fashion-"pro
ritu Panoniarum"-with a double-edged long sword,
spatha, belted to his left hip-"et laevum femur ancipiti
praecinxerat ense"-and a single-edged half-sword,
semispatha, at his right-"atque alio dextrum, pro ritu
Panoniarum; Is tamen ex una dat vulnera parte."I2
As the fugitives make their way along the Danube
tom at the time of Attila. Attila's historic "lieutenant" was
"Onegesius," a Latinization of the Germanic Hunegisel, a name
interpretable either as "the one of the strong shaft" (see Harmatta,
"The Golden Bow") or, more fittingly, as "hostage of the Huns."
Perhaps a pun was intended: "gisel" "shaft" (Geissel), "gisel"
"hostage" (Geisel), and "huni" "strong" (Hiine) and Hun.
I2. Waltharius,line 336 et seq. See Alwin Schulz (San-Marte),
Zur Waffenkunde des alterendeutschenMittelalters(Quedlinburg and
Leipzig, 1867) p. I3I. In addition to being called "Panonians,"
the Huns are referred to in Waltharius as "Avaranses." Inciden-
tally, up to the seventeenth century Hungarian cavalrymen wore
two swords: a scimitar on the left hanging from the belt and a
mail-piercing estocon the saddle, tucked under the right knee.
Walther snares birds and catches fish for food. When
they come to cross the Rhine, Walther pays the ferry-
man with two fish caught the night before at the head-
waters of the Danube, and the ferryman, puzzled by
the unfamiliar, non-Rhenish fish, goes to sell them to
the king's kitchen, where he tells the tale of the mys-
terious strangerwith the beautiful girl. The young and
brash Frankish king, Gunther, decides to waylay the
strangers and confiscate the treasures he is sure they
must be carrying, though his recently returned kins-
man, Hagen, strongly objects. Walther and Hildegund,
meantime, have reached the shelter of the Vosges
forest. Walther decides to get some sleep at last, after
all the days he has been on guard. He asks Hildegund
to hold his head in her lap, and to wake him only gently
if she sees dust rising in the distance, as if stirred up by
horsemen. Soon enough Hildegund sees a group of
thirteen riders approaching. She wakes Walther. He
dons his armor, which has been hanging in a nearby
tree, and takes a few practice strokes with his sword.
At this point the maiden clutches his knees and asks
him to kill her that she may not fall into the hands of-
as she thinks-these Huns. However, Walther recog-
nizes the helmet crest of his old friend Hagen among
the knights as they draw near, and he is sure of a
friendly reception. Unfortunately, the rash and greedy
Gunther forces a fight on Walther. Hagen, refusing to
draw against his old brotherin arms, watches the battle
from a distance, sitting on his shield. Walther herds the
horsesand Hildegund behind him into a cleft in a rock
wall, and in the narrow pass, where the attackers can
get to him only singly, each one with a different
weapon, he kills eleven. Finally Hagen has to take up
arms, since one of the slain was his sister's son. In the
final fight, Gunther and Hagen attack Walther treach-
erouslyfrom two sides at once. Gunther soon goes down
with a terrible wound in his thigh, but Walther's sword
in its next stroke shatters on Hagen's hard helmet.
When in disgust Walther hurls away the now useless
hilt, Hagen lashes out and lops off Walther's out-
stretched hand. Undaunted, Walther transfers his
shield from his left arm to his right by hooking the
stump through the straps, then grips with his left hand
the half-swordwe remember he has belted to his right
hip-"semispatam, qua dextrum cinxisse latus memo-
ravimus illum"-and in a stab at Hagen's face gouges
out one eye and breakssix teeth in the slashed cheek.13
After that the heroes call it quits. While Hildegund
bandages their wounds they renew their old friendship
with good-natured banter during which Hagen tells
Walther that he from now on will have to belt on his
sword to his right, contrary to any chivalrous custom.
He is careful to avoid any reference to the half-sword,
though.
In this summary we have an interesting complex of
elements connected with the problem of the swords of
the steppe nomads,'4 and among the Siberian gold
plaques mentioned above we have an intriguing icono-
graphical find.
One of the plaques (Figure 20)15 shows a scene of a
woman seated under a tree, holding a sleeping man's
head in her lap, and a pair of horses, held by a groom,
standing by. The weapons of the warrior, bow and
gorytus, hang in the branches of a tree. The scene is
skillfully designed to fit smoothly into the stereotyped
P-shape of the sword mounts. The ever-present oval
eye for the carrying strap is incorporated into the
branchwork of the tree, on the level with the horse's
ears, on the offside of the tree trunk. This scene is
usually described as an illustration of an event from a
forgotten Central Asian heroic epic, and other repre-
sentations of fights and wrestling matches found on
Siberian buckles and Soghdian silver bowls are usually
presumed to be scenes from the same epic.16
It is, of course, not difficult to recognize the scene of
Walther's sleep before the fight in the representation
on the plaque, and the duel with Hagen, the last of the
thirteen opponents, at a point when Walther as well as
his attackers have used up the entire catalogue of
weapons of the Dark Ages, in the combat scene on one
of the Hermitage silver bowls, where two warriors are
3. Waltharius,line 1390 et seq.; Schulz, Waffenkunde, p. 13 I. It
is interesting that on the figural frieze of the famous electrum vase
of Kul Oba (fourth century B.c.) the two wounded Scythians are
being treated for a face or mouth wound and a leg wound.
14. W. P. Ker, Epic and Romance(London, 1931) pp. 84-88
summarizes Walthariusas well as the two English fragments of
Waldherebut omits the scene beneath the tree and the hero's two
swords.
15. Rudenko, SibirischeSammlung,pl. 7.
I6. M. Rostovtzeff, "The Great Hero of Middle Asia and his
Artibus Asiae 4 (1930-32) Tamara Talbot
Exploits," pp. 99-117.
Rice, AncientArtsof CentralAsia (New York and Washington, 965)
figs. 27, 28, 31-33. E. D. Phillips, The RoyalHordes:NomadPeoples
of the Steppes (London, 1965) figs. 105, 106, 120
Io, 120, .
I39
 FIGURE 20

Drawings of a pair of gold plaques from the collection of Peter the Great, third or second century B.C. State
Hermitage Museum

FIGURE 2I
Silver bowl with combat scene; Soghdian, seventh century A.D. State Hermitage Museum

I40
struggling to the bitter end amidst a litter of broken
and discarded weapons (Figure 2I).17
In a study of the survival of narrative motifs from the
Middle Ages to the present Lajos Vargyas18has shown
that the motif of the man with his head in a woman's
lap under a tree is central in the fourteenth-century
Hungarian folk version of the legend of St. Ladislav,
as well as in the still-living folk ballad "Anna Molnar."
At the same time Vargyas points out the similarity of
this motif to the Siberian plaque.
In the St. Ladislav legend a Hungarian princess is
abducted by a warrior of a hostile tribe, the Kumans.
While they are resting under a shady tree, the warrior
asks the princess to take his head in her lap to look for
lice. When he falls asleep, the pursuing knightly saint
catches up with them. In the fight between the abduc-
tor and the rescuer, while the combatants are locked in
a deadly wrestling match after having used up most of
their weapons, the girl takes part by hacking the
Kuman's leg with a discarded sword. The folk ballad
has a soldier persuading Anna, the miller's daughter,
to elope with him. They ride on for a long time until
they arrive at a shady tree, where they rest and the
soldier asks Anna to take his head in her lap to look for
lice. He warns her, however, not to look up into the
tree. As soon as he falls asleep the girl naturally looks
up, and sees eleven hanged girls in the branches. She
bursts into tears in her fright. Her tears fall upon the
soldier's face and awaken him, whereupon he tells her
that she shall be the twelfth victim. The ballad has
several differing endings: sometimes the maiden es-
capes by a trick, managing even to kill the wicked
soldier, or else her brother comes to the rescue, some-
times in the nick of time, or else after the hapless girl
is already dead.
17. Another recurrent feature in Germanic heroic epics-
interestingly, again connected with Huns-is the hero waiting
under a tree and being treacherously attacked by two fighters
whom he believes to be his friends, such as happens to Walther
with Hagen and Gunther, and in AlphartsTod to the hero Alphart,
who guards the allied Gothic-Hunnish host in the plain before
Verona under a linden tree and is slain by the turncoats Wittich
and Heime. Perhaps these scenes are part of the same complex as
the representation of two warriors attacking a single horseman,
seen on the famous gold comb from Solokha near the Lower
Dniepr, Saporoshje District.
i8. Lajos Vargyas, "Forschungen zur Geschichte der Volks-
ballade im Mittelalter: II. Das Weiterleben der landnahmezeit-
lichen Heldenepik," Acta Ethnographica AcademiaeScientiarumHun-
In the same article Vargyas quotes surviving tribal
ballads from Siberia, where the tree is endowed with
magical qualities as an "iron larch tree with nine
branches." He points out that the tree on the Siberian
plaque has exactly nine branches. In the Siberian bal-
lads the girl sometimes escapes by slipping into a cleft
of the hollow tree, which brings to mind Hildegund in
the safety of the cleft between the rocks in the Vosges
forest.19There are many, though less complete and
widely differing, versions of this ballad in other Euro-
pean languages. English-speaking connoisseursof bal-
lads will recognize elements of "Lady Isabel and the
Elfin Knight" and the "Dublin Murder Ballad." Par-
ticularly in German versions, the most conspicuous fea-
ture is that the girl is offered three choices: death by
hanging in the tree, by drowning in the nearby river,
or by beheading with the murderer's sword. Another
early version that has not been pointed out yet is Sir
Thomas Malory's story of Sir Balan and Sir Balin, the
latter the Knight of the Two Swords, in his Morte
d'Arthur.This story shows, though in garbled form,
essential features of the Walthariusas well as of the
"Anna Molnar" ballad: the two swords and the fight
between brothers, the pair of lovers under a tree, and
the triple killing of maidens. Here the threefold choice
is vaguely recognizable in the circumstance that the
woman killed by Sir Balin is the Lady of the Lake, that
the lady in love with Sir Lanceor kills herself with a
sword, and that the third is slain under a laurel tree.
In the Walthariusthe snaring of the birds, the fishing,
and Hildegund's plea to be slain by Walther's sword
are parallels to the hanging, drowning, and beheading
in the ballads.20
One can speculate that the original form, the
"Urepos," which must already have existed in the
garicae io (1961) pp. 242-293, ill.
I9. A nine-branched tree with seated woman and rider is also
to be seen on a felt tapestry from Pazyryk. A sublimation of the
iron tree that opens to give safety to the maiden may exist in the
ironclad Hagen (whose name means "Hawthorn"). When his
cheek and mouth are slashed open, the fight is over, and Hildegund
is called out of hiding.
20. In preparing the drawing for Figure 20 I saw that a ropelike
extension (apparently unnoticed before) leads from the woman's
head into the tree. Possibly the earliest form of the maiden's death
may have been by hanging. The hanging theme is echoed in the
fact that the eleventh of the heroes to be slain in Waltharius,Drogo
of Strasbourg, is first hacked in the leg, then strangled with his
own gold necklace.
I4I
third or second century B.C., as the gold plaques (Fig-
ure 20) show, had a pair of eloping lovers resting under
a magical tree with the hero's head in the maiden's lap,
when the friend of the hero (the man holding the
horses as an Ur-Hagen?) turned against him, and in
the ensuing fight the hero preferred to kill his bride
instead of letting her fall into his opponent's hands. At
the end probably both fighters killed each other.
The story of the sleeping maiden-slayer under a tree
seems to be known only in Central Asia and westward
in Europe, and noticeably connected with the Hunnish
custom of wearing two swords. The story seems to be
unknown in the Far East; and it may be significant
that the Chinese swordswith P-shaped mountings and
142
the Japanese tachi2l were worn without a companion
piece, and presumably were transmitted by a different
group of steppe nomads.
ACKNOWLEDGMENTS
For valuable help and information in the preparation of this
note I thank my colleague Prudence Oliver Harper, Associate
Curator of Near Eastern Art, The Metropolitan Museum of
Art, and Morihiro Ogawa, Research Assistant, Asiatic
Department, Museum of Fine Arts, Boston. My special
thanks go to my friend and colleague George Szab6, Keeper
of the Robert Lehman Collection, who brought the funda-
mental article by Lajos Vargyas to my attention.
21. The tachi was used in warfare until the fifteenth century,
when the scabbard mounts were changed into a version of the
bridgelike mount. There was a short dagger of quite differing
design, the koshigatana,sometimes worn with the tachi though not
as a companion piece, but interestingly enough it was the later
long sword with bridge mount, the katana, that was worn (as a
badge of rank of a samurai) together with a short wakizashias a
matching set called daisho.
 Jacopo della Nave or Jacques Androuet Du Cerceau?
JANET S. BYRNE
of PrintsandPhotographs
Curator,Department
A GROUP OF SEVEN ETCHINGS in the Reserve of the
Cabinet des Estampes in the Bibliotheque Nationale,
Paris, has for many years been attributed to Jacopo
della Nave, and was published by Arthur M. Hind in
his EarlyItalianEngravingas by an anonymous engraver
of the sixteenth century.' It is the purpose of this note
to suggest that, instead, the artist in question is the
FrenchmanJacques Androuet Du Cerceau.
Jacopo della Nave is an extremely elusive creature;
he appears in none of the obvious sources-neither in
other museum and library print rooms nor in diction-
aries of artists, with the exception of Zani,2 who seems
to have started the misnomer simply by naming the
artist from the monogram on two of the prints, IA with
a boat. The nameJacopo della Nave thereafterappears
in the catalogue of the Bibliotheque Nationale's Re-
serve by Courboin,3and although Hind was doubtful
about it, he had nothing else to suggest. He thought
that these seven prints were by the same hand as an
Italian Virgin and Child (Figure I). This seems to be
an obvious mistake: the Virgin and Child is by one
artist, an Italian, and will therefore not be mentioned
here again, while the other seven (Figures 2-8) are by
an entirely differentartist, a Frenchman. If there is any
question that this group is by a single artist, details of
the cherub heads or of the shields, for instance, link
the whole group irrevocably.
It seems highly unlikely that anyone with the name
Jacopo (if we are to consider that name for a moment)
would abbreviate it by capitalizing the first two letters
of his first name only, IA. The more usual abbrevia-
tions of Jacopo are Iac. (or Jac.) and Io. (or Jo.), not
I A (or J A)--I and J being interchangeable equiva-
lents to all intents and purposes.It seemsmore probable
that instead of being an abbreviation these are initials
and that the A stands for a second name (Figure 9).
The della Nave, the name evidently invented by Zani,
seems simply to referto the little boat above the initials.
Now a caravelle under sail is part of the coat of arms
of the city of Paris.4It was used as a symbol and emblem
of Paris from time out of mind, for instance on coins
and medals of the thirteenth century. In the temporary
i. Arthur M. Hind, Early Italian Engraving (London, 1948)
Pt. II, Vol. V, p. 300, no. 29. A recent printed mention of Jacopo
della Nave is that made by Jacques Thirion in "Les rapports entre
la gravure internationale et le mobilier civil franqais de la renais-
sance," Paris, Ecoledu Louvre,Positionsdestheses(Paris, I959) p. 67,
where he is listed with Androuet Du Cerceau and Vredeman de
Vries as a designer of furniture styles.
2. Pietro Zani, Enciclopedia MetodicaCriticoragionata delleb. Arti,
second edition (Parma, 18I 7-1824).
3. Bibliotheque Nationale, Department des Estampes, Catalogue
SommairedesGravures et LithographiesComposant la Reserve.Redige par
Franqois Courboin (Paris, 1900-1901). Vol. II, pp. 200-201, nos.
8804-88 i.
4. Gilles Corrozet, Les AntiqvitezCroniqveset Singvlaritezde Paris
(Paris, 1586) page a v recto:
Le BlasondesArmesde la Ville de Paris
Le chef d'azur de fleur de Lis sem6
Monstre Paris estre ville Royalle,
La Nef d'argent sur vn champ enflame
Note qu'elle est des autres capitalle:
Le Roy est chef, & elle est principalle,
Soubs tel patron pour faire & decider
Ce qui luy plaist, iustement commander
Donc au moyen de si haute puissance
Toutes luy font entiere obeyssance,
Comme a leur dame, entedant la pratique
De gouuerner, en ce pays de France.
La belle Nef d'vne grand Republique.
PLVS QVE MOINS
Complete documentation is to be found, of course, in Histoire
G6niralede Paris, Les Armoiriesde la Ville de Paris ... ouvrage com-
mence par feu le comte A. de Coetlogon, refondu et complete par
L. M. Tisserand (Paris, 1874).
I43
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 FIGURE I FIGURE
Virgin and Child enthroned beneath an arch, by
an unknown Italian engraver, sixteenth century.
Paris, Bibliotheque Nationale, Department des
Estampes, Reserve. Courboin 8804
arches of triumph and on floats constructed for six-
teenth-century triumphal entries and other festivals
shown and described in sixteenth-century books, a boat
appears in various guises, symbolizing Paris and the
Ship of State. The Parisian publishing firm Compagnie
de la Grand' Navire, a joint venture of at least four
well-known Parisian printers, used a device between
'44
2
Design for a piece of church furniture. Signed IA
with boat. This etching, Courboin 8806, and the
six following (Figures 3-8) are in the Biblio-
theque Nationale, Department des Estampes,
Reserve
1585 and 164I (?) of a heavily armed man-of-war
bristling with cannon, her sails sewn with fleurs-de-lys,
bearing the arms of France. The ship is labeled LUTETIA,
the name for Paris used by Julius Caesar.5 Thus it
would seem that Master IA may have come from Paris.
5. Ph. Renouard, Les MarquesTypographiques ParisiennesdesXVe.
et XVIe. Siecles (Paris, 1926) pp. 260-262, nos. 822-825.
 i
4
FIGURE 3 FIGURE 4
Design for a credence. Signed IA with boat.
Courboin 8805
Another piece of evidence for helping us determine
the nationality of these prints is hidden in the decora-
tion of the columns flanking the lucarne (Figure 4). At
the left one finds the letters IMA, and at the right Noa.
When taken together and reversed with a mirror to
restore the reversal inherent in the printing of an etch-
ing, these read BON AMI,6 implying that the artist was
French, not Italian. As Hind points out, there is little
reason to force BONAMIinto meaning "from Bologna"
6. My colleague Helmut Nickel observes that although the
Design for a lucarne. Inscribed IMA and Noa.
Courboin 8808
BON AMI was not reversed so that it would be correct for the
viewer, the monogram (Figure 9) was reversed: the right-hand
stroke of the A is visibly wider and stronger, as it should be in
Roman letters. If the I A had not been reversed, the artist's name
would be A-- I--, thus rendering this whole discussion point-
less. Whether or not the boat has been reversed is open to question,
since the boat in the coat of arms of Paris has been found sailing
left, right, and center in spite of what may be heraldically correct.
A search through the illustrations of Tisserand's Armoiriesde la
Ville de Paris shows such a variety of directions that one must
conclude that variations occur legitimately, perhaps with special
significance but also perhaps because a good many artists and
craftsmen are not heraldry experts.
145
 FIGURE 5
Design for three niches capped by tabernacles.
Courboin 8807
(the Bon then being an abbreviation of the Latin word
Bononiensis) when as two French words they make a
perfectly good device or emblematic motto, and even,
perhaps, a dedication to a patron.7
That the Parisian Master IA could be Jacques
Androuet Du Cerceau can be considered possible when
it is remembered that Androuet was the family name
7. An untenable but interesting speculation about the use of
BON AMI and its possible association with Georges d'Armagnac,
from the region of Albi, is that there is some connection with the
Albigensian use of Bon in names as an identification-Bonshom-
mes, Bon, Bonamour, Bonfoy, Le Bon-a use that persisted into
146
FIGURE 6
Design for an altar. Courboin 8809
and that Du Cerceau was really an address, derived
from the family shop sign (At the Sign of the Hoop, or
Circle).8 As a name for the Androuet family Du Cer-
ceau must have been gradually arrived at with usage.
To determine the moment when the Androuets be-
came the Du Cerceaux is probably not possible, but it
seems safe to assume that until Jacques Androuet went
the eighteenth century in spite of the suppression of the Albigenses
in the thirteenth century. See Harold Bayley, A New Light on the
RenaissanceDisplayedin Contemporary Emblms (London, 19go) pp.
1-13.
8. Henry De Geymuller, Les Du Cerceau(Paris, 1887) p. 3.
 FIGURE 7

d
.. Design for a tabernacle with a niche. Courboin
.. 88IO
I?ui
c

1 FIGURE 8
cE':
t:
L
Design for a tabernacle with a niche. Courboin
?? ?: I
8811
',".r
:?

P, w
i

FIGURE 9

Monogram on Courboin 8806 (Figure 2)

written out in full: either in Latin, Jacobvs Androvet-

back to France from Italy and had a shop or a house
where he could hang his sign, he was simply Jacques
Androuet. He is thought to have returned to Paris in
1549 from his second trip to Italy, and although many
of the dates in Du Cerceau's life are in question, it is
known that he was in Italy with his patron, the ambas-
sador to Venice and Rome, Cardinal Georges d'Arma-
gnac. It is worth noting that the group of prints by
Master IA with the boat are all of either ecclesiastical
or architectural subjects.
As for the signature ofJacques Androuet Du Cerceau
(and by signature I mean the name, the mark, the
monogram, or the initials in the copper plate), it
almost never occurs. Out of hundreds of plates, on only
three separate plates does the name appear, and it is
ivs DvCerceav, or in French, Jacques Androuet
duCerceau. Although the plates are not signed, they
were often published in sets or books, with a title page
(either type-set or etched on a plate) with the name
printed out. More often than not it appears with the
Jacques Androuet clearly separated from the Du
Cerceau either by comma or by being on another line,
implying that the important part of the name was
Androuet, although there is no instance in which the
Androuet appears without the Du Cerceau. In the case
of the set of small grotesques of 1562,9 his initials appear
as IADC with all four letters given equal importance.
Of the seven prints we are investigating here only two,
as noted at the outset, are signed. If the group once had
a title page, if it once formed a set of ecclesiastical
furniture and architecture designs like other sets by
Du Cerceau, no such set is known today. Indeed, the
Bibliotheque Nationale's seven prints are the only
impressions known, although others may be hiding
under various names or attributions.
To consider the prints themselves, a glance at the
designs makes it certain in my mind that they were not
designed by an Italian but by somebody whose memory
of northern Gothic is still strong enough to make him
draw a piece of furniture like the credence (Figure 3).
9. Lectori en nostrvm tibi denvo prodit opvs de lvdicro pictvrae
genere... grotescam vvlgo dicvnt... Lvtetiae Anno Domini
1562 IADC. (Geymiiller. Les Dzt Cerceau, p. 316.)

'47
Even if the printmaker was not the designer, there is carvers, goldsmiths, cabinetmakers, architects, and
still no reason to think him Italian, since the date sug- sculptors who actually make the objects.
gested for the prints by Zani and accepted by Hind, Finally, a comparison of the prints by Master IA
about 1525, would mean that all but one, the "meuble with several that, although unsigned, have always been
d'eglise" (Figure 2), representedwith non-Italian taste thought to be by Jacques Androuet Du Cerceau in his
objects in a style so out of date that it would have been youth (Figures 10-12) leads me to the conclusion that
considered old-fashioned in Italy long before 1525. The Jacopo della Nave does not exist, and that Master IA
credence, as well as the altar, appears to be a Gothic with the boat is indeed Jacques Androuet Du Cerceau
piece until the ornamental detail is studied, and then as a young man, probably in Italy, signing himself as a
its Renaissance character is apparent; it must come Parisian by using a well-known emblem of Paris.
from a transitional period. It is well known that the Furthermore, it may well be that the BON AMI is a
transition from Gothic to Renaissance occurred later device that refers to Cardinal d'Armagnac.
in France than in Italy, and that it went on into the
sixteenth century. It does not seem contradictory to
assume that Jacques Androuet Du Cerceau could have
made such a group of prints as a young man working
in Italy, his eye filled with ravishing Italian Renais-
sance ornamental details like dolphins, cherub heads,
ribbons, and tablets, yet with a vivid memory of Gothic
forms.The two signed prints show the designer thinking
in terms of northern (if not specifically French) Gothic
furniture at the same time he thinks of Roman tri-
umphal arches. He uses the same columns, rather like
candlesticks, on both, and although they are bearable
when applied to the triumphal arch, they do very badly
as legs for the cabinet. Nor did he understand the use
of his triumphal arch design: although the form and the
niches indicate an applied wall tablet or tabernacle,
he has pierced the center with a barrel vault and then
blocked the passage with a balustrade in the middle of
the resulting floorspace. This kind of muddle cannot
be explained by saying that the designer wanted the
object to appeal to a variety of craftsmen and was am-
biguous on purpose. Rather, the designer was inexpert
and probably young, and this last adjective applies as
well to the overabundance of surface ornament. These
designs are filled with the sort of penmanship flourishes
that an older designer omits because he knows they
cannot be carried out; in any case the older man hasn't
the time to do more than suggest possibilities for the

FIGURE 10

Design for a retable, etching byJacques Androuet

Du Cerceau. Inventaire 4692, Collection Ed-
mond de Rothschild, Musee du Louvre (photo:
Musees Nationaux)

148
FIGURES I I, 12

Designs for mirror frames, etchings by Jacques Androuet Du Cerceau. Inv. X. I480.7, X. 1480.83, Kupfer-
stichkabinett der Offentlichen Kunstsammlung, Basel

I49
 A TakahashiNobuhide Dagger and Portrait
BENJAMIN VINCENT
TAKAHASHI NOBUHIDE, who had the art name
Seiunshi, or "Clear and Cloudy Child," set up his
forge in Osaka prior to World War I. His date of birth
was for a long time unknown, but now, due to the dis-
covery of a dagger with a special inscription in the
collection of the Metropolitan Museum's Arms and
Armor Department (Figures I, 2), his birth year has
been established. The inscription on the tang (Figure
3) reads "Osaka[no] ju Takashi Nobuhide nana ju san
sai saku," meaning "Takashi Nobuhide, living in
Osaka, made [this] at the age of seventy-three." On
the reverse (Figure 4) the date reads "Taisho roku nen
ichi gatsu kichi nichi," "An auspicious day in the first
month of the sixth year of the Taisho era." This corre-
sponds to the Occidental calendar's 19I7. If Nobuhide
was seventy-three in I917, he was born in I844.
In his youth Seiunshi studied under Takahashi
Naganobu, an excellent smith known for his assimila-
tion of the artistic style of the famous seventeenth-
century swordsmithTsuda Sukehiro.
Later, probably after the death of Naganobu, Nobu-
hide began to study under the great Gassan Sadakazu
in Osaka, and when his research there ended, he chose
to remain and set up his own forge.
BashfordDean, the founder of the Arms and Armor
Department at the Metropolitan, made the first of
severalstudy trips to Japan in I900. In 1917 this dagger
was purchased directly from the artist through the
offices of Dr. Dean for 31 yen, or fifteen dollars and
fifty cents. Since the average wage of all Japanese rail-
way workers,including white-collar workers,was then
21.25 yen per month,' it is obvious that the cost of art
swords was relatively high.
The blade is 6%/ inches long, %9/of an inch wide.
I. Computations given me by Dr. Hugh Patrick of the Eco-
nomic Growth Center. Yale University.
Nobuhide made the dagger in the style ofShizu Saburo
Kaneuji, a fourteenth-century master; the jihada, or
forging pattern on the side of the blade, shows much
evidence of the utilization of mixed steels in an attempt
to reproduce the pronounced forging patterns of earlier
masterpieces. Near the yakiba, or temper line, ma-
same, a forging pattern with straight grain, is most
evident (Figure 5), but near the middle of the blade
there is a mixture of itame, the forging pattern resem-
bling elongated wood grain, and mokume, the pattern
that resembles circular wood grain. The ni deki, or
temper line formed of troostite, is ko-notare, meaning
that it undulates slightly, and the hamon, or overall
pattern of the temper line, ends in a typical Kaneuji-
style komaru boshi, the temper line in the point having
a fairly small amount of roundness. There is very little
kaeri, or return of the temper line after the point.
An associated Nobuhide item in the collection of the
Arms and Armor Department is a painting of the artist
at work, dressed in his ceremonial swordsmith's robe
and hat (Figure 6). Seiunshi'sface seems tensed in con-
centration as he hammers, a steel billet in the early
stages of producing a gleaming blade. In the back-
ground, surmounted by offerings to the deities, is a
push-pull-type bellows that he uses to force air through
a bed of glowing charcoal. In the foreground are two
small tubs, one filled with a sliplike material used to
keep the red-hot steel from sticking to the anvil, the
other filled with water for quenching. The painting is
by Oshima Furo. The inscription reads "Takahashi
Nobuhide okina tanren no zu," "A picture of the
elderly gentleman Takahashi Nobuhide forging a
sword." The dating, "Taisho kinoto," refers to a date
in the hare year of the Taisho Era, which equals 19 5.
Then comes "Furo utsu," indicating that this is a
painting by the artist Furo, or "Long Life," followed
by two seals reading "Oshima Furo"-"Big Island
Furo."
151
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FIGURES I, 2

Dagger by Takahashi Nobuhide, dated '9I7.

The Metropolitan Museum of Art, Rogers Fund,
17.218.

i. .

I> :r

Drawing of tang, showing Nobuhide's signature

FIGURE 4

Drawing of tang, showing date

...
.... ......-..

FIGURE 5

1.
Detail of forging pattern, showing masame near
.i
edge and mixture of itame and mokume along
I center

IT.I
i I

. .,1
'
t

. ,.

./*-

3.
I~~~~~~~~~~~~~~~~'

FIGURE 6
Portrait ofTakahashi Nobuhide by Oshima Furo,
dated 1915. The Metropolitan Museum of Art,
unaccessioned documentary material
THE METROPOLITAN MUSEUM
DepartmentalAccessions, July
American Paintings and Sculpture
GIFTS RECEIVED
Richard T. Button: Alfred T. Bricher, American, Rocks and
Sea, watercolor on paper, third quarter of the 19th century.
Mrs. GardnerCassatt(9.9% undividedinterest):Mary Cassatt,
American, Lydia Knitting in the Garden at Marly, oil on
canvas, I880.
EdgarWilliamandBerice Chrysler
Garbisch:Gerret Duyckink,
American, Mrs. Augustus Jay, oil on canvas, about 1700-
10; Edward Hicks, American, Peaceable Kingdom, oil on
canvas, 1830; Unknown artist, American, Samuel Gardi-
ner, oil on canvas, 1763; Unknown artist, American,
Abigail Gardiner, oil on canvas, 1763; Unknown artist,
American, Family Group of Four on Settee, oil on canvas,
about 1825.
RaymondHorowitz: A. C. Goodwin, American, The Celebra-
tion of Armistice Day, 1918, oil on canvas, 1918.
Thrne E. Lloyd: Charles Marion Russell, American, Indian
Braves, watercolor on paper, 1897.
PURCHASES
John Haberle, American, A Bachelor's Drawer, oil on canvas,
1890-94 (Henry R. Luce Gift); Alfred Cornelius Howland,
American, Peasant Girl, pencil and chalk on paper, about
1865 (Rogers Fund); William Morris Hunt, American,
The Thorpe Sisters, charcoal and white chalk on gray
paper, about 1860 (Rogers Fund); George Smillie, Ameri-
can, Ausable River, watercolor on paper, 1869-70, and
Villa on Lake Como, watercolor on paper, I898 (both
Rogers Fund); Gilbert Stuart, American, General Louis-
Marie, Vicomte de Noailles, oil on canvas, 1798 (Henry
R. Luce Gift, Elihu Root, Jr., Bequest, Rogers Fund,
Maria DeWitt Jessup Fund, Morris K. Jessup Fund, and
Charles and Anita Blatt Gift).
American Wing
GIFTS RECEIVED
KatherineL. Beach,in memoryof hermother,LucyMcB. Beach:
Tumbler, crystal, about 1825-30, American; Bellpull,
embroidered, about 1860, American; 4 tiebacks, ormolu
and crystal, about I86o, American.
OF ART
1,1970-June 30,1971
Fenton L. B. Brown: Pier mirror, carved and gilt gesso, about
1820, American (Philadelphia).
Richard T. Button: Dining-room suite: sideboard, mechanical
serving table, extension table with leaves, 8 side chairs,
pair of armchairs, mahogany, 1877-80, American (New
York).
Robert S. Grinnell: Tankard, silver, by Benjamin Burt (I729-
1805), American (Boston); Wine taster, silver, byJeremiah
Dummer (I645-17I8), American (Boston); Wine taster,
silver, byJohn Coney (1655/6-1722), American (Boston).
Catherine Halpert: Tray, silver, by William Gale and Son,
about 1840, American (New York).
George H. Hull: Side chair, mahogany, about I795-I800,
American (New England); Pitcher and pair of matching
goblets, silver, about 1850, by R. and W. Wilson, American
(Philadelphia).
Mr. andMrs. AlfredA. Joltin, in memory
of Ida LouiseOpdycke:
Pair of armchairs, mahogany, about 1835, by Duncan
Phyfe, American (New York); In memoryof Major Henry
Gorton Opdycke: Pitcher, blown glass, late I8th century,
American.
Mrs. Paul Moore: 2 plates, cut overlay glass, about I855,
Bohemian; Joint stool, cherry and oak, about 1675-1700,
American; Acorn clock, about 1845, by Forrestville Manu-
facturing Company, American; Etagere, rosewood, about
I850, American; 2 decanters with stoppers, blown glass,
1825-35, American.
Mrs. Willis L. M. Reese: 5 pairs of velvet curtains and 5 val-
ances, late 19th century, American.
M. Land,in memory
JamesRobertSandsandLaurance of Margaret
QueenSands: Pair of side chairs, painted wood, about I825,
marked "L. Hitchcock, Hitchcocksville, Conn. War-
ranted.," American (Hitchcocksville, Conn.).
Elsey R. Taft: Flower applique quilt, glazed chintz cotton,
19th century, American.
Berry B. Tracy: Celery vase, blown glass, about I850, Ameri-
can (Pittsburgh).
Claire L. Wilson (bequest): Tankard, silver, about I796,
American (Philadelphia); Tray, silver, by Wiltberger and
Alexander, 1796, American (Philadelphia).
Alice B. Woolsey (bequest): Trick-leg card table, mahogany,
about 1815, attributed to Michael Allison, American
(New York).
I53
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 PURCHASES
Ceramics: Plate, Chinese export porcelain, about I 796-
I810, bearing the initials of DeWitt Clinton and wife,
Chinese (Sansbury-Mills Fund); 2 hearth jars, Chinese
export porcelain with gilded wood finials, descended in
the Verplanck family, Chinese (Rogers Fund and Mrs.
Russell Sage Gift, by exchange); Pitcher, porcelain, about
I825-38, by Tucker, American (Mrs. Russell Sage Gift).
Furniture: Settee, gilt stenciling, about 1825, probably by
David Ailing, American (Newark, N.J.); Chest of drawers,
cherry, about 1795, American (Conn.); Side chairs,
painted wood, about I835-40, American; Card table,
painted wood, about I8o5, American (Baltimore); Card
table, rosewood, stenciled mark "E. Hutchings, New
York," American (New York); Knife urns, wood with
pineapple finials, about 1820, American (Baltimore);
Cellaret, about American
mahogany, I810-20, (New
York); Pair of armchairs, reeded and carved mahogany,
about 81o0, American (Philadelphia); Dressing stand
with drawer, mahogany, about I80o, American (New
England) (all Mrs. Russell Sage Gift); Pier mirror, about
1825, American (probably Philadelphia) (Robert C.
Goelet Gift); Secretary breakfront-bookcase, mahogany
and satinwood with inlay, about I8oo-Io, American
(Salem, Mass.) (Mrs. Russell Sage Gift, Bequest of Ethel
Yocum, Bequest of Charlotte E. Hoadley, and Rogers
Fund, by exchange).
Glass: Milk bowl, blown glass, about I840-60, American
(Lockport, N. Y.); Pair of decanters, blown glass in mold,
about 182o-4o, American (both Paul R. Ramos Gift);
Chandelier, red overlay glass and gilt brass, about I855,
attributed to the Sandwich Glass Company, American
(Boston) (Rogers Fund); Milk bowl, olive green glass,
about I8Io, American (Robert C. Goelet Gift).
Metalwork: Spoon and fork, silver, about 1900, by Whiting
Manufacturing Company, American (New York); One-
footed bowl, silver, about I900, American (both Mr. and
Mrs. Marshall P. BlankarnGift).
Miscellaneous: Coachpainter's sign, wood, about i8oo-o0,
byJ. Martin, American (Mrs. Russell Sage Gift); Figure
representing Calliope, carved wood, late i9th century,
American (Sylmaris Collection, Gift of George Coe
Graves).
Textiles: Wedding bedspread, colored silks on weft-ribbed
cotton ground, Mexican (Yucatan) (EverfastFabrics, Inc.,
Gift); Needlework picture in original frame, about 81o0,
by Lucy C. Huntington, American (Norwich, Conn.);
Hatchment, embroidered, about I795, descended in the
Huntington Strong family, American (both Mrs. Russell
Sage Gift).
Ancient Near Eastern Art
GIFTS RECEIVED
Anonymous: 2 pins, 2 pairs of earrings, I female figure,
i54
Io plaques, I bracelet, silver, about 250 B.C., Iranian
(Parthian).
Anonymous:Toggle pin, 2 disks, bronze with gold, about
I 00 B.C., Iranian.
Anonymous: Inscribed cone, clay, about 1900 B.C., Mesopo-
tamian.
PURCHASES
III millennium B.C.: Cylinder seal, stone, Akkadian (Douglas
Dillon Gift and Rogers Fund).
I millennium B.C.: Strainer, bronze, Iranian (H. Dunscombe
Colt Gift); Goblet, bronze, Iranian (Rogers Fund); Part
of finial, bronze, Iranian (Luristan) (Rogers Fund); 2 fibu-
lae, bronze, Anatolian (Rogers Fund); Cheekpiece, bronze,
Iranian (Luristan) (Rogers Fund); Belt, bronze, Urartian
(Mrs. Vladimir S. Littauer Gift, Mr. and Mrs.J. A. Straka
Gift, H. Dunscombe Colt Gift, and Rogers Fund).
Arms and Armor
PURCHASES
Garniture of flintlock firearms (i rifle, 2 pistols, and acces-
sories, in case), by Nicholas Noel Boutet, before 1809,
French (Versailles) (Fletcher Fund); Sword blade, named
Sasanotsuyu(Dew on the Grass), i4th century, attributed to
Shidzu Saburo Kaneuji,Japanese (BashfordDean Fund).
Costume Institute
PURCHASES
Embroidered apron, about 1740, English; Petticoat, cloak,
spencer, shoulder wrap, and pair of breeches, I 750-I800,
English; 4 dresses, I820-35, English; 2 pairs of summer
pantaloons and a summer frock coat, I83o-50, American;
Group of dresses, coats, and boots for men and women,
g9th-2oth centuries, Afghanistan and Turkestan; Pair of
trousers, 20th century, Indonesian; Witch doctor's suit,
20th century, Senufo Tribe, Ivory Coast; Pair of chieftain's
trousers, 2oth century, Mossi Tribe, region of Ouaga-
dougou, Upper Volta; For the Costume Institute Library,
26 books and 33 volumes of American and European fash-
ion periodicals (all Irene Lewisohn Bequest).
Drawings
GIFTS RECEIVED
Curtis 0. Baer: Lorenzo de' Ferrari, Italian, Ornamental
Motifs, pen, i8th century.
Jacob Bean: Etienne-Pierre Adrien-Gois, French, Hannibal
before the Senate in Carthage, pen and wash, 8th century.
H. M. Calmann:Giuseppe Pedrini, Italian, Allegorical Figure
of Charity, pen and wash, Igth century.
Mrs. RichardKrautheimer: Giovanni Carlone, Italian, Pair of
Studies of Male Figure in Pendentives, pen and wash,
17th century.
VictorSordan:Giovanni Domenico Piastrini, Italian, Portrait
of Francesco Albani, red chalk, i8th century.
Edith A. Standen: Bernardino Lanino, copy after, Italian,
Martyrdom of St. Catherine of Alexandria, pen, i6th
century.
AdolpheStein: Ignace-Fran9ois Bonhomme, French, Sketch-
book, pen and watercolor, igth century.
EricM. Wunsch:Giovanni Angelo Canini, Italian, Reclining
Nude Male, pen, 17th century; Cesare Dandini, Italian,
Study of Seated Female and Putti, pen, x7th century;
Sebastiano Galeotti, Italian, Scene from Classical History,
pen and wash, i8th century; Giovanni Battista Trotti,
called Malosso, Italian, Group of Men before an Altar,
pen and wash, I6th century.
PURCHASES
i6th century:
Italian: Bernardo Castello, Papal Coat of Arms, pen and
wash; Romulo Cincinnato, 3 sheets of studies of male fig-
ures, pen and wash; Giulio Romano, Apparition of St.
Andrew, pen and wash; Andrea Lilio, called Andrea
d'Ancona, Ornamental Design, pen; Niccolo Martinelli,
called II Trometta, Adoration of the Shepherds, pen and
wash; Francesco Mazzola, called Parmigianino, Design
for Funerary Monument, pen and wash; Perino del Vaga,
circle of, Design for Festival Float, pen and wash; Bernar-
dino Poccetti, Seated King, chalk; Orazio Samacchini,
Design for Pendentive, pen and wash; Taddeo Zuccaro,
Six Nude Female Figures, pen and wash (all Rogers Fund).
17th century:
Dutch: Abraham Bloemaert, Study of Trees, pen and water-
color; Jan Both, Rocky Landscape, pen and wash (both
Rogers Fund).
French: Charles de Lafosse, Portrait of Seated Gentleman,
red, black, and white chalk (Rogers Fund).
Italian: Giovanni Francesco Barbieri, called Guercino, Half
Figure of a Man, pen and wash; Study for Figure of
Tithonus, red chalk; Giovanni Angelo Canini, The Martyr-
dom of St. James the Less, pen and wash; Giulio Carpioni,
Sheet of Studies, red chalk; Andrea Commodi, Music
Making Angels in Clouds, pen; Pietro da Cortona, God
the Father with Angels, chalk; Francesco Curia, 8 draw-
ings, pen and wash; Ferrau Fenzoni, Avenging Angel,
pen and wash; BaldassareFranceschini,Allegorical Figure
of Purity, red chalk and wash; Domenico Piola, St. Jerome,
wash; Mattia Preti, Sheet of Figure Studies, red chalk
and wash; Salvator Rosa, 8 drawings, pen and wash;
Alessandro Turchi, The Immaculate Conception and the
Fall of Man, pen and wash (all Rogers Fund).
i8th century:
Dutch: Dirk Langendijk, Pair of Drawings of Battle Scene
before a Church, watercolor (Rogers Fund).
English: Sir George Howland Beaumont, Italian Landscape,
wash; Marcellus Laroon the Younger, Figures at a Table,
pencil (both Rogers Fund).
French: Charles-Nicolas Cochin the Younger, Head of a
Man, pencil (Rogers Fund).
German: Anton Raphael Mengs, Holy Family with Infant
Baptist, pen (Rogers Fund).
Italian: Giuseppe Cades, The Virgin Saving a Child from
Evil, pen and wash: Giuseppe Maria Crespi, Massacre of
the Innocents, red chalk; Donato Creti, Landscape with
Seated Youth, pen; Fedele Fischetti, Ceiling Design, pen
and wash; Benedetto Luti, Seated Nude Male, red chalk;
Giovanni Paolo Pannini, Scalinata della Trinita dei Monti,
Rome, watercolor; Francesco Solimena, Female Figure
Seated by a Globe, black chalk; Anton Maria Zanetti the
Elder, Pair of Landscapes,pen and wash (all Rogers Fund).
igth century:
English: Walter Crane, Woman Seated on Sofa, watercolor
(Mr. and Mrs. Carl Selden Gift); Italian Farmhouse,
watercolor; William James Muller, Standing Boy, water-
color; Samuel Palmer, View of North Coast of Devon,
watercolor (all Rogers Fund).
French: Jean-Francois Millet, Landscape, pen and crayon
(Mr. and Mrs. Henry Ittleson, Jr., Gift); James Tissot,
Study of Young Man, pencil; The Departure of the
Prodigal Son, pen (both Rogers Fund).
Italian: Giuseppe Bernardino Bison, Sacrificial Scene, pen
and wash (Rogers Fund).
Swiss: Alexander Calame, Landscape, pencil (Rogers Fund).
20th century:
English: Walter Richard Sickert, Entry Hill, Belvedere,
Bath, watercolor (Mr. and Mrs. Carl Selden Gift).
Egyptian Art
GIFT RECEIVED
EgyptExplorationSociety:Statue of a baboon, limestone, from
the Society's excavations at North Sakkara, in season
1968-69.
PURCHASES
Old Kingdom: Striding figure of Ptahshepses, wearing cap
wig and kilt, limestone with traces of paint, from Sakkara,
V Dynasty (Lila Acheson Wallace Fund, Inc., Gift and
Harris BrisbaneDick Fund).
New Kingdom: Figure of frog on lily pad, bronze, XVIII
Dynasty (Rogers Fund); Shawabty-figure, limestone,
XIX Dynasty (Norbert Schimmel Gift and Rogers Fund).
Late Period: Amulet showing goddess Isis, silver (Ludlow
Bull Fund); Figure of the goddess Hathor as a lioness-
headed woman holding the infant Horus, bronze (Rogers
and Ludlow Bull Funds and Dulaney Logan Gift).
Ptolemaic Period: Standing figure of a king, limestone
(Louis V. Bell Fund).
155
European Paintings
GIFTS RECEIVED
Harry N. Abrams (partial interest):Jean Baptiste Greuze,
French, Aegina Visited byJupiter, oil on canvas, 1767-69.
James Belden, in memoryof Evelyn Berry Belden: Abraham
Janssens, Flemish, Christ Lamented by Angels, oil on
canvas, about 1609.
Mrs. EdwardBrayton:Nicholas Maes, Dutch, Abraham Dis-
missing Hagar and Ishmael, oil on canvas, about 1650.
EdwardFowles(bequest):Bernard Kiel, Danish, Girl Making
Lace, oil on canvas, about i656; Johann Schenau, Ger-
man, French Interior, oil on canvas, about 1775; Giuliano
Bugiardini, Italian (Florence), Adam and Eve, oil on can-
vas, about 1510; Giotto, school of, Italian (Florence), Two
Angels, frescoes, about 1335; Paolo di Stefano, Italian
(Florence), Labors of Hercules, tempera on panel, about
1450; Paolo Veneziano, Italian (Venice), Madonna and
Child, tempera on panel, about 1360.
Dr. andMrs. RichardW. Levy:Jacob Duck, Dutch, The Pro-
curess, oil on panel, about I630.
Mrs. CharlesNeumande Vegvar(remaininginterest): Philips
Koninck, Dutch, Wide River Landscape, oil on canvas,
17th century.
Mrs. RichardRussell: Cornelius Johnson, British, Portrait of
an English Official Bearing a Mace, oil on canvas, about
1625-30.
Alexanderand GregoireTarnapol: Maurice Utrillo, French,
View of the Rue Ravignan, Paris,oil on canvas, about 9 I0.
Alice BradfordWoolsey(bequest):Antonio Joli, Italian, View
of St. Paul's from across the Thames, oil on canvas, i8th
century.
Mrs. CharlesWrightsman:Frame, hand-carved, gilded wood,
Italian, 17th century.
PURCHASES
Philips Wouwermans, Dutch, A Lady and Gentleman on
Horseback, oil on panel, about I650 (Gustavus A. Pfeiffer
Fund and Joseph Pulitzer Bequest); Bartolommeo Guido-
bono, Italian (Genoa), Melancolia, oil on canvas, about
1690 (R. A. Farnsworth Gift, Gwynne Andrews, Charles
B. Curtis, Rogers, Marquand, Alfred N. Punnet Endow-
ment and Victor Wilbour Memorial Funds); Carlo Sara-
ceni, Italian (Venice), The Community of the Blessed
Adoring the Holy Trinity, oil on copper, about I604
(Bequestof Theodore M. Davis, by exchange); Ilya Repin,
Russian, Ivan the Terrible and His Slain Son, oil on canvas,
about I896 (Rogers Fund); Diego Velazquez, Spanish,
Portrait of Juan de Pareja, oil on canvas, I650 (Isaac D.
Fletcher Fund, Bequest of Adelaide Milton de Groot
(1876-1967), by exchange, and Jacob S. Rogers Fund,
supplemented by gifts from Friendsof the Museum, 197I).
I56
Far Eastern Art
GIFTS RECEIVED
John A. Bross: Theatrical robe with streamers, embroidered
satin, Chinese, late I9th century.
Dr. and Mrs. Jonas M. Goldstone:Woman's ceremonial coat
with civil rank badge and longevity symbols couched in
gold and silver, satin, Chinese; Over-robe embroidered
damask with cranes, tortoises, pine, plum, and bamboo,
silk, Japanese; both 19th century.
Estateof CarolineS. Hanway: Cabinet, lacquer on wood with
gold on black ground, Thai, i8th century.
JosephH. Heil: 3 tankas depicting Jataka stories, colors and
gold on cloth, Lamaist, i8th century.
Ben Heller (one-halfinterest):Standing crowned Buddha, gilt
bronze, Kashmiri, about 8th century.
Mrs. Henry-George J. McNeary: 8-panel screen with carved
landscape scenes and long inscription on reverse, lacquer
on wood, Chinese, dated 1773.
Estateof FannyShapiro:20 snuff bottles, Chinese, i9th-2oth
centuries.
J. T. Tai: Jar decorated with dragon and wave design, with
underglaze blue decoration, Chinese, Wan-li period
(1573-I620).
Mrs. GerhardWedekind, in memory
of GerhardWedekind:13 vol-
umes of illustrated books by Katsushika Hokusai ( 760-
I849), paper, Japanese, g9th-2oth century editions.
John Weitz: Facsimile of 8th-century fabric, silk, Japanese,
2oth century.
PURCHASES
Ceramics: Bottle, with underglaze red decoration, I4th cen-
tury, and a dish, with underglaze blue decoration, export
ware, i6th century, both porcelain, Chinese (Seymour
Fund).
Paintings: I hanging scroll: Searching for Plum Blossoms in
the Snow, by Huang Shen (X687-after 1768) (Bequest of
Florance Waterbury), ink and slight color on paper,
Chinese; 6 tankas depicting Jatakastories, colors and gold
on cloth, i8th century, Lamaist (Mrs. W. Murray Crane
Gift).
Costumes and textiles: 3 lay aristocrats' robes (chubas)made
of early Ch'ing Chinese dragon silks brocaded with gold
dragons, polychrome silk clouds, wave borders with gold
detail, satin, 20th century, Tibetan (Bequest of Florance
Waterbury); Panel made from pieces of late Ming dynasty
dragon robe of brocaded cloud damask, silk and metal,
17th century (Seymour Fund and Everfast Fabrics, Inc.,
Gift); Valance and square embroidered in blue on white
handwoven cotton, gth century, from Ssuchuan Province,
Cheng-tu, all Chinese (Rogers Fund and Mr. and Mrs.
J. A. Straka Gift); 4 ikatpanels, cotton, late I9th century,
Dutch East Indies (Soemba) (Seymour Fund).
Greek and Roman Art
GIFTS RECEIVED
Mr. and Mrs. ThomasS. Brush: Skyphos, silver, with four
engraved zones (animals, palmettes, and lotuses), second
half of the 6th century B.C., East Greek.
Michel de Bry: Oinochoe with lid, late 6th century B.C.,
Corinthian.
Anonymous: 8 fragmentsjoining a red-figuredkylix, signed by
Euphroniosas potter and attributed to Onesimos, acquired
by the Museum in I912, about 500 B.C., Attic.
PURCHASES
5 bowls, silver, and gold and electrum jewelry, second half
of the 6th century B.C., East Greek; Black-figuredskyphos,
4th century B.C., Boeotian (both Anonymous Gifts); Pair
of Gnathian epichyseis, pair of Gnathian oinochoai,
Gnathian skyphos, one-handled black cup, Gnathian
oinochoe, Gnathian skyphos, black-glazed relief guttus
with frontal siren on top, all 4th century B.C., Apulian;
Daunian incense burner, pair of Daunian kantharoi,
2 Daunian one-handled cups, 2 Daunian oinochoai, Dau-
nian funnel vase, 3 Daunian askoi, all 4th century B.C.,
Apulian; Astragal, faience, probably from Egypt, Ptole-
maic or early Roman; Statuette, bronze, Hermes, late
Hellenistic or early Roman, late Ist century B.C. to late
Ist century A.D. (all Rogers Fund).
Islamic Art
GIFTS RECEIVED
MichaelE. Abemayor:Handle of a vessel, in form of bird's
head, luster-paintedceramic, i oth century, Mesopotamian.
HaroldB. Allen(bequest):Miniature painting depicting Abra-
ham sacrificing Isaac, i8th century, Persian.
Dr. and Mrs. Lewis Balamuth:Chessman, jet, Ioth century,
Persian; Cream-glazed vessel, ceramic, i7th century,
Persian; 48 seals with inscriptions, carnelian and other
semiprecious stones, i8th-i9th centuries, Persian.
Mr. and Mrs. LeopoldBlumka: Peacock, bronze, Sultanate
period, I5th century, Indian.
ArthurA. Houghton,Jr.: 76 folios containing 78 miniatures
from a Shah-nameh manuscript of 1527, Persian (Tabriz).
Joseph V. McMullan: 9 carpets or carpet fragments, i6th-
igth centuries, Persian; carpet, i8th century, Caucasian
(Kuba).
Mrs. A. LincolnScott: Carpet, Mahal type, I9th century,
Persian (Feraghan).
Anonymous:Panel from a door depicting a bird against
arabesque background, Fatimid period, Ith century,
Egyptian; 2 textiles, each depicting an equestrian figure,
Buyid period, Ioth century, Persian; Textile depicting an
animal combat scene with winged lion, ith-i2th cen-
tury, Persian.
PURCHASES
Textile, linen with geometric embroidery, about 800o,prob-
ably North African (Everfast Fabrics, Inc., Gift); Bowl,
ceramic, I4th century, Persian (Veramin); Painting of a
dancer, Qajar period, early gth century, Persian; 5 polyg-
onal relief-carved panels, wood, Mamluk period, end of
the 13th century, Egyptian (all The Friends of the Islamic
Department Fund); Portion of a luster-painted bowl,
ceramic, signed by the ceramist Muslim, Fatimid period,
about Iooo A.D., Egyptian (Mehdi Mahboubian Gift);
Carpet, wool, Mamluk period, end of the 15th century,
Egyptian (Cairo); Throne leg in the shape of a griffin,
bronze, late 7th or early 8th century, Persian (both Joseph
Pulitzer Bequest); Dagger, gold, enameled and jeweled
with ram's-head finial in red enamel with diamond collar,
late I7th or early i8th century, Indian; Tinted brush
drawing on paper depicting Madonna and child in a
domestic interior, Mughal period, i7th century, Indian;
Plate, lapis-blue cut glass with gilded decoration, Mughal
period, firsthalf of the i8th century, Indian; Luster-painted
bowl, ceramic, Fatimid period, I Ith- 2th century, Egyp-
tian; Pendant, silver with gilt and niello decoration, Saljuq
period, I3th century, Persian or Turkish; Brass box,
cylindrical, with silver inlay, mid- 3th century, Syrian;
Candlestick base, brass, with silver inlay and engraved
decoration, I4th century, Egyptian; Mortar, bronze with
copper and brass inlay and Kufic inscription, I3th cen-
tury, Persian; Hemispherical bow, brass, with Kufic
inscription bands, i th century, Afghanistan (probably
Ghaznah) (all Rogers Fund); Blue and white bowl,
ceramic, early i6th century, Turkish (Iznik) (Louis E.
Seley Gift); Lion-shaped plaque, bronze with drill-hole
decoration, Mamluk period, second half of the I3th cen-
tury, Egyptian (Mr. and Mrs. Jerome A. Straka Gift);
Carpet, floral, Mughal period, firsthalf of the 17th century,
Indian (Bequest of Florance Waterbury and Rogers
Fund); Wood printing block, carved on both sides, Ioth
century, probably Egyptian (Mr. and Mrs. Bruce J.
Westcott Gift).
Medieval Art and The Cloisters
THE MAIN BUILDING
GIFT RECEIVED
ManfredSchwarz: Signet ring, engraved with two figures,
iron, about I2th- 3th century, European.
THE CLOISTERS
PURCHASES
Virgin and Child, marble, late i4th century, French; Seated
Bishop, wood with modern polychromy (now removed),
15th century, German; St. Anne with Mary and the Christ
Child, polychromed wood, about I480, German, Fran-
I57
 conian; St. Gerhard, stained glass panel from the Church
of St. Leonhard in Lavantthal, about I340, Austrian;
Butcher Killing an Ox, stained glass roundel, late I5th
century, South Netherlandish; Annunciation tapestry,
I5th century, South Netherlandish; Solomon and the
Queen of Sheba tapestry, I5th century, German, Upper
Rhenish; I ivories, gth to I5th centuries, Carolingian,
Hispano-Moresque, German, French, English, and Byzan-
tine; 4 ivories, 3rd-I4th centuries, Late Classical, Coptic,
French, and North Italian (all The Cloisters Collection).
Primitive Art
GIFTS RECEIVED
GeorgeBiddle:6 clay figurines, Caraja, Xingu region, Brazil.
KimScottGudgeon:4 wood carvings, Australia.
Dr. and Mrs. Howard Russell Hartman: 2 ceramics, Pre-
Columbian, Mexico; 7 ceramics and textiles, Pre-Colum-
bian, Peru; Bottle, ceramic, Quimbaya, Colombia.
Mr. and Mrs. Jack Davis Neal: 38 ceramics, 00ooB.C.-A.D.
1500, Peru.
PURCHASES
Helmet mask, wood, Bamileke, Cameroon (Louis V. Bell
Fund); Chieftain's mantle, cotton tapestry and brocaded
detail, Ghana; Caryatid dish, wood, Yoruba, Nigeria;
Large vessel, ceramic with geometric designs, 20th century,
Shipibo, Upper Ucayali River, Peru (all Rogers Fund);
Eskimo sculptures, stone, 20th century, Canadian (The
Houghton Foundation Inc. Gift).
Prints and Photographs (Outstanding
Accessions)
GIFTS RECEIVED
Josef Albers:Josef Albers, American, 6 portfolios of prints,
including White Line Squares, a series of I6 lithographs,
966.
Mrs. MauriceBlin: GeorgesRouault, French, lithograph from
the seriesThe Little Suburb, 1929, and Christon the Cross,
color etching and aquatint, 1936.
CentennialCommittee:Albert Ten Eyck Gardner Collection of
prints, photographs, and printed matter relating to mu-
seums, world's fairs, centennials, and expositions.
FernBradleyDufner,for theWillBradleyCollection: Will Bradley,
American, drawing of the Squire for CastlePerilous,1905,
and PeterPoodle Toy Makerto the King, written and illus-
trated by Bradley, New York, 1906.
KatharineGregory(partialinterest):Set of 52 Britishsilk-inlaid
playing cards and 26 silver counters, possibly made for
Charles I, early 17th century.
PeterJosten: Paolo Landriani, Italian, drawing for a stage
design, 18th century.
I58
AdrianLambert:Charles Bianchini, French, set of 85 drawings
for the opera Jeanned'Arc, I897.
Nikita D. Lobanov:Group of Russian stage and costume
designs, including 7 pochoirs by Alexandra Exter, 1930.
Phyllis D. Massar: Berenice Abbott, American, Io photo-
graphs of New York, 1935-38; Lewis Hine, American,
4 photographs, about 1910.
Mr. and Mrs. RobertJ. Massar: Attributed to Lodovico
Pozzoserato, Italian, Mary Magdalene in the Wilderness,
etching, 17th century.
Joseph I. Singer,for the Florenceand Joseph SingerCollection:
Group of contemporary prints, including Larry Rivers,
American, Stravinsky III, color lithograph, 1966-67; Lee
Bontecou, American, Untitled, etching and aquatint,
1967;JasperJohns, American, Untitled (Ruler) I, etching
and aquatint, I969, and White Target, lithograph on
black paper, 1967-68.
StephenSpector:Sir Frank W. Brangwyn, British, watercolor
drawing for a domed ceiling, 20th century.
CharlesWrightsman:Collection of 67 I7th to I9th century
architectural and ornament drawings, including Ange-
Antoine Gabriel's ground plan of the chateau of Marly
showing proposed alterations to the King's apartments,
1764, and Jean-Jacques Huve's project for a grotto and
cascade for Mme Elizabeth, the sister of Louis XV, at
Montreux, 1781.
PURCHASES
i6th century:
Andrea Alciati, Emblemes,Lyons, 1549; Vincenzo Cartari,
Les Images des Dieux, Lyons, 158I; F. Andre Thevet,
Cosmographiede Levant, Lyons, 1554 (Bequest of Florance
Waterbury).
7th century:
Jean Berain, French, design for the catafalque of Louis de
Bourbon, Prince de Conde, 1687, from a group of 99 17th
to i9th century drawings from the collection of Edgar
Kaufman (Harris BrisbaneDick Fund andJoseph Pulitzer
Bequest); Rembrandt Harmensz van Rijn, Dutch, sheet
with two studies: a tree and the upper part of a head of the
artist wearing a velvet cap, etching, about 1642 (Rogers
Fund); Stefano della Bella, Italian, rebuson love and rebus
on fortune mounted as a fan, etchings (Bequest of Florance
Waterbury).
I8th century:
John Sanderson, British,4 drawings for the dining room from
Kirtlington Park now installed in the Metropolitan
Museum (The Elisha Whittelsey Fund and Rogers Fund);
Giovanni Domenico Tiepolo, Italian, Picturesque Idea on
the Flight into Egypt, set of 25 etchings, 1753 (Bequest
of Florance Waterbury); John R. Cozens, British,series of
12 etchings of trees, some washed with India ink by the
artist; FetesPubliquesDonneespar la VilledeParis, a l'occasion
 du Manage de Monseigneur Le Dauphin,Paris, 1745 (all The
Elisha Whittelsley Fund).
igth century:
Edouard Manet, French, Christ between Angels, etching,
1864; Edmond Picard, Le Juri, Brussels, 1887, illustrated
by Odilon Redon, French (both Bequest of Florance
Waterbury); George N. Barnard, American, Photographic
Viewsof Sherman's Campaign,New York, I866 (Rogers and
Gustavus A. PfeifferFunds); Ariosto, RolandFurieux,Paris,
1879, illustrated by Gustave Dore, French; Paul Verlaine,
ParallElement, Paris, 1900, illustrated by Pierre Bonnard,
French; Sir Horace Jones, British, group of o architec-
tural drawings (all The Elisha Whittelsey Fund).
20thcentury:
George Bellows,American, group of 6 lithographs including
Introducing John L. Sullivan, I916, and Tennis at New-
port, 1920 (Fletcher Fund); Berenice Abbott, American,
portrait of Edward Hopper, photograph (The Joseph and
Evelyn Isaacson Fund, Inc., Gift); Marguerite Mather,
American, The Pine Branch, photograph; Imogen Cun-
ningham, American, The Wind, photograph (both Mr.
and Mrs. RobertJ. Massar Gift) ;JasperJohns, American,
Scott Fagan Record, color lithograph and relief, 1970;
David Hockney, British, Six Storiesfrom theBrothersGrimm,
London, 1970 (allJohn B. Turner Fund) ;Jim Rosenquist,
American, Bunraku, lithograph, 1970 (Stewart S. Mac-
Dermott Fund).
Twentieth-Century Art
GIFTS RECEIVED
GeorgeBiddle: Hunt Diederich, American, octagonal plaque,
cut iron, about 1920.
Brunschwig andFils: Montevideo, length of textile, American,
I969; Sao Paolo, length of textile, American, 1970.
EmilyH. Chase:Mariano Fortuny, Italian, length of printed
velvet, early 20th century.
Edith Denniston:Preston Dickinson, American, Interior, oil
on canvas, I924.
Lady KathleenEpstein:Jacob Epstein, English, Peggy Jean,
white plaster, about 1932.
EverfastFabrics,Inc.: 5 lengths of textiles, American, I969.
ChaimGoldberg:Chaim Goldberg, Israeli, Shtetl, oil on can-
vas, 1962.
JosephH. Hazen:Pablo Picasso, Spanish, Le Faun aux Etoiles,
oil on canvas, 1955.
JosephH. HazenFoundation,Inc.: Frank Kupka, Czechoslo-
vakian, Plans Par Verticales, oil on canvas, 1912-13.
Mrs. FrancisV. Kughler:Francis Vandeveer Kughler, Ameri-
can, Roses Gone Wild, oil on canvas, 1969.
VirginiaAlekianMouradian(bequest):Alfeo Faggi, American,
Bust of the Artist's Wife, bronze, 20th century.
WalterJ. Reinemann(bequest):Emil Nolde, German, Large
Sunflowers I, oil on board, 1928.
Mr. andMrs. RobertC. Scull: Frank Stella, American, Marra-
kech, fluorescent alkyd on canvas, 1964.
Societyof Medalists: Tom Allen, Jr., American, Pro Vita,
2 identical bronze medals, I970; Hal Reed, American,
Unleashing the Atom, 2 identical bronze medals, I97 1.
Mrs. MauriceStern:Everett Shinn, American, Julie Bonbon,
pastel on paper, 1907.
Mrs. John T. Terry: Eugene Speicher, American, Portraits
or Mr. and Mrs. Waldron Williams, oil on canvas, about
I915.
VogueMagazine: 7 lengths of textiles, American, 1969; 8
lengths of textiles, American, 1970.
EdwinL. Weisl,Jr.: Corrado Marca-Relli, American, Arras,
collage, late 1950s.
Anonymous, in honorof WarrenE. Buffett:Stefan Hirsh, Ameri-
can, Flooded Trees, oil on masonite, about 1930.
PURCHASES
G. Argy-Rousseau, French, vase, pdte de verre,about I925-
1939; Jean Dunand, French, pair of cobras, bronze, about
I919; Emile Gall, French, vase, glass, about 1925-1931;
Josef Hoffman, Austrian, basket, silver, about 1905;
Maurice Marinot, French, 3 vases, glass, about I925-1929
(all Rogers Fund); Man Ray, American, chess set, wood,
I924; Chess set, aluminum, 1947 (Gustavus A. Pfeiffer
Fund); Emile-Jacques Rhulmann, French, cabinet, am-
boyna and ivory, about 1920-30; Table, Macassar ebony
and ivory, 1920-30 (Rogers Fund); Mark Rothko, Ameri-
can, Reds, No. I6, I960, oil on canvas, I960 (Arthur H.
Hearn, Hugo Kastor, and George A. Hearn Funds);
Charles White, American, Nocturne, Matriarch, Elijah,
Melinda, drypoint etchings, I969; Jessica, drypoint etch-
ing, 1970 (Rogers Fund and Bequest of Martin Birnbaum,
by exchange).
Western European Arts
GIFTS RECEIVED
Mrs. S. HigginsonBegley:4 pairs of curtains, apricot-colored
velvet, 19th century, Italian (for installation purposes).
EmilyH. Chase:Panel, cut velvet on gold ground with stylized
floral pattern, early i8th century, French.
LeonJ. Dalva,Jr., andDavidLeonDalva II: Altar frontal with
polychrome bird and floral motifs, applied on moire silk,
i8th century, Italian.
Douglas Dillon: 2 white soft-paste porcelain figures of the
Mater Dolorosa and St. John, about I743, by Giuseppe
Gricci, Italian (Capodimonte).
Doris Duke: 2 snuffboxes in the form of lemons, hard-paste
porcelain, about 1750, German (Meissen).
Mrs.A. Exton:Scene from a Romance, wool and silk tapestry,
about 1627, French (Paris).
MarcGhiron:Matching flounces of pointdegaze, needle lace,
mentioned in an inventory of Eugenie's personal belong-
ings, about 1850, Belgian.
I59
Mrs. Benjamin Ginsburg: 2 lengths of roller-printed cotton,
red and blue-greens on cream, and red, blue, tan, and
green on cream, i9th century, English; Length of red silk
damask, about 1890, French or English.
Mrs. William Randolph Hearst (renunciation of life interest):
Carpet, knotted wool with heraldic shield in the center,
17th century, Spanish.
RaymondeNeel: Ladle, silver, 1780-8I, by Hester Bateman,
English (London).
Mrs. Samuel I. Rosenman: 2 snuffboxes, French (Paris): one
of varicolored gold, 1774-75, the other gold and enamel,
set with a miniature, about 1783.
Mr. and Mrs. Ernest Paris Saelman: Pair of curtains, double-
face pile weave, wool and cotton, with the arms of the
Emperor Franz Josef, about 1870, German or Austrian.
Lilliana Teruzzi: Harpsichord and stool, gilded and painted
elm and birchwood, painting under the lid attributed to
Crescenzio di Onofrio, Italian, 1675-98; Lantern, painted
and gilded tole, i8th century, Italian; (for installation
purposes): 12 yards of red silk damask, about I700, Italian;
3 pieces of Italian furniture: culla (miniature cradle),
carved, painted, and gilded wood, about I700, console
table, carved and gilded wood with sarrancolin and vert-
de-mer marble top, about I740, canape, carved walnut,
about 1750, Genoese; Pair of one-light wall brackets,
carved and gilded wood, about I720, Italian; Twelve-
branch chandelier, carved and gilded wood, about 1720,
Italian; Longcase clock, partially gilded walnut, about
1766, works by Mario Gambelli da Montalboddo, Italian;
Pair of armchairs, painted wood, about 1785, by Nicolas
Delaporte, French.
Irwin Untermyer: Figure of Mars, bronze, about I590, by
Tiziano Aspetti, Italian (Venice); Rape of the Sabines,
bronze, about 600o, model by Giovanni Bologna, Italian
(Florence); (by exchange) Wine cup on high baluster stem,
silver, 1618, English (London); Pair of candlestands, wal-
nut, about I675, English or possibly Continental; Tripod
table, with a twelve-sided top and baluster-shaped stem,
walnut, about 1700, English; 13 pieces of hard-paste porce-
lain, German (Meissen): 3 pagoda figures, about I715,
teapot in the form of an eagle with gold chinoiserie
decoration, Boettgerware, about I715-20, sugar box and
cover with red and aubergine miniature landscapes, about
1720, teapot with Hausmaler chinoiserie decoration, 1728-
30, tankard with cover and gilt-bronze mounts, about
1740, pair of bullfinches, about 740, pair of swan-shaped
sauceboats and covers mounted on gilt bronze, about
1745-50, pair of swan-shaped sconces with gilt decoration,
about 1745-50; 4 pieces of hard-paste porcelain, Austrian
(Vienna): box and cover, with floral decoration, about
1740, parrot with green plumage on tree trunk, about
1750, group of a crinoline lady and a Hussar officer in
white, about I755, Lover as Pilgrim, about 1765; 13 pieces
of soft-paste porcelain, English (Chelsea and "Girl-in-a-
Swing" Factory): sauceboat, about I748, miniature
I6o
group with two children on grassy mound, 1751-54, seal
in the form of a swan with oval base with gilt-metal mount
and matrix of rubies, turquoises, and lapis-lazuli, 1751-54,
white group of Hercules and Omphale in embrace, about
I750, pair of white groups, Ganymede and the Eagle, and
Europa and the Bull, about 750, bonbonniere in the form
of two ducks with ducklings, with hinged gold-mounted
cover of gray banded agate, about 1760, set of 3 vases with
pastoral scenes of children, about 1761, group of Summer
and Autumn, about 1765, pair of vases with covers,
Mazarin blue ground, about 1769, and tureen and cover
in the shape of a turkey on a platter, tin-glazed earthen-
ware, about I750, French (Marseilles); 3 pieces of hard-
paste porcelain, Italian (Capodimonte): Socrates and
Xantippe, about 1750, Lady with Tailor, about 1750,
fisherman and girl, about 1750; 5 scent bottles, soft-paste
porcelain, English (Chelsea): the Three Graces, 1751-54,
nun reading a book, about I755, nun holding a rosary,
about 1756; Portia, about 1756, lady kneeling before a
monk, about 1765; 9 scent bottles, soft-paste porcelain,
about 1760, English (Chelsea and "Girl-in-a-Swing" Fac-
tory): bouquet of apple blossoms with apple blossom finial,
two boys chasing a butterfly, bunch of flowers with butter-
fly stopper, two red squirrels, cluster of cherries with foliage
stopper, urn of flowers with butterfly stopper, golden plum
with stalk-shaped stopper, fountain supported by two putti
with swan stopper, Chinese lady; 5 pieces of hard-paste
porcelain, German: pair of"icebirds," about 1760, Berlin,
flamingo with rushes, about 1765, Nymphenburg, seated
girl playing mandolin, about 1770, Ludwigsburg, girl
carrying flowers, about 1780, Limbach, pair of animal
groups on pedestals, about 1770, Italian (Doccia); (all,
renunciationof life interest): Bust of bearded military person-
age, bronze, 17th century, possibly Italian; Gate-leg table,
walnut and walnut veneer, about I690, English or possibly
Continental; Settee, walnut frame, covered in needlework,
about 1720, English; Cheval firescreen, walnut frame,
parcel gilt and needlework, about I730, English; Arm-
chair, mahogany, about 1755, English; Group of Winter
and Spring, soft-paste porcelain, about 1765, English
(Chelsea); Pair of candlesticks with figures of Summer and
Autumn, soft-paste porcelain, about 1765, English (Derby).
P. A. B. Widener: Table carpet, silk and wool tapestry, floral
design with unicorns, i6th century, Flemish.
Wildenstein and Co., Inc.: St. Mary Magdalen, terracotta,
painted and gilded, 1495-96, modeled by Agnolo di Polo
and polychromed by Bernardino del Signoraccio, Italian
(Tuscan).
Alice Bradford Woolsey (bequest): Pair of mugs, hard-paste
porcelain, painted with the arms ofJekyll impaling Somers,
about 1715, Chinese (made for the English market); Punch
bowl, hard-paste porcelain, with arms of the Anti-Gallican
Society, Chinese genre scenes with shell and scroll border,
about 1750, Chinese (made for the English market); Platter
and 2 plates, hard-paste porcelain, painted with a coat of
 arms, floral borders, about 1765, Chinese (made for the
Continental market).
CharlesWrightsman:Pair of place sets, comprising knife, fork,
and spoon, handles of hard-paste porcelain with bronze
mounts, about 1745-50, German (Meissen); 2 pieces of
hard-paste porcelain, 1745-50, German (Meissen): parrot,
decorated in green, puce, and other colors, and miniature
cockatoo standing on a tree stump in green plumage;
4 pieces of hard-paste porcelain, French (Sevres): biscuit
figure, Femme et Colombe, about 1765, 2 seaux,turquoise
blue with two handles, 1753-55, and biscuit figure of
l'Amour garqon, model created about 1758, by Etienne-
Maurice Falconet.
Mrs. CharlesWrightsman:Garniture of 3 vases, hard-paste
porcelain, mounted in gilt bronze, about I745, German
(Meissen).
Paul B. Zeisler,Jr.: Butter tub and cup and saucer, blue
and white soft-paste porcelain, about I755-6o, English
(Worcester).
Anonymous:Pair of candlesticks engraved with the arms of
Parson,silver, 1745, by Thomas Gilpin, English (London).
PURCHASES
Architectural sculpture: Chimneypiece, Carrara marble set
with gilt-bronze ornament, about 1785, French (for instal-
lation purposes) (Rogers Fund).
Ceramics: Mug, blancde Chine,Te-hua (Fukien Province),
copied from an English stoneware model, I690o-700
(made for the European market); Jar, painted in under-
glaze blue and white with the Crucifixion, I69o-I700
(made for the European market); plate, decorated in blue
and white, with coat of arms, about 1700 (made for the
Continental market); Candlestick, probably copied from
an English silver model, about I710-20 (made for the
European market); Pair of plates, decorated in blue and
white with the crest of the Peers family, about 173 (made
for the English market); 2 plates, painted in underglaze
blue, from a seriesdepicting stages of tea cultivation, about
1740-50 (made for the European market); Plate, painted
in colors with the arms of Grill, 1740-1750 (made for the
Swedish market); Pair of plates, with the arms of Frederick
the Great, about 1755 (made for the German market);
Platter, painted in enamel colors with butterflies and
flowers, about I84o-60 (probably made for the American
market), all hard-paste porcelain, Chinese (all Winfield
Foundation Gift); Plate, painted with a European couple
in garden, about 1720 (made for the Continental market);
Plate, painted in underglaze blue with the arms of Gough
impaling Hynde, about 1725-30; Platter, made for John
Kent of Maidstone, Kent, about 1760; Bowl and stand,
decorated with the monogram and crest of William Wood-
ley, about 1765-70 (all made for the English market);
2 plates, with the arms of Catherine the Great, about 1770-
75 (made for the Russian market), all hard-pasteporcelain,
Chinese (all Lucile and Robert H. Gries Charity Fund
Gift); Octagonal wine cistern on paw feet, decorated in
blue with chinoiserie, tin-enameled earthenware, I675-
1700, Dutch (Delft); Urn, white bisque, hard-paste porce-
lain, I8th century, French (Sevres) (all CharlesE. Sampson
Memorial Fund); snuffbox in the form of an apple in
naturalistic colors with a landscape miniature in the inte-
rior, hard-paste porcelain with gold mounts, about 1745,
German (Meissen) (Gift of George F. Baker, Gift of Mrs.
George B. McClellan, Gift of J. Pierpont Morgan, and
Rogers Fund, by exchange).
Furniture: Set of 15 dining-room chairs, mahogany, covered
in leather, about 1775, in the style of Robert Adam (1728-
I792), English (Fletcher Fund).
Sculpture: 2 reliefs, bronze, scenes from the Martyrdom of
St. Daniel, 1592-93, by Tiziano Aspetti, Italian (Paduan)
(Edith Perry Chapman Fund and Fletcher Fund); The
Mourning Virgin, wood, polychromed and gilded, I650-
1700, German (Bavarian) (Harris Brisbane Dick Fund);
Bust of an ecclesiastic, marble, mid-18th century, French
or Italian; 2 groups of garden sculpture, Children Playing
with Fish, lead, 1720-40, attributed to Lambert-Sigisbert
Adam, French (all funds given by the Josephine Bay Paul
and C. Michael Paul Foundation, Inc., and the Charles
Ulrick and Josephine Bay Foundation, Inc.); St. Joseph
and the Child Jesus, boxwood, about 1640-50, probably
byJustus Glesker, German (Frankfurt);The Genius of the
Dance, bronze model, 1872, executed and signed byJean-
Baptiste Carpeaux, French (all Rogers Fund).
Textiles: Manuscript tariff revisionswith relevant cloth sam-
ples, i8th century, French; Piece of cotton, painted and
dyed with Louis XV floral pattern, i8th century, Indian
(made for the French market); Panel of silk chain stitch on
cotton twill, with embroidered flowers, I8th century,
Indian (made for the European market); Piece, copper-
plate print on linen and cotton tabby, I8th century,
English or French; 2 pieces, linen and cotton tabby,
brocaded in varicolored wools (toile normande),I8th cen-
tury, French; Length of brocaded green silk, with stylized
floral design, about 1730, Dutch; Napkin, white damask,
with de Bruyn Kops coat of arms, dated I745, Dutch;
Length of cotton, copperplate print, "Pagoda" in red,
about 1780, by Nixon and Co., English; Length of cotton,
copperplate print of Napoleon, about 18io, engraved by
Samuel Smith and drawn by EugieneBourgeois, after the
painting by Jacques-Louis David, Scottish (Glasgow) (all
Rogers Fund).
I6I
DepartllentalAccessions,
American Paintings and Sculpture
GIFTS RECEIVED
Mr. and Mrs. ArthurG. Altschul:Childe Hassam, American,
Esplanade, Dunkerque (The Beach at Dunkirk), water-
color, 1883; (three quarters undivided interest): Frank
Boggs, American, Paris Street Scene, oil on canvas, I893.
TheMarquisdeAmodio,O.B.E.: John Singer Sargent, Ameri-
can, Male Model, oil on canvas, about I875.
Mrs. GardnerCassatt(II% undividedinterest):Mary Cassatt,
American, Lydia Cassatt Knitting in the Garden at Marly,
oil on canvas, I880.
Mrs. MadeleineThompson Edmonds:Cephas Giovanni Thomp-
son, American, Spring, oil on canvas, 1838.
The EquitableLife AssuranceSocietyof the UnitedStates:John
Quincy Adams Ward, American, Henry B. Hyde, bronze
statuette, I901.
Mr. andMrs. StuartP. Feld: Shepherd Alonzo Mount, Ameri-
can, Catherine BrooksHall, oil on canvas, about i840-50.
StuartP. Feld: 4 American frames: Plasterworkframe, gilded,
about 1850; Plasterworkframe, gilded, about I860; Gilded
frame by or after Stanford White, about I900; Gilded
frame, designed by Childe Hassam, about oo900.
Mrs. SamuelHellinger:Louis Moeller, American, A Scientific
Discussion, oil on canvas, about i89os.
Mrs. OswaldC. Hering(remaining
2/5 undivided
interest).Samuel
Colman, American, Alhambra, oil on canvas, I865.
Mr. andMrs. Raymond J. Horowitz:Frank Boggs, American,
Armistice Day, Paris, watercolor, I918.
JulianClarence Levi(bequest):Julian Clarence Levi, American,
seven watercolors: Capella Palatina, Palermo, 1903; Patio
del Mexuar, Alhambra, 1904; View of Siena, about I904;
Art Palace and Lagoon, Panama-Pacific International
Exposition, San Francisco, 1915; Thunder Hole, Mt.
Desert, Aug. 1916, I91 6; Garden-Camp Highwall, Lake
Placid, N. Y., I943; McKenzie Mountain and Lake, Aug.
1969, 1969.
Dr. and Mrs. Harold W. Lovell: Thomas Hill, American,
Yosemite, oil on canvas, i885.
Mrs. Hope WilliamsRead (renunciation
of life interest):Mary
Cassatt, American, Nurse Reading to a Little Girl, pastel,
I895.
Jock Truman:John F. Kensett, American, Windsor Forest,
watercolor, 1844.
Flora E. Whiting(bequest):John La Farge, American, Pre-
liminary Study for the Watson Window, Buffalo, pencil
drawing, i888.
PURCHASES
William Bradford, American, Shipwreck off Nantucket, oil
on canvas, about I859-60 (John Osgood and Elizabeth
Amis Cameron Blanchard Memorial Fund, Fosburgh
162
July 1, 1971-June 30,1972
Fund, Inc., Gift, and Maria DeWittJesup Fund); Edward
Kemeys, American, Still Hunt, bronze bas relief, about
1894 (Rogers Fund); John Quincy Adams Ward, Ameri-
can, George Washington, bronze statuette, I9 I (Rogers
Fund).
American Wing
GIFTS RECEIVED
RichardT. Button:Music stand, ebonized maple, about 1870,
American (probably New York).
Grandchildrenof Mrs. RansonSpafordHooker,in her memory:
Four Federal eagle-motif wall sconces, carved and gilt
wood, about 1800-I5, American.
Mrs. StanleyB. Ineson: Sideboard, mahogany with marble
top, about 1815, attributed to Duncan Phyfe, American
(New York).
Mrs. EdwardVasonJones,in memory of Nella VasonJones:Lamp,
blue overlay glass, about I845-50, labeled by Archer &
Warner, American (Philadelphia); Harp, bronze and gilt
gesso, about 1830-40, labeled by "J.F. Brown & Co., mak-
ers, New York. 709 Broadway.," American (New York).
Mary and BradfordKelleher:Sugar bowl, magnet and grape
pattern glass, mid-19th century, by the Boston and Sand-
wich Glass Company, American (New York).
Mr. and Mrs. EdwinKessler:Six goblets, silver, about I810,
by Anthony Rasch, American (Philadelphia).
GeorgeLaBalme,Jr., GuyLaBalme,and Mrs. Diane Brandauer:
Coffee urn, pewter, about 1830, by Roswell Gleason,
American (Dorchester, Massachusetts); Communion flag-
on, pewter, i9th century, by Rufus Dunham, American
(Portland, Maine).
Mrs. GeorgeF. Leonard:Eleven art tiles, ceramic glazed pot-
tery, about I881-90, by J. & J. G. Low Art Tile Works,
American (Chelsea, Massachusetts).
JulianClarenceLevi(bequest):Pedestal, ebonized and gilt rose-
wood, about I870, American (probably New York).
Paul Martini: Closed armchair, mahogany, about 1865-67,
attributed to Herter Brothers,American (New York).
Mr. andMrs. ArnoldB. Skromme: Rocking chair, stenciled and
painted wood, about 1825, labeled by "Hudson & Brooks,
Portland," American (Portland, Maine).
Mrs. B. LangdonTylerandMrs. W. FloydNichols:Pier table,
satinwood, about I815, attributed to Duncan Phyfe,
American (New York).
BradfordA. Warner(remaininginterest): Suite of furniture
(sofas, armchairs, sidechairs), rosewood, about 1859, by
Joseph Meeks and Sons, American (New York).
Flora E. Whiting (bequest):Pair of shield-back side chairs,
mahogany, about I795-I805, American (Rhode Island);
Pair of eagle-back side chairs, mahogany, about 1820,
The Metropolitan Museum of Art
is collaborating with JSTOR to digitize, preserve, and extend access to
Metropolitan Museum Journal ®
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workshop of Duncan Phyfe, American (New York); Four
Chippendale ladderback side chairs, mahogany, i8th
century, branded "TB," American; Lolling armchair,
inlaid mahogany, i8th century, American (New England);
Pair of side chairs, carved maple, gth century, American;
Pair of side chairs, maple, 8th century, American; Lolling
armchair, cherry, i8th century, American (Newburyport,
Massachusetts); Twelve side chairs, carved mahogany,
about I80o, American; Side chair, mahogany, about 825,
workshop of Duncan Phyfe, American (New York); Pair
of side chairs, carved mahogany, about i815, American
(Boston); Two wing chairs, walnut, i8th century, Ameri-
can (New England); Two mirrors, carved and parcel
gilded walnut, x8th century, American (Philadelphia);
Mirror, carved and gilt wood with eglomise panels, about
I8oo, American (New York); Wall clock, carved and gilt
wood, about I8I5, by Curtis and Dunning, American
(Concord, Massachusetts); Portico clock, early g1th cen-
tury, by C. Grognot, French (Paris); Chest of drawers,
painted wood, igth century, American (Boston); Dressing
table, painted and decorated wood, 19th century, Ameri-
can; Block-frontdesk, mahogany, 18th century, American
(Massachusetts); Block-frontchest of drawers, mahogany,
i8th century, (Massachusetts); Dressing table, walnut,
i8th century, American (Philadelphia); Block-frontdress-
ing table, cherry, i8th century, American (Connecticut);
Tea table, mahogany, about 1760, American (New York);
Drop-leaf table, mahogany, 8th century, American
(Massachusetts); Gate-leg table, mahogany, i8th century,
American (New England); Mixing table, inlaid mahog-
any, about 1795-1805, American (New England); Pem-
broke table, inlaid mahogany, about I790, American
(Baltimore); Two card tables, inlaid mahogany, i8th
century, American; Oval top table, cherry, 18th century,
American; Pair of wall brackets, carved and gilt gesso on
pine, about I770, American; Pair of Georgian sconces,
carved and gilt wood, about 800o,English; Adam sconce,
carved and gilt wood, about 800o,English; Eagle bracket
shelf, carved and gilt wood, about 1815, English; Eagle
wall brackets, carved and gilt wood, about 1820-25,
American; Circular bowl, burlwood, about I820, Ameri-
can; Eight quilts in various patterns, textiles, Igth century,
American; Pair of sconces, tin and mirror glass, late 18th
century, American; Two pair of candlesticks, brass and
bell metal, 18thcentury, English; Urn from vase, Baccarrat
cut glass, about i 825, French; Three bowls, sixjardinieres,
one coffee pot, one platter, two vases, three candlesticks,
one figural group, one five-piece garniture, all export por-
celain, Igth century, Chinese; Pair of double andirons,
engraved bell metal, about 1780, attributed to Paul Revere,
American (Boston); Candlestand, brass and iron, i9th
century, American; Eight fire tools and one lacquer bel-
lows, late i8th and early Igth century, English and Ameri-
can; Four candlesticks, pewter, I8th century, Dutch;
Pitcher, silver, about I790, by Jesse Churchill, American
(Boston); Two pair candlesticks, enamel, about I775-
1800, English; Three Staffordshirefigural groups, pottery,
about 1785-1835, English; Pair of Staffordshirevases and
pair of Staffordshirecachepots and stands, pottery, about
1775-I800, English; Set of statuettes depicting seasons,
polychromed wood, early Igth century, probably English;
Yellow lusterware dessert service, pottery, i9th century,
English; Silver resist jug, pottery, about I835, English;
Pair of "Vieux Paris" jardinieres and stands, porcelain,
I9th century, English; Coffret, enamel, i8th century,
Chinese; Sampler, embroidered textiles, dated 1795,
American.
HopeBarrieWolf: Piece of fabric, cotton, roller printed with
commemorative design of the Centennial, about i876,
American.
PURCHASES
Architecture: Four staircases from the Chicago Stock Ex-
change Building, about 1893, designed by Louis Sullivan,
American (Emily C. Chadbourne Bequest and Mr. and
Mrs. James Biddle Gift); "Little House," about 1912-15,
home designed for Francis W. Little by Frank Lloyd
Wright, American (Minnesota) (Emily C. Chadbourne
Bequest).
Ceramics: Art Tile, ceramic glazed pottery, about 1881-90,
by J. & J. G. Low Art Tile Works, American (Chelsea,
Massachusetts) (Mrs. Russell Sage Gift).
Furniture: Child's cradle, mahogany, about 1820, American
(New York) (Gift of George Coe Graves, The Sylmaris
Collection by exchange); Pier table with mirrored dtag6re
top, carved rosewood, about 1850-57, labeled by Alex-
ander Roux, American (New York) (Sansbury-Mills
Fund); Library table, carved and inlaid rosewood, about
1882, made by Herter Brothersfor the Vanderbilt Man-
sion, American (New York) (Mrs. Russell Sage Gift);
Camel-back marlboro foot sofa, mahogany, about I760-
70, American (Philadelphia) (Gift of Mrs. Louis Guerineau
Myers, in memory ofher husband, by exchange); Chippen-
dale side chair, mahogany, about 1770, American (Massa-
chusetts) (Mrs. Russell Sage Gift).
Glass: Bowl and plate, blown and etched glass, about 1908-
12, by Christian Dorflinger, American (White Mills,
Pennsylvania) (Mrs. Russell Sage Gift); Presentation urn,
etched and engraved blown glass, i9th century, American
(Pittsburgh) (Paul P. Ramos Gift).
Metalwork: Pair of candlesticks, silver, about 1760-75, by
Myer Myers, American (New York) (Sansbury-Mills
Fund); Nutmeg grater, silver, igth century, Chinese (Mr.
and Mrs. Marshall P. BlankarnGift).
Ancient Near Eastern Art
GIFTS RECEIVED
WalterC. Baker (bequest):Head of a woman, stone, about
2200 B.C., Akkadian. Amulet, stone, III millennium B.C.,
Sumerian. Cylinder seal, amethyst, II millennium B.C.,
i 63
 Babylonian. Bowl, steatite, III millennium B.c., Sumerian.
Relief, stone, III millennium B.C., Sumerian (?). Attach-
ment with figure of goat, bronze, II millennium B.C., Per-
sian. Statuette of warrior, bronze, about Iooo B.C., Syro-
Hittite. Statuette of charioteer, bronze, Assyrian.
Mrs. Vladimir S. Littauer: Horse harness, iron with gold leaf
decoration, 3rd-5th century A.D.
Jock Truman: Spouted pot, gray-ware, about I I00 B.C.,
Iranian.
PURCHASES
I millennium A.D.: Ewer, pewter, Iranian (Rogers Fund).
Date undetermined: Jewelry mold, stone, provenance un-
known (Rogers Fund).
Arms and Armor
GIFTS RECEIVED
The Samuel H. Kress Foundation: Horse trapping (peytrel) of
embroidered velvet, with arms of Marques de Souza,
Portuguese, ca. 1700.
William G. Renwick (bequest): Snaphaunce six-shot revolver
gun, English or French, late I7th century.
Mrs. GeorgeHenry Warren (in memoryof her husband): Iron crest
of a helmet, in shape of a seven-headed Hydra, the badge
of the Sforza-Pallavicini family, Italian, second half of i6th
century; Cased pair of percussion pistols, by Gastinne-
Renette, French (Paris), mid-igth century; Court sword,
French, i8th century.
J. Watson Webb, Jr.: Dagger (tanto in aikuchi mounting),
blade signed "Bishu Osafune Kagemasa," dated 1330,
mountings by Masaharu, Igth century, Japanese.
Samuel B. Webb: Dagger (tanto in aikuchi mounting), blade
signed "Bishu Osafune Morimitsu," dated 1399, mount-
ing signed by Kikuoka Mitsuaki, ca. 1870, Japanese.
PURCHASES
Officer's sword, by Wilkinson, I890, British (London),
(Rogers Fund); Pair of stirrups, Western European, (Por-
tuguese?) ca. 1700 (Bashford Dean Fund); Hunting knife,
Austrian (Innsbruck), ca. 1500 (Rogers Fund); Wheellock,
signed GZ, South German, late I7th century (Rogers
Fund); Gunsmith's all-purpose tool, (hammer, screw-
driver, prick, oiler, bullet worm, seal bezel), Italian, late
17th century (Rogers Fund).
Costume Institute
PURCHASES
Toga, 20th century, Ghana; Two robes (bubu), 20th cen-
tury, Senegal; Man's suit, 20th century, Mali; Four lengths
of fabric for women's skirts, 20th century, Mali and Ivory
Coast; Robe (bubu), c. 1915, for a king of Mossi tribe,
region of Ouagadougou, Upper Volta; Man's suit, about
1780, English; Dress, early I9th century, English; Pelisse
robe, c. 1815, English; Cloak with cape, mid 19th century,
American; Cape and bonnet, i9th century, American;
Two aprons, i8th century, European; Embroidered mull
scarf, early Igth century, English; Black suede gloves, c.
I945, French; Group of hats, I9th and 20th centuries,
American; For the Costume Institute Library, 22 books
and 29 volumes of periodicals (all Irene Lewisohn Bequest).
A collection of approximately 6,000 drawings illustrating
the entire American production of Mainbocher, 1940-71
(Gift of Richard King Mellon Foundation).
Drawings
GIFTS RECEIVED
Walter C. Baker (bequest): Stefano della Bella, Italian, Scenes
from the Life of Christ and the Parable of the Prodigal Son,
pen, I7th century; Antonio Bibiena, Italian, Design for
Decoration of a Palace Salon, pen and wash, I8th century;
Jan de Bisschop, Dutch, Village of Wasschout, pen and
wash, I7th century; Hans Bol, Dutch, Return of the
Prodigal Son, pen and wash, I6th century; Anthony van
Dyck, attributed to, Flemish, Group of Trees, pen and
wash, i7th century; Dutch anonymous, Landscape with
Farm House and Steeple in the Distance, pen and wash,
I7th century; Giovanni Battista Franco, Italian, Unre-
pentant Thief, Penitent Thief, pen, i6th century; Fran-
cesco Goya, attributed to, Spanish, Hanged Man, pen and
wash, I8th century; Italian anonymous, Page from Pic-
ture Chronicle, pen and watercolor, i5th century; Italian
anonymous, Youthful Saint, pen and black chalk, I5th
century; Italian anonymous, St. Anne Teaching the Virgin
Mary, pen and wash, i6th century; Italian anonymous,
Baptism of Christ, pen, i6th century; Nicolas Lagneau,
French, Portrait of Old Man with Skull Cap, black chalk
and wash, I7th century; Jean Lemaire, attributed to,
French, Landscape with Architecture, pen and wash, 8th
century; Salvator Rosa, attributed to, Italian, Five Figures
in Fantastic Costumes with Two Dogs, pen, 17th century;
Antonio d'Enrico Tanzio, called Tanzio da Varallo, Ital-
ian, Bishop with Raised Hands, red chalk, I7th century.
Gregoire Tarnopol: Zacharie Astruc, French, Landscape and
3 Studies of Flowers, watercolor, I9th century; Auguste
Rodin, attributed to, French, Seated Female Nude, pen,
g9th century; Boris Solotareff, Russian, Portrait of Dr.
de Mello, pencil, 2 studies of card players, pencil and
watercolor, 20th century.
Charles Wrightsman: Gilles Allou, French, Portrait of Antoine
Coysevox, pen and wash, i8th century.
PURCHASES
z6th century:
Italian: Avanzino Nucci, Mystic Marriage of St. Catherine,
pen and wash; Teodoro della Porta, Design for the Orna-
mented Letter B, pen and wash; Giovanni Battista Ricci,
 Crucifixion of St. Peter, pen and wash; Giorgio Vasari,
Allegory of Earth, pen and wash (all Rogers Fund).
17th century:
French: Jean-Baptiste Jouvenet, St. Peter Healing the Sick
with His Shadow, red chalk (Mr. and Mrs. Henry Ittleson,
Jr. Gift).
Italian: Anton Domenico Gabbiani, Design for a Ceiling,
pen; Giovanni Francesco Barbieri, called Guercino, St.
Cecilia and an Angel, red chalk; Mattia Preti, Bishop in
Glory, red chalk and wash; Pietro Testa, Presentation of
the Virgin in the Temple, pen and wash (all Rogers Fund).
Spanish:Jusepe de Ribera, Studies of a Bat and of Two Ears,
red chalk and wash (Rogers Fund).
18th century:
Dutch: Gaspar Adriaensz van Wittel, View of the Forum
with Arch of Septimius Severus, pen and wash (Rogers
Fund).
French: Pierre Dulin, Scene of Coronation, wash (Mr. and
Mrs. Henry Ittleson, Jr. Gift).
Italian: Pier Leone Ghezzi, Caricature of AbbeJean-Antoine
Nollet, pen (David L. Klein, Jr. Memorial Foundation,
Inc. Gift), Caricature of Luigi Vanvitelli, Caricature of
the Marquis de Vandieres, Abbe Leblanc, Jacques-
Germain Soufflot, and Charles-Nicolas Cochin, both pen
(both Rogers Fund); Francesco de Mura, Assumption of
the Virgin, wash (Howard J. and Saretta Barnet Gift, Mr.
and Mrs. Carl Selden Gift, Mrs. BarbaraK. Caturani Gift
and Rogers Fund); Francesco Solimena, Continence of
Scipio, pen and wash (Rogers Fund).
igth century:
English: John White Abbott, Cascade of the Aray at Inver-
aray, pen and watercolor; Thomas Hartley Cromek,
Acropolis from the Areopagus, Acropolis from the West
showing Propylaea and Temple of Athena Nike, Temple of
Apollo at Bassae, House at Sorrento, Houses on Rocky
Cliff at Sorrento, Glen in Sorrento, all watercolor (all
Rogers Fund).
Egyptian Art
GIFTS AND BEQUESTS RECEIVED
WalterC. Baker(bequest):Collection including 8 sculptures of
stone, wood and bronze; I stone relief; 2 stone vessels;
I bronze mirror; I bronze figurative handle.
HowardA Newman:Upper part of relief showing the god Bes
dancing before the youthful Horus, sandstone, Ptolemaic
Period.
GeorgeL. Plant: Jar, alabaster, Saite-Ptolemaic Period, ca.
500-100 B.C.
Mrs. William Scott and Mr. John McCullough(2/3 interest):
Group of Egyptian antiquities including string of beads
and pendants, carnelian, various dates; Pendant in form
of Nile perch, gold and wood, Middle Kingdom(?); Pend-
ant in form of shell, electrum, Middle Kingdom; Pendant
in form of bolti-fish, gold and bronze, New Kingdom;
Pair of earrings, gold, New Kingdom; String of beads,
mostly carnelian, various dates; Model ofmenyet inscribed
for Queen Teye, ivory, XVIII Dynasty, ca. I400 B.C.;
Necklace plaque with cartouche of Akhenaten, blue
faience, XVIII Dynasty, ca. I360 B.C.; Ring with name
of Ankhesenamun, green faience, XVIII Dynasty, ca.
1360 B.C.; String of beads and amulets, faience and glass,
Late Dynastic; Game piece in shape of lion, breccia,
Protodynastic; Dagger, ivory, bronze, and wood, Middle
Kingdom; Ring stand, light blue faience, New King-
dom(?); Shawabty of Psusennes, green faience, XXI Dy-
nasty, ca. I050 B.C.; Eye-plaque, steatite, XXVI Dynasty;
Figure of flying vulture, wood, Late Dynastic; Aegis of
Isis, bronze and glass, Late Dynastic; Seated figure of
Khonsu, bronze with traces of gilding, Late Dynastic;
plaques from mummy, linen and gesso, Late Dynastic.
Anonymous: Lid of canopic jar representing the baboon-
headed Hapy, limestone, Late Period, ca. 600-300 B.C.
PURCHASES
Middle Kingdom: Figure of a female dwarf, blue faience,
XII Dynasty, ca. 1950 B.C. (Rogers Fund).
New Kingdom: Sphinx of King Amenhotep III, faience,
XVIII Dynasty, ca. I380 B.C. (Lila Acheson Wallace
Gift); Fragment of the sarcophagus of Senmut with name,
quartzite, XVIII Dynasty (Rogers Fund); Model offering
pot, blue, white, and yellow opaque glass, XVIII Dynasty,
ca. I450-1380 B.C. (Ludlow Bull Fund); Amulet of a young
prince represented as the child Horus, light blue faience,
XVIII Dynasty, ca. I350 B.C. (Mrs. Vladimir Littauer
Gift).
Late Period: Statuette of Isis with Horus, bronze, XXV/
XXVI Dynasty, ca. 650 B.C. (Rogers Fund).
European Paintings
GIFTS
Julie Braun-Vogelstein (bequest,in memoryof Ludwig Vogelstein):
Jacopo Bassano, Italian (Venice), Portrait of a Man, I6th
century.
Edward H. Gerry: Frame, hand-carved, gilded wood, Italian,
igth century.
Stanley A. Marks: Five frames, antique, hand-carved, French.
Mona de Martini (renunciationof life interest): Francisco Goya,
Spanish, Pepito Costa y Bonells, oil on canvas, about 1813.
Annette B. McFadden (bequest): Unknown Artist, Dutch, Por-
trait of a Girl, oil on wood, 7th century.
Myra Mortimer Pinter (bequest): Jan van Goyen, Dutch, Cot-
tages in the Dunes, oil on wood, I627.
Mr. and Mrs. Richard Rodgers (renunciation of life interest):
Camille Pissarro, French, Washerwoman at Eragny, oil
I65
 on canvas, 1893; Alfred Sisley, French, Road Near
Louveciennes, oil on canvas, I879.
Julia Spies (bequest):Jean-Charles Cazin, French, Brittany
Farm House, oil on canvas, about 1880.
Emile E. Wolf: Jacob Pynas, Dutch, Paul and Barnabas at
Lystra, oil on wood, 1628.
Anonymous:Abraham van Beyeren, Dutch, Still Life with
Lobster and Fruit, oil on wood, about I650.
Anonymous Gift, TheH. O. Havemeyer Collection:Edgar Degas,
French, Dance Lesson, pastel on paper, about I877.
PURCHASES
Annibale Carracci, Italian (Bologna), Coronation of the
Virgin, oil on canvas, about 1596 (Bequest of Adelaide
Milton de Groot [I876-1967] and Dr. and Mrs. Manuel
Porter and sons, gift in honor of Mrs. Sarah Porter).
Far Eastern Art
GIFTS RECEIVED
ColonelandMrs. WilliamM. Adams:4 matching orange satin
table-frontals embroidered in silk and wrapped gold with
elephants bearing gifts, Chinese, Ch'ien-lung (I736-95).
Bloomingdale's:Panel from dragon robe, red silk gauze with
rampant green dragon in green silk floss and peacock-
feather filaments wrapped on silk, on ground of couched
wrapped gold, Chinese, 17th century.
Diane NewtonBurns,in memory of GastonLiebert,FrenchConsul-
Generalto China(HanoiandPeking) i898-1916: Pair of silk
and metal tapestry (k'o-ssu) panels with floral arabesques,
Chinese, I7th-18th centuries.
HarrisonCady(bequest):Taoist divinity, glazed pottery, Chi-
nese, dated in concordance with 148I.
NorbertCaillaud: Female deity, bronze, Indian, I7th-I8th
centuries.
RobertHatfieldEllsworth: 2 coverlets, blue and white resist
dyed cotton, provincial Chinese, I9th century.
WenFong: Hanging scroll, Rocks, Flowering Prunus, and
Bamboo, by Li Fang-ying (I695-1754), ink and color on
paper, Chinese.
Mrs. Isao HonmaandMr. andMrs. ShinjiroOkajima,in memory
of Mr. andMrs. TatsugoroOkajima:6 stencilswith miniature
patterns (komon), mulberry paper, Japanese, I8th-i9th
centuries.
Jean Mailey: Tanka curtain, silk tabby with stylized floral
pattern in controlled dyeing, Tibetan, i6th-I 7th centuries.
Mr. and Mrs. Earl Morse: Imperial dragon robe decorated
with five-clawed dragons and longevity medallions, silk
and metal tapestry (k'o-ssu), I8th century; Hanging scroll,
Tree Peonies, by Yun Shou-p'ing (I633-90), ink and color
on silk, and 2 horizontal panels depicting pavilions and
bridges in landscape, silk and metal tapestry (k'o-ssu)with
touches of ink and paint, both I8th century, all Chinese;
Satin damask (rinzu) over-robe (uchikake) with poem
books and mandarin orange branches in tie-dye, couched
gold and embroideredsilk thread,Japanese, i8th century.
I66
Chogyaland Gyalmoof Sikkim:Tanka, The Great Renuncia-
tion, ink and color on cotton, Lamaist, 20th century.
J. WatsonWebb,Jr.: 2 inro, lacquer, Japanese, 19th century.
Estateof FloraE. Whiting:70 objects, mainly porcelain, some
bronzes,jades and enamels, Chinese, 19th-20th centuries.
Paul B. Zeisler,Jr.: Pair of plates, porcelain with underglaze
blue decoration, Arita ware, Japanese, Edo period, mid-
17th century.
PURCHASES
Ceramics: Storage jar, Tamba ware, Nambokucho period,
I4th century (Bequest of Florance Waterbury); Storage
jar, Shigaraki ware, Muromachi period, mid-i6th century
(Seymour and Rogers Funds, Bequest of Florance Water-
bury), both stoneware, Japanese.
Paintings: Hanging scroll, Cat, by Gek-kei Go-shun (1752-
1811), ink and color on paper, Edo period, Japanese
(Rogers Fund); 2 tankas, color on cloth, Lamaist (Ti-
betan), 17th century (Rogers Fund, Seymour Fund).
Textiles: Pair of embroidered dragon roundels, silk and two
kinds of wrapped gold on silk tabby, Ming dynasty (I 368-
I644) (Mr. and Mrs. Jerome A. Straka Gift); Square of
black silk damask embroidered with clouds and Manchu-
rian cranes, and a chair strip of primrose cut velvet on
satin ground with flower and rock design, both K'ang-hsi
period (I662-I722); 4 valances with embroidered blue
cross-stitchdesigns on undyed cotton, from Ssechuan Prov-
ince, Cheng-tu, gth century, all Chinese (all Rogers Fund).
Greek and Roman Art
AND GIFTS RECEIVED
BEQUESTS
WalterC. Baker (bequest):Collection of Greek, Roman, and
Etruscan art, comprising 14 marble sculptures, 59 bronze
statuettes and utensils, 17 terracotta statuettes, 14 vases,
13 silver vessels and utensils, 15 glass vases, 5 pieces of gold
jewelry, and 3 gems; third millennium B.c.-4th century A.D.
DietrichvonBothmer:Fragmentary black-figureddinos: danc-
ing satyrs, attributed to the Group of the Campana Dinoi,
6th century B.C., Etruscan; Fragment of a red-figured cup
by Makron, joining a cup in Florence, about 49o-480 B.C.,
Attic; Fragment of a red-figuredcup, attributed to Hermo-
nax, joining a cup in the Louvre, about 480-470 B.C., Attic.
(The last two are given to serve as exchange material with
the Museo Archeologico in Florence and the Musee du
Louvre in Paris.)
Jack A. Josephson:Gem, carnelian in gold ring setting: Nike
with flower, late Ist century B.C., Hellenistic.
AlastairBradleyMartin:Upper part of a statuette of a woman,
marble, third millennium B.C., Cycladic; Black-figured
plate: Amazon carrying a dead companion, about 5 I o B.C.,
Attic; Red-figured vase in the shape of an egg: the abduc-
tion of Helen, late 5th century B.C., Attic.
Mrs. WilliamMcChesney
Martin:Votive foot, terracotta, 4th-
3rd century B.C., Etruscan.
BerryB. Tracy: Stemless kylix, "Xenon-ware," 4th century
B.C., Apulian.
Miss E. D. Blake Vermeule:2 fragmentsjoining a red-figured
kylix, attributed to Onesimos and signed by Euphronios
as potter, acquired by the Museum in 1912, about 500 B.C.,
Attic.
PURCHASES
Black-glazed dish with stamped design inside, 4th century
B.C., South Italian (Ruth Elizabeth White Gift); Kantha-
ros, oinochoe, lekanis with lid, pair of mugs, all attributed
to the Xenon Glass, all 4th century B.C., Apulian; Baby
feeder in shape of a miniature Hadra hydria, 3rd century
B.C., Alexandrian; 2 Gnathian oinochoai, 2 Gnathian
bottles, all 4th century B.C., Apulian; Portrait statuette,
bronze, 1st century B.C., Hellenistic; Gnathian bottle,
black-glazed relief guttus with panther on top, both 4th
century B.C., Apulian (all Rogers Fund).
Islamic Art
GIFTS RECEIVED
WalterC. Baker(bequest):Bottle, dark blue glass with overlay
decoration in leaf design, 7th century, early Islamic.
Mr. and Mrs. H. H. Haase: Carpet, probably Shirvan, Igth
century, Caucasian.
Mr. and Mrs. J. J. Klejman:Ring, gold, decorated with
granulation and filigree-work,bearing inscriptionon bezel,
I th century, Egyptian.
Julian ClarenceLevi (bequest): 7 carpets, 8th- x th centuries,
Persian, Caucasian, and Turkish.
JosephV. McMullan: Belt, leather, with brass mountings and
set with carnelians, early Igth century, Turkish or Kur-
dish; 0o carpets and carpet fragments, late I5th-second
half of the 19th century, Egyptian, Indian, South Persian,
and Caucasian; I2 carpets and carpet fragments, i6th-
Igth centuries, Egyptian, Caucasian, and Turkish.
E. Safani: 2 wood panels, Mamluk period, about 1296,
Egyptian.
Mrs. VernonSamuels:Textile, black silk panel with embroi-
dered designs of birds and stylized plants, 19th century,
Persian.
CharlesWrightsman: 3 side chairs, engraved ivory, about 1770,
Indian.
Anonymous: Textile, woven, containing a medallion and parts
of two others, depicting an animal combat scene of a lion
and a ram, Buyid period, Ioth century, Persian; Handle
of a fly-whisk,jade, inlaid with gold, silver, and red stones,
Mughal period, 17th century, Indian.
PURCHASES
Tile, carved and glazed artificial paste, decorated with
geometric design in aubergine and turquoise, mid-I4th
century, Central Asian (probably Samarkand) (Walter D.
Binger Gift); Bottle, green glass painted with figures in a
landscape, i8th century, Indian (Rajasthan); Tile, star-
shaped, glazed and luster-painted artificial paste, x4th
century, Persian (Kashan); Bordertile, painted and glazed
artificial paste, I7th century, Turkish (Iznik); Plate,
painted and glazed artificial paste, so-called Damascus
ware, i6th century, Turkish (Iznik); Fragment of a star-
shaped tile, glazed and luster-painted artificial paste,
dated 665 (1266), Persian (Kashan); Fragment (bottom
of a bowl), painted, glazed, and incised earthenware,
Mamluk period, I4th century, Egyptian; Textile, tapestry-
woven roundel, 7th-8th century, probably Egyptian;
wood-block print with interlaced inscription bands, ink
on paper, iith-I2th century, Egyptian; Painting of a
simurgh, paints on paper, I3th-i4th century, Egyptian;
Painting of a male figure, paints on paper, I2th-I3th
century, Egyptian; Painting of a drinking scene, paints on
paper, Mamluk period, I4th century, Egyptian; Painting
of buildings, paints on paper, i6th century, Egyptian; Vial,
wheel-cut glass, gth-Ioth century, Egyptian; Vial, mold-
blown glass, 7th-8th century, possibly Persian; Boat-
shaped bowl, relief-cut glass, gth-Ioth century, Persian;
Mirror, steel with gold inlay and ivory handle, first half
of the i6th century, Persian; Textile, polychrome velvet,
silver brocaded, i6th century, Persian; Incense burner in
the form of a bird, bronze, engraved, -with open-work
decoration, Saljuq period, I2th century, Persian; Plate,
blue and turquoise underglaze painted artificial paste, first
half of the i6th century, Turkish (Iznik) (all Fletcher
Fund); Bowl, cobalt blue, turquoise, and black underglaze
painted artificialpaste, i4th century, Persian (The Friends
of the Islamic Department Fund); Ten-pointed star-shaped
elephant-ivoryplaque containing the artist'sname, Safavid
period, probably I6th century, Persian (Jack A. Josephson
Gift); Chess set, artificial paste, Saljuq period, 12th cen-
tury, Persian (said to be found in Nishapur); 46 chess
pieces of glass, ivory, rock crystal, bone, stone, and earth-
enware, 7th-Ioth centuries, Persian, Syrian, and unknown
provenance; 12 gaming pieces of bronze, stone, jet and
ivory, 7th-I2th centuries, Persian (all Gustavus A. Pfeiffer
Fund); Tiraz textile with Kufic inscription, Ioth century,
Egyptian (Tinnis); Red ink geometrical drawing, 13th
century, Egyptian; 8 fragments of carpets and textiles, one
date unknown, one Ayyubid period ( 171-1250), others
Mamluk period (I250- 157), Egyptian; I cut-leather
medallion sewn to blue textile with traces of paper as
7), Egyptian; I three-
backing, Mamluk period (I 250-I 5
part leather blazon with design executed with textiles and
metallic thread, Mamluk period (1250-1517), Egyptian
(all Rogers Fund).
Medieval Art and The Cloisters
THE MAIN BUILDING
GIFTS RECEIVED
WalterC. Baker(bequest):Necklace of gold beads interspersed
I67
 with green quartz ones, 3rd-5th century, Roman or Ostro-
gothic; Necklace of gold filigree beads and plain gold
links, I Ith- 2th century, Byzantine; Terracotta jug, dec-
orated with incised cross, harpies, and birds, Ioth-I2th
century, probably Byzantine.
PURCHASES
Bowl with sgraffito representing wild animal, ceramic, I2th
century, Byzantine (Rogers Fund); Bowl with deer and
two hares in "incised" technique, ceramic, i2th-I3th cen-
tury, Byzantine (Rogers Fund); Bowl with lion and geo-
metric pattern also incised, ceramic, I2th-I3th century,
Byzantine (Anonymous Gift and Rogers Fund); Finial,
possibly from a reliquary, gold and cloisonn6 enamel, gth-
Ioth century, Byzantine (Anonymous Gift); Textile, frag-
ment of silk with blue and yellow reversiblepattern, i4th-
i5th century, Italian, Tuscany (Mrs. Charles F. Griffith
Gift).
THE CLOISTERS
GIFTS RECEIVED
Mrs. HarryWehle:Angel holding crown of thorns, wood, late
15th century, North French.
Mrs. GeorgeMatthewAdamsin memoryof herlatehusband:Forged
iron bracket with brass bell, after the I6th century,
European.
PURCHASES
The Resurrected Christ, polychromed wood, c. 1480, South
German (The CloistersCollection and Gifts ofJ. Pierpont
Morgan and George Blumenthal, Bequestof Theodore M.
Davis, Frederick C. Hewitt Fund, and Rogers Fund, by
exchange); St. Martin, stained glass roundel, c. 1500,
German (Niirnberg); Doorknocker in animal shape,
wrought iron, 15th century, German (both The Cloisters
Fund).
Musical Instruments
GIFTS RECEIVED
Prof. StoddardLincoln:Pianoforte, 6h octaves, made by John
Broadwood & Sons, London, I827.
Familyof AngeloMannello:Two mandolins, in Neapolitan tra-
dition, profuselyinlaid, mother-of-pearldecoration,maker:
Angelo Mannello, New York, 1900.
RichardS. Perkins:Glassichord, rosewood, maker: Chappell
& Co., London. Regency.
Janos Scholz: Transverse flute, silvered, signed L. L. Louis
Lot, Paris. Leather case. I9th century.
Mr. and Mrs. SylvanShulman:Amplified violin; violin body
with horn attachment.
i68
Primitive Art
PURCHASES
Sixty-nine objects, wood, ceramic, metal, and raffia, Cam-
eroon (Fletcher Fund); 3 seated female figures, wood,
Idoma, Nigeria; Mask, wood, Dea, Liberia (all Rogers
Fund); Salt cellar, ivory, early i6th century, Bini-Portu-
guese (Louis V. Bell & Rogers Funds); Vase, marble,
900-I000 A.D., Ulua Valley, Honduras (Harris Brisbane
Dick Fund).
Prints and Photographs (Outstanding
Accessions)
GIFTS RECEIVED
Josef Albers:Josef Albers, American, group of 58 prints,
1917-62.
Mr. andMrs. RalphF. Colin:BernardDubuffet, French, group
of 34 lithographs, many artist's proofs, 1958-59 and I96I.
ArnoldH. Crane:Walker Evans, American, group of 35 photo-
graphs including 2 for Hart Crane's The Bridge, ca. 1929.
Lucien Goldschmidt,Inc.: Jacques Villon, French, Maquis
Caulaincourt, aquatint etching in colors, working proof,
1904.
TatyanaandMauriceGrosman: LarryRivers, American, Berdie,
I959, a lithograph from Stones, a portfolio done in collab-
oration with Frank O'Hara.
JosephineHowell Decorations:A large collection of i8th and
early Igth century wallpaper.
LincolnKirstein:Group of late I9th century illustrated chil-
dren's books.
Phyllis D. Massar: Bruce Davidson, American, Yosemite
Park, Camping, 2 photographs.
Joseph I Singer,for the Florenceand JosephSingerCollection:
Group of 7 prints including Robert Rauschenberg, Ameri-
can, Prize, lithograph, I968, and Promise, lithograph,
1968; and Jasper Johns, American, Target II, etching,
I967-69.
StephenSpector:John Loring, American, T-Shirt, silkscreen,
1972, and 2 Boys, silkscreen, 1972.
PURCHASES
i6th century:
BernardinoPasseri, Italian, Vita et martyrium S. et gloriosae
Christivirginis et martyrisCaeciliae... 15 etchings, Rome,
ca. I590 (The Elisha Whittelsey Fund); Master L. D.,
French, School of Fountainebleau, Nymph Watching A
Flying Heron, etching (Joseph Pulitzer Bequest and Gift
of William H. Riggs, by exchange).
7th century:
Arent van Bolten, Dutch, 5 engravings of grotesque and
fantastic monsters (Harris Brisbane Dick Fund and The
Elisha Whittelsey Fund, by exchange); Rembrandt Har-
 mensz van Rijn, Dutch, Sheet of studies with woman lying
ill in bed, etching, ca. 1641-42 (Harris BrisbaneDick Fund
and Bequest of Clifford A. Furst, by exchange); Rem-
brandt Harmensz van Rijn, Dutch, The Sleeping Herds-
man, etching, ca. I644 (Rogers Fund and Bequest of Ida
Kammerer, in memory of Frederick Kammerer, M.D.,
by exchange); Rembrandt Harmensz van Rijn, Dutch,
The Crucifixion, Small Plate, etching, ca. I635 (Gift of
Henry Walters, The Elisha Whittelsey Fund and Harris
BrisbaneDick Fund, by exchange); Rembrandt Harmensz
van Rijn, Dutch, The Small Lion Hunt, etching, ca. 1629
(Gift of Henry Walters, The Elisha Whittelsey Fund,
Harris Brisbane Dick Fund, Rogers Fund and Joseph
Pulitzer Bequest, by exchange); Luigi Giuglaris, Italian,
Funerale fatto nel Duomo di Torino alla gloriosa memoria
dell invitissimo... Prencipe Vittorio Amedeo Duca di
Savoia ... engraved frontispiece and 3 plates, Torino,
1638 (The Elisha Whittelsey Fund).
i8th century:
Thomas Chippendale, British,designs for three ribband back
chairs, pen, ink and gray wash with brown ink lettering
for The Gentlemen and Cabinet-Maker's Director, 1754
(Rogers Fund); Collection of 56 designs for altarpieces and
church decoration primarily from Trent, Italy, pen, ink,
wash and watercolor, some signed by the commissioning
church body; Alexandre-Joseph L'Heritier, French, La
Messe Pascale, with etched plates, Paris, 1772; G. Warnars
and P. den Hengst, Dutch, Histoire van den Amsterdam-
schen Schouwburg... with engraved plates, Amsterdam,
1772 (all the Elisha Whittelsey Fund); Jean Honore
Fragonard, French, a group of prints by and after Fra-
gonard, many from the collection of Mlle. Marguerite
G6rard, Fragonard's sister-in-law, including "Fan Fan"
and "The Armoire," etchings and engravings (Louis V.
Bell Fund, Rogers Fund and Roland L. Redmond Gift).
igth century:
Hilaire-Germain-Edgar Degas, French, La Sortie du Bain,
lithograph, ca. 1890 (Harris Brisbane Dick Fund and
Bequest of Clifford A. Furst, by exchange); Hilaire-
Germain-Edgar Degas, French, Femme nue debout a sa
toilette, lithograph, ca. I89o-92 (Douglas Dillon Gift);
Hilaire-Germain-Edgar Degas, French, Edgar Degas par
lui-meme, etching. I855 (Mr. and Mrs. Richard J. Bern-
hard Gift); Hilaire-Germain-EdgarDegas, French, Land-
scape, color monotype, ca. 1890-93 (Mr. and Mrs. Rich-
ard J. Bernhard Gift); Jean Edouard Vuillard, French,
L'Atelier, lithograph, ca. 1895 (Gift of Mrs. Francis
Ormand, by exchange); Group of British and German
drawings of interiors, 8 of the residence of Moritz von
Schwind, 1855-57 (Anne and Carl Stern Gift); William
Hurst Ashpitel, British, Design for a Gothic Belle Vue,
watercolor, 800o;Christophe Gu6rin, French, Relation
des fetes donnees par la ville de Strasbourg a Leurs
Majest6s imp6riales et royales, les 22 et 23 janvier 1806 ...
with etched plates, Strasbourg, I806; John Thompson,
British, Illustrations of China and Its People, London,
I873-74 and Rosslyn Chapel by Cuthbert Bede, photo-
graphs by Thomson, London, 1873 (all The Elisha Whit-
telsey Fund).
20th century:
Fritz Glarner, American, Recollection, portfolio of 17 litho-
graphs, I964-68; Helen Frankenthaler, American, four
color pochoirs, 1970 (all John B. Turner Fund); Frank
Stella, American, Black Stack, lithograph, 1970; James
Rosenquist, American, Night Smoke II, lithograph, 1969-
72 (both Stewart S. MacDermott Fund); Robert Rausch-
enberg, American, Tides, lithograph, 1969; Unit (Hy-
drant), lithograph, I970 (both John B. Turner Fund);
Drifts, lithograph, 1969; Gulf, lithograph, I969 (both
Stewart S. MacDermott Fund); Berenice Abbott, Ameri-
can, Exchange Place and Railroad Yard, N. Y. C., photo-
graphs, 1935-39; Ansel Adams, American, four photo-
graphs including Oaks in Storm, Yosemite Valley, Winter,
1937; Manuel Alvarez Bravo, Mexican, La de las Bellas
Artes, photograph, I931; and Visitacion, photograph,
I967 (all The Elisha Whittelsey Fund); Paul Caponigro,
American, Stonehenge, photograph (The ElishaWhittelsey
Fund, by exchange); Andre Kert6sz, American, Pough-
keepsie, photograph, 1937, and Long Island, N. Y., photo-
graph, 1962; Eliot Porter, American, The Seasons, port-
folio of 12 color prints, I963; George A. Tice, American,
o photographsof Paterson, NewJersey, I967-69; Edward
Weston, American, Portrait of Sybil Anikeyev, 192I, and
6 portraits of Xenia Cage, I930, photographs (all The
Elisha Whittelsey Fund); Frank Eugene, American, Col-
lection of 240 photographs, 1900-30 (Rogers Fund).
Twentieth-Century Art
GIFTS RECEIVED
Josef Albers:Josef Albers, American, Figure, assemblage of
glass shards on brass sheet, I92I; Rheinische Legende,
assemblage of glass shards on copper sheet, I92 I; Variant:
2 Whites, 2 Yellows, 2 Greens, oil on masonite, I947-57;
Variant: 6 Greens, oil on masonite, I948-57; Indicating
Solids, oil on masonite, 1949; Transformationsof a Square:
no. 8, oil on masonite, 1949; Transformationsof a Square:
no. 9, oil on masonite, 1950; Homage to the Square: On
Near Sky, oil on masonite, 1963; Homage to the Square:
Dilated, oil on masonite, I969; Homage to the Square:
Soft Spoken, oil on masonite, 1969; Homage to the
Square: Frontal Backing, oil on masonite, 1970; Never
Before, oil on masonite, 1971.
MalcolmP. Aldrich:Sidney Nolan, Australian, Bather and
Bird, gouache and crayon on paper, 1958.
Walter C. Baker (bequest): Roger Baker, American, Portrait of
W. H. Auden, black chalk with charcoal on paper, I960;
i69
 Peter Blume, American, Twisted Wood, charcoal on paper,
1939; Kenneth Callahan, American, Insect, pen and ink
on paper, I95I; Edward Melcarth, American, II Trevi-
sano, pen and ink, brush and wash on paper; Van Day
Truex, American, The American Academy, Rome, pen
and ink and wash on paper; View of Urbino, II, pen and
ink and wash on paper.
AlbertChrist-Janer:Albert Christ-Janer,American, Seaforms,
#96, watercolor on paper, 1961.
LeonL Cohen:Dorothy Doughty, British, Phoebe Chick and
Hen, porcelain, I934.
LenoreDavidson(bequest):Peer Smed, Norwegian, silver serv-
ice, 1935.
The Design Worksof BedfordStuyvesant:Calister Thomas,
American, length of screen-printed cotton sailcloth, 1969;
2 lengths of screen-printed cotton sailcloth, 1970; Beverly
Nusom, American, length of screen-printed cotton sail-
cloth, 197 I.
Fiat MotorCompany:Umberto Mastroianni, Italian, Bust of
Palma di Cesnola, bronze, 197I.
Mr. andMrs. ArthurA. Goldberg:Emil Schumacher, German,
Fallada, oil on canvas, 1959; Kumi Sugai, Japanese,
Kaminari, oil on canvas, I960.
Mrs.FrankJay Gould( o% undivided interest):Pierre Bonnard,
French, The Terrace at Vernon, oil on canvas, about
I930-38.
FayHalpern:Fay Halpern, length oftie-dyed silk chiffon, 1971.
PenelopeHunter: Length of embroidered silk net, probably
French, early 20th century.
Ely JacquesKahn: Ely Jacques Kahn, American, Market
Place, Tangiers, watercolor on paper, 1910.
Roger G. Kennedy:George Elmslie, American, 3 leaded,
stained-glass windows, 1971.
C. Koopman:6 lengths of cotton textiles, i length of
Georgette
linen textile, French, I930s.
Dr. andMrs.ArthurLejwa:Jean Arp, French, Threshold Con-
figuration, stainless steel, 1959; Leon Polk Smith, Ameri-
can, Accent Black, oil on canvas, i949.
ClydeBonebrake Lockwood(bequest):Ward Lockwood, Ameri-
can, Hills of the Mediterranean, oil on canvas, 1921.
Julia Nunull Marshall: Worden Day, American, Arcana II,
pencil and ink frottage on paper, 1968.
Mrs. AnnieMcMurray:Thomas Sills, American, Dance, oil
on canvas, 1970.
Elsie M. and OttoC. Palmerin memory
of theirparents,Theodore
andAnnaLouisePalmer:4 examples of cut crystal, Bohemian,
early 20th century.
Mr. andMrs. JohnErnestWiley: Catherine Wiley, American,
Willow Ponds, oil on canvas, 1914.
Prof. andMrs. ZeviScharfstein:Mordecai Ardon, Israeli, The
Kidron Valley, oil on canvas, 1939.
PURCHASES
RichardDiebenkorn,American,OceanPark #30, oil on canvas,
1970 (Bequest of Adelaide Milton de Groot [1876-I967],
170
by exchange); James Fosburgh, American, Portrait of
Truman Capote, oil on canvas, I972 (Mr. George Backer
Gift, Mrs. Katherine Graham Gift, Mr. and Mrs. Henry
J. Heinz II Gift, Mrs. Lawrence Lowman Gift, Joseph A.
and Katherine S. Meeham Foundation, Inc. Gift, Mr.
and Mrs. Edward M. M. Warburg Gift); Jean Puiforcat,
French, covered bowl, silver gilt, about I930-40 (Edgar
Kaufmann Gift Fund); David Smith, American, Becca,
stainless steel, 1965 (Bequest of Adelaide Milton de Groot
[ 876-I967], by exchange).
Western European Arts
GIFTS RECEIVED
BarbaraS. Adler(bequest):2 services,soft-pasteporcelain, Eng-
lish (Worcester): 20 pieces, 1770; 35 pieces, 1775-1800.
Julie Braun-Vogelstein (bequest,in memory of Ludwig Vogelstein):
Bust ofJerome Bonaparte, marble, early i9th century, by
Francois-Joseph Bosio, Italian.
ElizabethRobinsonCushman:Length, ribbed upholstery silk,
I88o-9o, French.
LewisEinstein(bequest):Table centerpiece, hard-paste porce-
lain with French gilt bronze, 19th century, German
(Dresden).
EverfastIndustries,Inc.: Roller-printed coverlet, with original
fringe, 800o-25, French; framed piece of roller-printed
cotton, about 1830, French; large group of fabrics, printed
cotton and wool, 18th- 9th centuries, English and French;
4 books of pieces of printed cottons and glazed chintzes,
g9thcentury, French and English; Group of "paisley"
designs painted in gouache, 19th century, French or Eng-
lish; Book of shawl pieces, twill tapestry wool and printed
challis, i9th century, Indian (Kashmir) and French;
3 sample books, printed cottons and silks, 1875-1900,
English.
Mrs. BenjaminGinsburg:Length, silk damask, i8th century,
Italian; 14 lengths, roller-printed glazed cotton, I820-50,
English.
Mrs. MortimerGordon:Traveling spoon and fork, silver, about
1833, made by Joseph-Baptiste Fuchs, French (Paris).
LorettaHines Howard(renunciation of life interest):I I religious
scenes, wax, paper, and embroidered fabric, i8th century,
French; 126 cut-out Christmas Crib figures, gouache on
paper, i8th century, South German; reliquary box of St.
Faustin, wax and embroidered fabric, i8th-i9th century,
Austrian; 2 scenes of the Nativity, paper, tin-foil, and
embroidered fabric, I9th century, South German or
Austrian.
J. A. LloydHyde: Piece of cope-shaped velvet, 17th century,
Italian (forinstallation purposes); Breadthof"Pombaline"
silk, I8th century, Portuguese; Part of a chasuble, bro-
caded satin, I700-25, Italian (Venice); Chasuble, bro-
caded faille, 1700-50, French; Altar frontal, brocaded silk
and metals on tabby with twill detail, about 1750, French;
 Pair of dalmatics, embroidered silk and metal on satin,
about 1830, Austrian; Set of three identical curtains with
Egyptian motifs, muslin applique on net, about i860,
French.
Moina M. Kallir: Shawl and accompanying box, embroi-
dered silk crepe, about 1850, Chinese (made for the
European market).
Marie Z. Lake: Teapot, sugar bowl, and cream jug, silver,
about 1870-75, Anglo-Indian.
ArthurD.Leidesdorf:2 settees, I walnut, i mahogany, English,
about 1735-50.
AnnaCaseMackay,in memory of ClarenceH. Mackay(twentyper
centundividedinterest):Bust of St. John the Baptist, poly-
chromed stucco, 15th century, attributed to Donatello,
Italian.
Mr. and Mrs. William A. Nef: Handkerchief, embroidered
with the name and arms of Queen Victoria, linen, I850-
6o, English.
Mrs. LawrenceW. Scudder:Piece, wood-block printed cotton,
1800-25, English.
Mrs. RogerStarandJulian A. Garbat:Collection of 227 pieces
of miniature tableware, i8th-2oth centuries, European
and Chinese (made for the European market).
JosephA. Sutton:3 sample books of machine-made laces, about
900o, French (Calais).
Lilliana Teruzzi: Show case on stand with gilded supporting
figure, walnut and gilded lindenwood, late 17th century,
Italian.
RochelleThwmas:Cup and saucer, hard-paste porcelain, i8th
century, Italian (Doccia).
Irwin Untermyer:Hercules Supporting the World, bronze,
early i6th century, possibly by Severo da Ravenna, Italian
(Paduan); Kneehole writing table, mahogany, about
1740-50, English; Musical bracket or table clock, tortoise-
shell with gilt-bronze mounts, about 1780-94, by Eardley
Norton, English (London); (all renunciation of life interest):
36 pieces of needlework, English: 8 caps, coifs, forehead
cloths, embroidered in silk, metal, spangles on linen, 1575-
600o; 7 purses, silk and metal on canvas, 1600-25; 3 pairs
of leather gauntlets, silk and metal on satin cuffs, 1600-50;
4 books with bindings, embroidered in silk, metal, seed
pearls on canvas or satin, dated 1602, 1634, 1636, and
I649; Bible cushion, silk, metal, seed pearls on satin;
double scabbard, silk, metal, purl, spangles on canvas;
unfinished picture, silk on canvas, all about i650; 2 pairs
of sleeves, silk cord, silk, gold on satin, about I700; pair
of shoes, silk on canvas; purse, silk and metal on canvas;
apron, silk, silver, gold on taffeta, all 1700-25; cushion,
silk and metal on canvas, about 1750; Table cover, silk
and metal on canvas, 1600-50, Italian; Set of 3 valances,
silk and metal on canvas, 1604, Swiss; Table cover, silk
and metal on canvas, I606, French; Pair of andirons,
enamel on brass, about 1670, English (Surrey); Press
cupboard, oak, about i680, English.
FrederickP. Victoria,in memoryof his son, Lt. FrederickPearce
Victoria:Perfume burner mounted in gilt bronze with two
Chinese (K'ang Hsi) porcelain dogs, soft-paste porcelain,
i8th century, French (Chantilly).
Flora E. Whiting (bequest):2 pairs of candlesticks and one
octagonal candlestick, brass, I7th century, English; 9
tobacco boxes and i snuffbox, brass and copper, Dutch;
Two-light oil lamp, pewter, English, all i8th century;
28 pieces ofcreamware, late 8th century, English (Leeds);
Teapot, salt-glazed stoneware, about 1750, English (Staf-
fordshire); 3 pieces of hard-pasteporcelain, Chinese: figure
of a seated hound, 1750-75, made for the European mar-
ket, pair of circular dishes, about I760, made for the
Scandinavian market; 4 piece service with later silver
mounts, glazed earthenware, about I760, English (Jack-
field); Pair of figures, soft-paste porcelain, about I 760-65,
English (Bow); Bowl, cover and stand, lead-glazed mar-
bled earthenware, about I770, French (Apt); 5 transfer
printed creamware plates, early I9th century, French;
Set of 3 cups and saucers, lead-glazed earthenware, early
19th century, English (Newcastle-upon-Tyne); 8 pieces of
pottery, silver resist, 19th century, English (Staffordshire).
CharlesWrightsman:Pair of figures, the Day and the Dusk,
terracotta, probably about I600, after the sculptures by
Michelangelo in the Medici Chapel in Florence, Italian;
Pair of equestrian statuettes, Fame and Mercury, bronze,
about 1710, reductions of the marble groups carved by
Antoine Coysevox for the Chateau de Marly, French;
Wall clock, gilt bronze, brassand tortoiseshell,about 730,
the movement by Jean Godde l'ain6 and the case by
Charles Cressent, French; 17 pieces of furniture, French:
pair of armchairs, carved and gilded beechwood, about
I730, picture frame, carved and gilded beechwood, about
1735, design attributed to Juste-Aurele Meissonnier, pair
of folding stools, carved and gilded walnut, I735-40,
attributed to Nicolas-Quinibert Foliot, pair of armchairs,
carved and gilded beechwood, about I760, signed L. Cres-
son, pair of corner shelves, oak marquetried with tulip-
wood and kingwood, about 1760, signed by BernardVan
Risenburgh, pair of armchairs (bergeres) carved and gilded
beechwood, about 1765, signed L. Cresson, firescreen,
carved and gilded beechwood, about 1765, signed by
Jean-Baptiste Tilliard I or II, dog kennel, beechwood and
pine, 1775-80, signed by Claude Sene and branded with
the mark of the Garde-Meuble de la Reine, writing and
dressing table, oak veneered with hardwood and mahog-
any, about 1785, signed by Martin Carlin, firescreen,
carved and gilded beechwood, about 1786, signed by
GeorgesJacob, made for the boudoir of Marie-Antoinette
at the Chateau de Fountainebleau, upright secretary, oak
with marquetry of tulipwood, kingwood and holly, 1786-
87, signed by Guillaume Beneman, made for the cabinet
interieurof Louis XVI at the Palais de Compiegne, day-
bed, mahogany veneered on beechwood, I796-1803,
signed by Jacob Freres and branded with the marks of the
Palais des Tuileries, the Chateaux de Neuilly and de
171
 Villeneuve l'Etang; Potpourri bowl, imitation Chinese
celadon and gilt bronze, about I745-47, mounts in the
manner of Thomas Germain, French; 6 pieces of gilt
bronze, French: pair of three-light wall brackets, I745-49,
stamped with the crowned C mark, miniature oval frame,
about 1765, pair of andirons set with figuresof lions, about
1765, door lock with steel key, about 1770, made for the
Palais Paar, Vienna; Vase with lizard handles, Chinese
celadon porcelain, Ch'ien Lung period (1736-95), and gilt
bronze, 1750-60, French; Pair of perfume vases in the
form of pigeon houses, soft-pasteporcelain, about 758-65,
English (Chelsea); Vase and supporting column, porphyry
and gilt bronze, about 1775, the gilt bronze mounts
attributed to Pierre-Philippe Thomire, French; Panel
carved in high relief with a vase of spring flowers, birds,
animals and insects, fruitwood, 1775-I800, signed by
Aubert Parent, French; 4 chandeliers, rock crystal and
gilt bronze about I790, French: pair with twenty-four
lights, I eighteen-light, and I fifteen-light; Pair of urns
with chinoiseriedesigns, hard-paste porcelain, dated 1792,
decoration attributed to Denis Leve, French (Sevres).
Textiles: 2 lengths and matching horizontal panel, with lions
and "Chigi" emblems, silk compound tabby, i6th century,
Italian or Spanish; Double cloth, wool and cotton, 17th
century, Danish (Jutland); 3 lengths painted silk, Chinese:
I8th century, made for the English market; 1700-25 and
about 1770, made for the French market; 2 lengths silk
damask, about 1745; 3 lengths brocaded silk, about 1750,
all English (Spitalfields); Panel from a screen, taffeta,
1750-800o, French; Length silk lampas, about I830,
French; Shawl, Kashmir twill with tapestry borders,about
i850, Russian (Kolokoltsev); Embroidered panel, silk on
linen, i880-90, worked by Catherine Holiday, probably
after a design by William Morris, English (all Rogers
Fund); Length brocaded silk, about 1760-65, woven and
signed by George Downs, English (Spitalfields) (Everfast
Fabrics, Inc. Gift).

PURCHASES
Architectural sculpture: Wall fountain from Palazzo Fos-
sombroni at Arezzo, gray sandstone, about 1528, designed
and executed by Simone Mosca, Italian (Florentine)
(Harris Brisbane Dick Fund).
Ceramics: Cup and saucer, hard-paste porcelain, i8th cen-
tury, Italian (Doccia); Plate from a service presented by
Louis XV to Charlotte-Louise of Naples, soft-paste porce-
lain, I773, French (Sevres); Pair of figures, youthful
shepherd and female vendor, soft-paste porcelain, about
1760-65, English (Derby); Figurine of Winter after Bal-
thasar Permoser, masso bastardo, about I770, Italian
(Doccia) (all Charles E. Sampson Memorial Fund);
Punch bowl from the service made for Louis, Prince de
Rohan, soft-paste porcelain, 1772, probably painted by
Evans, French (Sevres) (Rogers Fund).
Furniture: Settee, from Grimsthorpe Castle, Lincolnshire,
mahogany, about 1752, English (Gift of Arthur D. Leides-
dorf by exchange, and Arthur S. Vernay Gift).
Metalwork: Pair of four-light candelabra, gilt-bronze, about
1725, French (Rogers Fund).
Sculpture: Relief portrait of St. Pius V, gilt-bronze about
1712-15, possibly after a model by Camillo Rusconi,
Italian (Roman) (Anne and George Blumenthal Fund);
Fountain, A Nymph Drying Her Hair, marble and bronze,
1763, by Louis-Claude Vasse, French (Funds given by the
Josephine Bay Paul and C. Michael Paul Foundation, Inc.,
and the Charles Ulrick and Josephine Bay Foundation,
Inc., and Rogers Fund); Portrait of Voltaire, marble,
1778, byJean-Antoine Houdon, French (CharlesWrights-
man Gift); The Actor Rouviere in the Role of Hamlet
Recoiling Before the Ghost, bronze relief, by Auguste
Preault, i866, French (Rogers Fund).

172