Recent Acquisitions A Selection 1994 1995 The Metropolitan Museum of Art Bulletin V 53 No 2 Fall 1995

The Museum
Metropolitan of Art Bulletin Fall I995
a, ,?..4^-v-^
<a;:
P?,^,
-?js^^4^:'
.
'.;'5; ??;tt:"L
::e -1 f-:_-
-:e
/
trv'15
( .,i "
I
I
,N
'?;
. eP,
5-l.i?
r,. "?35 '
:'r %/p6 ?, r%?
tI
:? :
i :.2? 1 - k??;r
ii I "' ;.?-?
.1
V t I Uk
re i..
i.l
I .""'
r ;,
.,'i
.
i I)
??
:?-i
s? .1
?
I -:
ib?
ld :'yF""
t;?"'
rf
" ?SbB;'
,Ip?
??:?',rl
19 ?7i
? ;. . 1 ?::J-'I;x
- -
, . ,,,:'-??
^`,^ .-^'^*-*-*-^ ???--
1*"- '^ - :
<_.' . , F-J f _ _.
I I I I I I I
RECENT AcQuISITIO
I I
A SELECTION: 199 4-1995
THE METROPOLITAN M USEU M OF ART
The Metropolitan Museum of Art

is collaborating with JSTOR to digitize, preserve, and extend access to
The Metropolitan Museum of Art Bulletin ®
www.jstor.org
This publicationwas madepossible
throughthe generosityof the
LilaAchesonWallaceFund for
The MetropolitanMuseumof Art
establishedby the cofounderof
ReadersDigest.
TheMetropolitan
MuseumofArt Bulletin
Fall1995
VolumeLIII,Number2 (ISSN 0026-152I)
Publishedquarterly? I995 by The Metropolitan

Museumof Art, Iooo FifthAvenue,New York,N.Y.
I0028-0198.
Second-classpostagepaid at New York,N.Y., and

AdditionalMailingOffices. TheMetropolitan
MuseumofArt Bulletinis providedas a benefitto
Museummembersand availableby subscription.
Subscriptions$25.00 a year.Singlecopies $8.95.Four
weeks'notice requiredfor changeof address.POST-
MASTER:Send addresschangesto Membership
Department,The MetropolitanMuseumof Art,
Iooo FifthAvenue,New York,N.Y. I0028-OI98.
Backissuesavailableon microfilmfromUniversity
Microfilms,300 N. Zeeb Road,Ann Arbor,Mich.
48IO6.VolumesI-xxvII (I905-1942)areavailable
as clothboundreprintset or as individualyearly
volumesfromAyerCompanyPublishers,Inc.,
50 NorthwesternDrive#Io, Salem,N.H. 03079,
or fromthe Museum,Box 700, MiddleVillage,
N.Y. I1379.
GeneralManagerof Publications:John P.O'Neill.

Editorin Chiefof theBULLETIN:JoanHolt.
AssociateEditor:ToniaL. Payne.
Production:MatthewPimm.
Design:BruceCampbellDesign.
MahrukhTarapor,MarthaDeese, and SianWetherill,
Coordinators.
All photographs,unlessotherwisenoted, by the staff

of The PhotographStudioof The Metropolitan
Museumof Art. Photographers: JosephCosciaJr.,
KatherineDahab,Anna-MarieKellen,Oi-Cheong
Lee, PatriciaMazza,CaitlinMcCaffrey,Bruce
Schwarz,EileenTravell,KarinL. Willis, and Carmel
Wilson. Other sources:A. C. CooperLtd., p. 63.
On the cover:Giovannidi SerGiovanni,called

Scheggia,The Triumphof Fame(birthtray),see
pp. 28-29.
Contents
4 Director'sNote
5 Contributors
6 AncientWorld
20 Islam
22 Medieval Europe
28 Renaissanceand BaroqueEurope
38 Europe I700-I900
50 North America I700-I900
60 TwentiethCentury
72 Africa,Oceania,and the Americas
76 Asia
Director's Note
It wouldbe temptingthisyearto returnto ourrelatively weakNorthernholdings,and a memberof the Museum'sAcquisitionsCom-

ourformernameforthispublication- is
Italy represented by,amongothers,twomar- mittee;othersincludeDenise andAndrew
NotableratherthanRecentAcquisitions-so velousdrawings, onebyAgostinoCarracci and Saul,Dave H. and RebaW. Williams,and
notableindeedarethe additionsto the col- theotherby CarloDolci,whichtogethercon- Molly and WalterBareiss.
lection.In fact,giventhisrichharvest,it pictureof womanlyyouth
stitutea fascinating In the Asianfield, the Dillon Fund and the
takesmuchself-restraint not to cite every andage.OnceagainWrightsman and B. Y. Lam Foundationhave made possible
acquisitionincludedin this Bulletin.So it is Annenberg arenames thatresonatein these the acquisitionof yet another important
that,givenenoughspace,I wouldhaveliked pagesalongsidesomeof the grandestand Chinese painting, the fourteenth-century
to mentionournew Byzantineobjectsor that finestworksof artacquired,whethergiven hanging scroll Peacockand Peoniesby Pien
rarestof the rare,the exceptionalandravish- fromtheirown collections-as with Lu; and our small but growing collection of
ing eleventh-century Islamicmanuscript Delacroix'sMadameHenriFranfoisRiesener Koreanart can now boast an exceptional
with Ninety-nineMostBeautifulNames
the andCezanne'sMontSainte-Victoire-or pur- fourteenth-centuryLotus Sutra in gold and
of Allah... but there,now I'vedoneit. chasedthroughthe acquisitions fundsthey silver on indigo-dyed paper,a work of high
The ancientworldis especiallywell repre- haveplacedat the Museum'sdisposal.It is refinement in remarkablygood condition.
sentedthisyearwith two royalportraitsfrom alsoimportantto note the degreeto which, The Irving Galleries,especiallythe second
Egypt;fabuloussilverandgoldvesselsand in recentyears,the LilaAchesonWallace floor, devoted to the arts of the later Indian
jewelryin the GreekandRomandepartment fundshavetransformed ourabilityto com- and Himalayankingdoms, continue to be
alongwith largeandimposingSouthItalian petein the marketplace. enrichedwith outstanding examples,such as
vases,muchneededto roundout ourcollec- Alsodeservingof specialmentionaretwo the largeand imposingninth- to tenth-century
tion;anda spectacular silver-giltSasanian wonderfulflower-garden paintingsby Childe gilt-copper seated buddha from Tibet, which
plate with a hunting scene thataddsto the Hassam, the first from I890, given anony- will add much-needed scale to the works of
strengthsof the Ancient Near Eastdepart- mously, and the second, from I909, given by art in this area.
mentandis surelyone of its mostimportant DouglasDillon. In closing, I wish to draw the reader's
acquisitionsin years.The splendidenergetic artdepartment,
In the twentieth-century attention to the credit lines in this publica-
andheraldiclion aquamanile fromfifteenth- of
JeanDubuffet'sfine TheCoffeeGrinder tion, as they tell the story of the many indi-
centuryNuremberg plays ourstrengths,
also to 1945,from the collection of GeorgiaTalmey viduals without whose generosityand
aswe areprivileged to haveoneof theworld's and Ralph E Colin, adds to our already understandingof the Museum'sbasic mis-
richestcollectionsof aquamaniles. strong representationof works by this artist. sion our collections could never be augment-
The Renaissance is highlightedby the The most notable acquisition in this area, ed with the distinction manifest in this
birth tray,commemorating the though, is the group of fifty-one works on Bulletin.Everygift, large or small, is precious
imposing
birthof Lorenzode'Medici,to whichwe paperby Anselm Kieferthat forms a mini- to the collecting process, and we are grateful
havedevotedthe coverof this Bulletin.Our retrospectiveof the first two decades of this for them all.
rejuvenated Departmentof Drawingsand major German artist'scareer.As of this writ- Philippe de Montebello
Printscontinuesto acquiresplendidworks- ing, severaldonors have come forwardto add Director
the BernardvanOrleyandJanBrueghelthe to the LilaAchesonWallacefunds used for this
Elderdrawingsaredeliberateadditionsto purchase.The firstwas CynthiaHazen Polsky,

www.jstor.org
Contributors
American Decorative Arts Drawings and Prints Medieval Art and The Cloisters
NorthAmerica1700-1900: Alice Cooney Renaissanceand BaroqueEurope:Suzanne MedievalEurope:William D. Wixom
Frelinghuysen(ACF), Curator;MorrisonH. Boorsch (SB), Associate Curator;Carmen (WDW), Michel David-Weill Chairman;
Heckscher (MHH), Curator;Amelia Peck BambachCappel (CBC), Associate Curator; Timothy B. Husband (TBH), Curator;
(AP), Associate Curator;FrancesGruber Carolyn Logan (CL), AssistantCurator; KatharineR. Brown (KRB), Senior Research
Safford(FGS), Associate Curator;Catherine PerrinStein (PS), AssistantCurator.Europe Associate;BarbaraDrake Boehm (BDB),
Hoover Voorsanger(CHV), Assistant I700-oo00: Colta Ives (CI), Curator. Associate Curator;Helen C. Evans
Curator. (HCE), Associate Curator.
Egyptian Art
American Paintings and Sculpture Ancient World:Dorothea Arnold (DoA), Lila Musical Instruments
NorthAmericaI700-90o0: H. Barbara Acheson WallaceCuratorin Charge;Marsha Europe1700-9o00: LaurenceLibin (LL),
Weinberg (HBW), Curator;Kevin J. Avery Hill (MH), Associate Curator. FrederickP. Rose Curatorin Charge. North
(KJA),Associate Curator;Thayer Tolles AmericaI700-oo00: LaurenceLibin (LL).
(TT), AssistantCurator. European Paintings Africa, Oceania,and theAmericas:J. Kenneth
Renaissanceand BaroqueEurope:Keith Moore (KM), Associate Curator.Asia:
Ancient Near Eastern Art Christiansen(KC), JayneWrightsman J. Kenneth Moore (JKM).
Ancient World:PrudenceO. Harper (POH), Curator.EuropeI7oo-I9oo: EverettFahy
Curatorin Charge. (EF), John Pope-HennessyChairman;Gary Photographs
Tinterow (GT), EngelhardCurator. Europe1700-900oo Malcolm Daniel (MD),
Arms and Armor AssistantCurator. TwentiethCentury:Maria
Renaissanceand BaroqueEurope:StuartW. European Sculpture and Decorative Arts MorrisHambourg (MMH), Curatorin
Pyhrr (SWP), Curatorin Charge.Asia: Renaissanceand BaroqueEurope:Jessie Charge;Jeff L. Rosenheim (LR), Curatorial
Donald J. LaRocca(DJL), Associate Curator. McNab (JMcN), Associate Curator.Europe Assistant;Doug Eklund (DE), Research
1700-1900: Olga Raggio (OR), Iris and Assistant.
Arts of Africa, Oceania, and the Americas B. Gerald Cantor Chairman;JamesDavid
Africa, Oceania,and theAmericas:JulieJones Draper (DD), Curator;Clare LeCorbeiller Twentieth Century Art
(J), Curatorin Charge;Alisa LaGamma (CLC), Curator;JessieMcNab (McN). TwentiethCentury:William S. Lieberman
(AL),Jane and MorganWhitney Fellow; TwentiethCentury:Clare LeCorbeiller (WSL), Jacquesand Natasha Gelman
Michael Gunn (MG), Associate Curator. (CLC). Chairman;Sabine Rewald (SR), Associate
Curator;LoweryS. Sims (LSS), Curator;
Asian Art Greek and Roman Art Lisa M. Messinger(LMM), Assistant
Asia:JamesC. Y. Watt (JCYW), Brooke Ancient World:CarlosA. Pic6n (CAP), Curator;J. StewartJohnson (SJ), Consultant
RussellAstor Senior Curator;Maxwell K. Curatorin Charge;Joan R. Mertens (JRM), for Design and Architecture;Nan Rosenthal
Hearn (MKH), Curator;Martin Lerner Curator;Dietrich von Bothmer (DvB), (NR), Consultant.
(ML), Curator;BarbaraBrennanFord Distinguished ResearchCurator;ElizabethJ.
(BBF), Curator;Steven M. Kossak(SMK), Milleker (EJM),AssociateCurator;Ariel
Associate Curator;Joyce Denney (JD), Herrmann(AH), Senior ResearchAssociate.
ResearchAssistant.
Islamic Art
Costume Institute Islam:Marie Lukens Swietochowski(MLS),
Europe1700-9o00: JenniferA. Loveman Associate Curator;Stefano Carboni (SC),
(JAL),Senior ResearchAssistant. North AssistantCurator.
AmericaI7oo-I9oo: JenniferA. Loveman
(JAL).
5
AL AOL I
are frequentlyrepresentedon the great pro-

cessionalbarksof the gods, expressingthe
respectfulyet dignified role of the king,
himself a god, in ensuring the continuing
worship of the gods. MH
Fragment of a Head of KingApries
Egyptian(Dynasty26), reign ofApries

(589-570B.c.)
Diorite
H. i in. (30.3cm)
Purchase, Lila Acheson Wallace Gift, 1994
I994.I98
Apries is one of the rulersof Late Period

Egypt whose personalitieshave been en-
livened for us through biblical texts and the
writings of the fifth-century-B.c.Greekhisto-
rian Herodotus. The latter'srecounting of
this king's demise is reminiscent of Greek
tragedy.Apries'sarmy,writes Herodotus, rose
in mutiny againstthe king because the sol-
diers felt betrayedwhen they were shamefully
defeated during an attackon Cyrene in
Libya.To calm the revolt,Apriessent his gen-
Statuette of Thutmose III
eralAmasis to the troops, who respondedby
This is the earliestknown New Kingdom crowning Amasis king. Apries,who had been
Egyptian(Dynastyi8), reignof ThutmoseIII royal bronze statuette and, with a few Late one of the most prosperouskings of Egypt,
(I479-1425 B. C.) Middle Kingdom copper and copper-alloy lost the ensuing battle againstAmasis and
Blackbronzewith gold inlay precursors,it initiates the bronze statuarytra- was eventuallystrangled.
H. 53 in. (3.6 cm), excluding tangs dition in Egypt. It is a "black"bronze, dark- This over life-size image of the king is of
Purchase, Edith Perry Chapman Fund and ened to heighten the luster of preciousmetal even higher artisticquality than the closely
Malcolm Hewitt Wiener Foundation Inc. inlays. In this case the left eye rim and the related,famous head of Apries, now in
Gift, 1995 nipples retain their originalgold inlay.The Bologna, Italy.Strong facial features,with a
1995.21 statuettewas cast solid, with separatelycast commanding eye and boldly carvedear, are
arms (one is missing) fitted onto dowels. surmounted by the imposing curvatureof a
Beautifullypoised, this small bronzeking Kneeling bronze kings occur irregularly helmetlike headgear(the so-called blue
offerswine or milk to a god. The fluid athletic throughout the New Kingdom and then in crown of war), on which the twisted body of
modeling of his body and detailsof his cos- greaternumbers during the Third Inter- a royal cobra is partly preserved.Strapsof
tume indicatea date in mid-Dynasty18. In mediate and Late Periods.Their appearance soft leather underlie the crown at the fore-
fact, the statuetterepresentsthe greatking at this time is almost certainlyassociated head and behind the ear.The Museum owns
Thutmose III, as is revealedby tracesof his with the growing emphasison the public only one other, much less impressive,life-size
prenomen,Menkheperra,on the belt buckle. aspectsof Egyptian religion. Such figurines image of a Late Period ruler. DOA

www.jstor.org
Capital
Greek(Tarentine),late4th-early3rdcenturyB.C.
Limestone
H. 74 in. (18.4 cm)
Gift of the Aboutaam family, 1995
I99595
Taras(Roman Tarentum,modern Taranto),

located where the heel meets the instep of
the boot of Italy,was a majorcity of the
Greekworld. Its artisticculturewas especially
brilliantin the late fourth and early third
centuries B.C.The capital belongs to a well-
known Tarentinetype often used in the dec-
oration of small funerarybuildings. An
ornatevariantof the Corinthian capital, it is
carvedfrom the soft local limestone, which
has a chalklikeconsistency that encouraged
crisp, spontaneousworkmanship.Above two
rings of leaves double-bodied sphinxes,larger
than those on most capitalsof this category,
perch on the inward-springinghelices at the
front and back of the capital.Palmettesoccupy
the same position on the two sides. The
sphinx at the back is blocked out but unfin-
ished, offering an interesting glimpse of how
the sculptorwent about his work. One of the
outward-springinghelices is partiallypre-
servedand shows the virtuosoopenworkcarv-
ing of this element, which is broken awayin
most examples.The abacusis edged with a
delicateovolo molding. With its refined but
lively style, the capital is representativeof
early Hellenistic Tarentinearchitectural
ornament. AH
7
Hydria
crumpledor broken, so today complete
Greek(Archaicperiod), early6th centuryB.C.
hydriaiare considerablyrarerthan their
Bronze
sculpturaladjuncts.
H. i7 in. (43.2 cm) In the earliestexamplesthe verticalhandle
Purchase, David L. Klein Jr. Memorial is flush with the rim and has lateralexten-
Foundation Inc., The Joseph Rosen sions that assurefirm attachment. On this
Foundation Inc., and Nicholas Zoullas new acquisition the upper part of the verti-
Gifts, 1995 cal handle has lions' heads and the lower, the
1995.92 head and neck of a woman with long hair.
The horizontalbar at her eye level has half-
Hydriai were extremely popular in the spool finials. The flat surfaceof the handle is
Greekworld from the late seventh to the sec- decoratedwith an engravedgeometric pat-
ond century B.C.They were made not only tern that, with the half spools, is repeatedon
to contain water but also to be used as the side handles, to which the sculptorhas
awards,for balloting, in burials,or as dedica- also added stylized ducks' heads.
tions to the gods. The body was normally The finished vessel thus demonstrates
raised,but the handles-two horizontalones harmonybetween shape and decoration,
for lifting and a verticalone for pouring-and a principle that governedarchaicGreek
feet were cast and attachedwith rivets.The workmanship. DVB
thinnerhammeredbody has in many cases
Table Support Decorated with Griffins
Greek,secondhalf of the5th centuryB.C.

Marble
H. 25 in. (63.5 cm)
Gift of Jean-Luc and Veronique Chalmin,
1994
I994.3II
This is half of one of two supports for a table

top. Comparablemarblesupports elucidate
the components and the angularcuts in the
stone. The grooves in the narrowend origi-
nally terminatedin an attached slab with a
lion's paw secured by two verticalcuts, vis-
ible at the bottom.
The two broad sides are divided by a hor-
izontal bar.On the upper zone of this better-
preservedside are a griffin and a volute. The
placement of the figure and shape of the ris-
ing volute are characteristicof this type of
Classicalsupport. The other broad side bears
the same featuresin reverse,but with a grif-
8
fin attackingthe hindquartersof an animal, nect the two supports.The blank lower zone supports-mostly from the end of the fifth
seemingly a deer, the rest of which would of the outer face may have been painted, century B.C.-have been identified. The
have appearedon an adjacentslab. This is since another Classicalexample (in a Swiss style and typology of the griffins and orna-
doubtless the outer face, because the reverse privatecollection) has tracesof polychromy ment suggest a date in the second half of the
preservesa squarishcut for a crossbarto con- there. Lessthan a dozen Classicalmarbletable century for our example. CAP
9
Shell
out of the marble.The end of the whorl is
Greek,secondhalf of the5th centuryB.C. worked as a narrowtrough, not unlike that
Marble on oil lamps. The sculptor has smoothed the
L. 91in. (20.4 cm) marbleto a silken finish. A small hole near
Purchase, Mr. and Mrs. John Moscahlaidis the middle of the body whorl suggests that
Gift, I995 the object was used as a libation vessel. The
1995.I9 liquid would have trickledout of the body
into the concave lip.
The carewith which every detail of a real Few comparablemarbleshells are known
shell has been rendered in this marble (BritishMuseum, J. Paul Getty Museum,
object is remarkable,although it is consider- and NationalArchaeologicalMuseum,
ably largerthan its model, the Aporrhias Athens). Their precisedate, function, and ori-
Pespelecani,or "Pelican'sFoot," common in gin have not been firmly established,but origin have been proposed for these luxurious
the Mediterranean.The conical body con- they may all stem from the same atelier,pos- vessels, which were often painted. Our shell
sists of two hollow pieces, the so-called body sibly the workshop(s)responsiblefor the also preservestraces of polychromy. CAP
whorl, contiguous to the fan-shapedlip, and seriesof elegant marbleperfume containers

the spiral. Both were carvedseparatelyand produced throughout the second half of the
attached,evidently to facilitatethe scooping fifth centuryB.C.Both an Attic and a Cycladic
IO
baglike container.While the shape is not tive ratherthan to serveprimarilyas a signet.
found outside Etruria,the rosette decoration Both the subject and rendering are also
I and inlaid-enameltongue pattern derive closely related to the work of contemporary
from Greek art. The pair of spirals,which Attic vase painters,who often showed Eros
may have served as hair ornaments,are with either Aphrodite or a bride being pre-
unusuallyelaborate.They consist of three pared for her nuptials. The composition of
wide bands connected by narrowstrips;each the figures together with the fine details and
band has an open panel in the center that is the impressionof sculpturalweight make this
filled with a waved-wiredecoration.The car- a diminutive masterpieceof the high Classical
touche ring, with an intaglio design arranged period. EJM
in three registersof a winged lion, a siren,
and a flying scarabbeetle, shows thematic
connections with Egypt, Phoenicia, and
Greece. EJM
Pair of Spirals
Etruscan,7th centuryB.C.
Gold
Ring
L. (each) I3 in. (3. cm)
Purchase, Anne Murray Gift, in memory Greek(SouthItalian), late 4th centuryB.C.
of Rita C. Murray, 1994
Gold
I994.446a, b H. 87 in. (2.2 cm)
Purchase, Classical Purchase Fund and
Earring Lila Acheson Wallace Gift, 1994
Ring 1994.230.3
Etruscan,6th centuryB.C.
Goldwith enamel Greek,secondhalf of theyth centuryB.C. The broad oval bezel of this heavy gold ring
Diam. 34 in. (2 cm) Gold is engravedwith an intaglio showing the
Purchase, Mr. and Mrs. AlexanderAbraham H. (bezel) 7 in. (2.3 cm)
youthful messenger-godHermes balancingon
Gift, 1994 Purchase, Classical Purchase Fund and his left leg as he fastensa wing to his raised
I994-374 Lila Acheson Wallace Gift, 1994
right foot. The god wearsa short mantle
1994.230.I that encircleshis neck and hangs down his
Cartouche Finger Ring
back. Winged sandalsor boots are a standard
The bezel of this ring has an exquisitely attributeof Hermes, but it is unusual to
Etruscan,late 6th-early5th centuryB.C. detailed intaglio of a woman approachedby find the wings attached to the figure'sankles
Goldfoil oversilver Eros. The woman is seated on a stool, one ratherthan to some form of footwear.
L. (bezel) Y5in. (1.7 cm) turned leg of which is visible. Her hair is Since its first publication close to a centu-
Purchase, Mr. and Mrs. Martin Fried Gift, bound up in a netlike sakkos.She wears ry ago, this ring has been associatedwith a
I995 earrings,a necklace, and, on her right wrist, notable sculpturaltype in monumental
1995.40 a double bracelet.A belted chiton coversher Greek sculpture, the Sandal-BinderHermes,
upper arms, and a himation is bunched traditionallyascribedto the sculptor
Some types of early Etruscanjewelry are not aroundher waist, coveringher legs. The fab- Lysippos.Echoes of this particularcomposi-
found anywhereoutside central Italy,while ric'sfolds are renderedin parallelridges,orga- tion, showing the god tying or untying his
other forms and decorativemotifs show the nized to clarifythe directionof the draperyas winged sandal, appearin the decorativearts
influence of commercialties between Etruria well as to revealthe forms of the body. The as well, notably on coins of Sybrita,in
and cities in the easternMediterranean.The woman holds a frond in her right hand. Eros Crete, dated to the late fourth century B.C.
earringin this group has a typicallyEtruscan flies up toward her face, touching her right Our ring, however,can be stylistically
shape, known today as a'baule-from the shoulderwith one hand and raisinga wreath grouped with a handful of accomplishedlate
Italianword for valise or trunk. Formedfrom to her head with the other. Classicalgold rings from Magna Graecia,
a rectangularsheet rolled into a semicylinder, Such a scene was fairlycommon on this which is in fact the alleged findplace of our
with the ends joined by wire, it resemblesa type of ring, which was made to be decora- piece (Tarentumin southern Italy). CAP
II
Attributed to the Metope Painter
Pair of Loutrophoroi Loutrophoroiare lustralvases that were used tures a woman with an attendantwithin a
in rites of marriageand in the burialof those small, elevated funerarystructure.Of special
Greek(SouthItalian,Apulian), mid-4th who died unwed. Attested in an unbroken note are the marblelions below the figures
tradition from the earliestGreek art, the and the substructureson which the buildings
century B.C.
Terracotta shape of such vessels acquiredparticularsig- stand. The upper course of this lower ele-
H. 3434 in. (88.3 cm); 3234 in. (83.2 cm) nificance during the Classicalperiod. After ment is decoratedwith alternatingtriglyphs
the mid-fifth century B.C. in Greece, and metopes, and the lower with an elaborate
Purchase, The Bernard and Audrey
Aronson Charitable Trust Gift, in memory loutrophoroibecame currentin marbleas foliate motif. The evidence such images pro-
of her beloved husband, Bernard Aronson, well as pottery, and in the fourth-century vide for architecturaldetails not preservedin
'995
ceramicworkshopsof southern Italy they surviving remains,as well as the exceptional
I99545.1 ,2
often receivedextraordinarilyelaborate quality of execution, account for the signifi-
decoration.This remarkablepair each fea- cance of these vases. JRM
12
Pair of Volute-Kraterswith Stands
glaze. This pair of examplesof the fourth

Greek(SouthItalian,Apulian), ca. 350-325 B.C.
century B.C. from Apulia is significantfor the
Terracotta
preservationof the stands,which enhance
H. 383 in. (97.5cm);382 in. (97.8 cm) their alreadyimposing appearance.In the
Classical Purchase Fund, 1995 overallshapes,as in the treatmentof each
I995.53.1,2
part, the influence of metal counterpartsis
evident. The stem is articulatedwith wide
Volute-kraters,named for the distinctive tongues, the body with fine, preciseribs. The
form of the handles, were favoredin Greek painted foliate ornamenton the neck intro-
art in both bronze and terracotta.Athenian duces an organic,decorativecomplement to
ceramicexamplesof the fifth century B.C. the elegant,hard-edgedsilhouette. JRM
may have figuraldecorationover the neck
and body or, like their metal counterparts,
may depend for their effect on smooth, lus-
trous undecoratedsurfacescovered only with
13
Pair of Earrings
Greek,2nd centuryB.C.
Goldwith garnets,enamel,and glassinlay
Diam. 2 in. (5cm); i34 in. (4.5 cm)
Lila Acheson Wallace Gift, 1994
I994.230.8,9
Earringswith figuralprotomeswere popular

throughout the Greekworld from the late
fourth century B.C. to the late Hellenistic
period. Although many were decoratedwith
bull's-headterminals,this pair is exceptional
not only for its largesize and excellent state
of preservationbut also for its elaboraterep-
resentationof the animal as Apis, the sacred
Egyptianbull worshiped at Memphis. Apis is
identified by a sun disk, often accompanied
by a crescent,set between his horns. These
Fragment of a Dish with Erotic Scenes
heads are each adornedwith a garnet cres-
cent topped by a green glass disk between of a woman and a man embracing as well as
the horns, while a largeround garnet and Greek(Ptolemaicperiod), ist centuryB.C. the remainsof a two-line Greek inscription,
a small green glass gem drop from the Glass possibly the artist'ssignature.The raisedrim
muzzle.The heads areembellishedwith inlaid L. 28 in. (5.5cm) featuresanother couple making love, pre-
Gift of Nicolas Koutoulakis, 1995
garnets,enamel, and glass gems. sumably one of severalgroups that embell-
The cult of the Apis bull, which repre- I9995.86 ished the circumference.The decoration on
sented the ever-renewingforce of Osiris, was the undersideconsists of a crisp meander
officiallyrecognizedby the Ptolemaickings This highly unusual fragment of a dish, pattern along the rim and a delicate, continu-
who ruled Egypt during the Hellenistic per- which would have measuredabout four and ous floral friezewith birds borderinga cen-
iod. Indeed, Apis was united with Osiris a half inches in diameter,gives us a fascinating tral medallion, which featuresa nude
in a new Greco-Egyptiangod, Sarapis,whose glimpse into the rich repertoireof the late squattingwoman.
worshipspreadthroughoutthe Mediter- Hellenistic or early Roman erotic luxury arts The dish seems to have been intended as
raneanworld and, later,the Roman empire. conceived for the privatedomain. The mater- a kind of illustratedsex handbook and was
Although numerous representationsof the ial is cast-and-polishedopaque white glass. presumablya privatecommission, a fact that
Apis bull were objects of veneration, many, Apparently,the entire dish was decoratedon would help to explain the presenceof an
like the protomes of these earrings,were sim- both sides with numerous erotic scenes in inscription or an artist'ssignature,otherwise
ply charmingexpressionsof the Egyptomania shallow relief. The slightly concave interior unprecedentedin cast- (as opposed to blown-)
that prevailedin the ancient world. EJM side of the fragmentpreservesa central group glass objects. CAP
I4
Parure (Necklace and Pair of Earrings)
Late Hellenistic jewelry is, surprisingly, box settings as well as similarthick corded
Greek(Hellenisticperiod), late 2nd ratherrarein comparisonwith materialfrom chains shows that the necklace and earrings
century B. C. the rich burialsof the earlypart of the period. were made as a set. The earrings'chain loops,
Gold with garnetsand agate The necklace is relatedto a second-century- which may have been made to pass over the
L. (necklace)154 in. (38.7cm) B.C.example, also with box-set cabochon ear, are a Late Hellenistic feature.The parure
Purchase, Classical Purchase Fund and has traditionallybeen associatedwith a group
garnetsand lynx's-headattachmentswith
Lila Acheson Wallace Gift, I994 of small ornaments,including rings, earrings,
granulation-cappedagatecollars,from
1994.230.4-6 Artjukhov'sbarrow,Taman,on the Sea of and diminutive pelta-shapedgold appliques.
Azov. The flamboyantearringsare ratherdif- A ring set with a glass cameo of Augustus
ferent in feeling from the necklace, but their suggests that the objects were assembledover
use of similarcabochon garnetsin hinged a considerabletime span. AH
I5
Pair of Drinking Cups (Skyphoi)
Roman, late ist century B.C.-st century A.D.

Silverwith gilding
H. 378 in. (9.9 cm); 334 in. (9. cm)
Purchase, Marguerite and Frank A.
Cosgrove Jr. Fund and Lila Acheson
Wallace Gift, 1994
1994.43. 1,2
Similaritiesin the technique, scale, design,

and iconographyindicate that the two cups
were made in the same workshop, probably
as part of a largeset. Each consists of a foot,
cast and turned on a lathe, two cast handles,
and inner and outer shells, which are raised
in one piece and decoratedwith repousseand paradearound the circumference.One holds second cup, but there are also a tipsy putto
chasing. a lantern, two play the kitharaand double and a remarkablewingless child riding a pan-
On both cups a gnarledtree near each flutes, and the others, including the central theress.There is a strong element of funerary
handle divides the narrativein two. On the dancer,hold flaming torches upside down. symbolism, indicated most clearlyby the
better-preservedskyphos six winged erotes The same family of erotes resurfaceson the torches held both up and down and by the
i6
Finger Ring with Intaglio Portrait of
Tiberius
Roman, A.D. 14-37

Goldand carnelian
W (intaglio) is6 in. (2.7 cm)
Lila Acheson Wallace Gift, I994
1994.23o.7
The carnelianintaglio is a courtly production

of an icy purity and elegancefrom the great-
est period of Roman gem cutting. Cameos
and intaglioswere used for the transmission
of Julio-Claudiandynastic propaganda,and
wearing imperialportraitsas ring stones was
widespreadpractice.The oval gem is set in
its originalgold ring, which is thick but
ratherlight and seems to be of hollow con-
struction. The shape of the setting, with
inward-slopingshouldersand a flat borderon
the bezel around the intaglio, has parallels
from the Vesuviancities. AH
Intaglio in Gold Setting

that it served as a clasp, possibly for a neck-
Roman,late 2nd-early3rd centuryA.D. lace or for a diadem. The intaglio depicts a
Redjasper,gold,pearls,and glass hunter on horsebackthrusting his spearat
H. i3i6 in. (3 cm) the snout of a boar,shown with bristlinghide
Purchase, Classical Purchase Fund and and corkscrewtail. The intervalbetween
Lila Acheson Wallace Gift, 1994
quarryand hunter is filled by a galvanized
1994.230.2 dog. The materialof the gem as well as its
subject indicate a date in the late second or
Ancient pieces of jewelry in their originalset- earlythird centuryA.D. An excellent contem-
tings are rare.This particularlyfine work poraryparallelfor the intagliois the Museum's
consists of a red jasperintaglio mounted in impressivesilver handle (acc. no. o6.iio6) in
an oval gold box, to which are attachedcloi- which a horseman,dog, and their quarry-a
sons holding inlays of pearlsand glass. Two lioness-are treated with similarprecision
hooks on the reverseof the setting suggest and vigor. JRM
i8
Plate with a Hunting Scene
The great Iranianepic, the Shahndma,or this silver-giltplate it was unknown on works
Silver-gilt Book of Kings, as recordedby Firdausiin the of Sasaniandate (A.D. 226-651). The identity
Allegedlyfrom Iran (Sasanianperiod), 5th or late tenth to early eleventh century,includes of the hunter on the Museum'svessel (for-
6th centuryA.D. a tale concerning the Sasanianking Bahram merly in the Guennol collection) is not
Diam. 77 in. (20.I cm)
V (r.A.D. 420-38), who, when he was crown assuredbecause the crown seen here is not
Inscribed:Tahmag-dadand a weightnotation
prince, went hunting accompaniedby his shown on the coins of BahramV. This image
Purchase, Lila Acheson Wallace Gift, 1994 favoritelyre player,a woman named Azada. may be Bahrambefore his coronation or,
1994.402
Challenged by the woman, Bahram"Gur" alternatively,the hunter in the Sasanianstory
(Wild Ass) shot an arrowthat removed the may not have been a contemporaryking or
horns of a male gazelle, transformingit in prince but some legendaryor heroic figure of
appearanceinto a female, and shot two the past.
arrowsinto the head of a female gazelle, giv- Beautifullyexecuted in a complex but
ing her the appearanceof a male. characteristicSasaniantechnique, the silver
This story became a favoritetheme in the plate is a unique illustrationof a theme from
arts of Islam, but before the appearanceof epic literature. POH
i9
A LA
Manuscript in a Horizontal Scroll Format relatedto the Prophet Muhammad, "those This splendid copy of the story of Lailaand
with the Ninety-nine Most Beautiful
who know the Names will enter paradise." Majnun by the twelfth-century Persianpoet
Names ofAllah (detail)
The scroll is greatlyenriched by a frontis- Nizami was commissionedby one of the most
piece, illustratedhere with the first four discerningof patrons, the Timurid prince
EasternIran orAfghanistan,secondhalf of the Names, and an endpiece that contain the Baisunghur.The colophon states that it was
iith century
manuscript'stitle and eulogies to Allah and made in Herat (the Timurid capital, now in
Ink, colors,and gold onpaper Muhammad. Both are illuminatedwith a Afghanistan)in [A.H.] 835 (A.D. 1432) and
Overall 52 x 288 in. (14 x 731.5 cm)
profusion of gold, lapis lazuli, white, red, and copied by Ja' far,a celebratedcalligrapherin
Purchase, Lila Acheson Wallace Gift, 1995 green pigments. In addition, Qur'anic verses chargeof the royal atelier.The manuscript
1995.08 copied in gold in a quasi-architecturalplaited contains one magnificent miniature (two
Kufic style run atop the scroll. sc others are in a privatecollection and one is
This extraordinarymanuscriptis the only missing) of Laila and Majnun at School.The
known intact example of a horizontalscroll painting, which spreadsfrom the usual con-
from the early Islamicperiod. Although there fines of the text into the margin, shows a
is no colophon, the style and a comparative domed building with a minaret-a madrassa,
analysisof its writing leave no doubt that the or religiousschool, where the star-crossed
scroll was copied in the second half of the lovers,children of Arab tribalchiefs, first
eleventh century.The manuscriptis made of Laila and Majnun at School meet. The salmon-coloredbricksand the
ratherthick, slightly polished creamypaper. intricatedecoration reflect both the illumi-
The main text, which lists the ninety-nine A folio of Lailau Majnun, byNizamm nated opening pages of the manuscriptand
"Most BeautifulNames" (al-asma'al-husnd) Eastern Iran (Timuridperiod), A.H. 835/A.D. the brick and tile work of easternIranian
of Allah, each one separatedby an illumin- 1432 buildings.The schoolroom floor is covered
ated rosette,was copied in black ink in the Ink, colors,and gold onpaper,lacquerbinding with an unusual multiple-nicheprayerrug
easternKuficcalligraphicstyle. The medita- 9 in. (3.5 x 22.9 cm); (sajada).The girls and boys are separated,
Manuscript: I2'28
tive recitationof the Names of Allah, prefer- II/x 738 in. (29.2 x I8.2 cm) except for Lailaand Majnun, who sit at the
painting:
ably by heart but otherwisewith the help of Purchase, Lila Acheson Wallace Gift, 1994 back. The teacherlistens to a pupil in the
manuscriptslike this one, has a special place 1994.232 center of the room, while a latecomertries to
in a Muslim'slife. According to a tradition slip in unnoticed. MLS
20

www.jstor.org
H
__
CrossbowFibula
5th century
EarlyChristian/Byzantine,
Gold
L. 4'16 in. (Ir.9 cm)
Purchase, Lila Acheson Wallace Gift, 1995
I995-97
Crossbow fibulaewere in vogue as imperial

gifts from 280 to the mid-sixth century. One
of seven extant with pierced openwork, the
new acquisition representsan intermediate
stage in the development of such fibulae,
datable to about 400-480. Our example, like
the one from the grave of Omharus, king of
the Gepids, has a Latin cross in the center
of the top panel, making it overtly Christian.
These two each have a triangularfoot com-
posed of openwork plaques;the other five
have piercedwork only on the top of the foot.
In addition, the leaves with incised veins ally
our fibula with a group of objects in pierced
work with incised details that are attributed
to a Roman workshop and date to about 400.
Thus, it seems possible that our piece was
made by an artistfrom this workshop who
fled from Rome and created the fibula for a
member of Omharus'sentourage.
The point of the pin is insertedinto a
socket in the brooch'sfoot, and the looped
pinhead fits into a perforationat the back
center of the head. The pinhead is releasedby
unscrewingthe left hexagonalterminal.
Because of its sophistication as a mech-
anism, the screw became a status symbol in
jewelry. KRB
22

www.jstor.org
Double-Faced Pendant Icon
Middle Byzantine,late Iith-early i2th century

Goldand cloisonneenamel
H. IX in. (.3 cm)
Purchase, Lila Acheson Wallace Gift, I994
1994-403
This exquisitedouble-facedpendant icon is a

triumph of the greatestera of Byzantine
cloisonne enamel production. It is a rare,if
not unique, exampleof enamelingon both
surfacesof a single sheet of gold. Togetherthe
Belt Buckle and Tongue
faces representthe Virgin intercedingwith
her son on behalf of mankind. One face
Buckle:East German,ca. 5oo;tongue:
depicts an austere,majesticbust of Christ
Byzantine,6th century encasedin a golden frame,symbolic of heav-
Rockcrystaland gold
en. His right hand is raisedin a gestureof
L. I9/6 in. (4 cm)
benediction,while the other presentsthe
Purchase, Rogers Fund; Alastair B. Martin,
gospels, their clasp open, inviting the viewer
William Kelly Simpson, Scher Chemicals
to open them and read.As indicatedby the
Inc., and Max Falk Gifts; and gifts from Greekinscriptionsin the half-lobesof the
various donors, I995
frame,abbreviationsfor "JesusChrist, King
I995 54 of Glory,"the image is a miniaturereplicaof
Christ as Pantokrator,a populartheme for the
The beveled edges of this heart-shapedbuckle centraldome decorationof Middle Byzantine
give it a distinctive elegance.The form is a churches.Christ looks to the side as if to rec-
naturaloutgrowthof the precedingProvincial
ognize his mother, seen on the reverse.The
Roman period, when heart-shapeddesigns
Virgin, identified in Greekabbreviationsas
and beveled chip-carvingwere in vogue. "Motherof God," turnswith her hands raised
The beveled edges of the oval loop in the in prayertowardthe now-damagedhand of
center serve to heighten the object's three- Christ/God in the upper corner.The partially
dimensional, tactile quality.The intrinsic lost sky-blueground surroundingher and the
value of the masterfullycarved rock crystal vivid green of the half-lobesplace her in the
makes the buckle a significantemissaryof
earthlyrealmof the icon's owner,whose
Migration period art, for the most character- prayerswould have sought her assistance.
istic aspectsof that art were that it was HCE
portableand that the attributesreflectedthe

status of the wearer.This buckle was obvi-
ously from an importantman's belt.
In the LateAntique period rock-crystal
bucklesoriginatedin the easternMediter-
raneanregion, probablyin the wake of the
revivalof a glyptic tradition.These elegant
buckleswere carriedwestwardby the East
Germans.Rock crystalwas used by the bar-
bariansespeciallybecauseof its richness.Like
the few other extantexamples,this bucklehas
lost its originaltongue but is fitted with a fine
gold Byzantinereplacementwith a small
incised crossat the base.A groovedpiece of
gold foil extends from the base of the tongue
and is bent arounda notch in the crystalto
secure the tongue to the buckle. KRB
23
Leaffrom a Royal Manuscript with Scenes
of the Life of Saint Francis
Temperaand gold leaf onparchment

Bologneseschool,ca. 1320-42
85Yx 68 in. (21.p x i6.8 cm)
Gift of Mr. and Mrs. Edwin L. Weisl Jr.,
1994
i994.516
Events from the life of Saint Francisof Assisi

appearin the quadrantsof this manuscript
leaf. At the upper left the nimbused and ton-
sured saint wears the characteristicgarb of
the Franciscanorder:a hooded brown robe,
securedat the waist by a knotted cord, and
sandals.The stigmata appearon his feet and
outstretchedhands. He addressesa group
of birds and two timid animalswhose
whiskeredmuzzles and paws alone can be
discerned.At the upper right Francisdies,
surroundedby his followers.At the lower left
Glazed Bowls with Abstract Sgrafitto
the saint appearsthrough a window, reviving
Decoration
a dead woman so that she may make her last
ated floral patterns,or rinceau,ascend the confession.At the lower right he leads a
Middle Byzantine,I2th century sides of the vessels from a medallion at the debtor out of prison.
Firedredearthenware,creamslip, and base. This is part of a celebratedmanuscript,
transparent
glaze The more lavishlydecoratedof the two alreadydispersedby the seventeenthcentury,
Diam. 778in. (20 cm);91in. (23.5cm) bowls was given in honor of Curator now divided principallyamong the Biblioteca
Rogers Fund, 1994 EmeritusMargaretEnglish Frazer,who loved ApostolicaVaticana,the Pierpont Morgan
I994.306 Byzantineceramics.Its originalcream slip Library,and the Hermitage. Its rich gilding,
Gift of Professor Maan Z. Madina, in has aged to a beautiful greenishgray.The lavish decoration, and profuse illustration
honor of Margaret English Frazer, Curator central medallion is filled with a design of indicate a royal commission. The inclusion
Emeritus of Medieval Art, 1994 richly embellishedleaves and vine scrolls. of scenes from the lives of the Angevin prince
I994.517 The concentric bands include sgrafittopat- and Franciscansaint Louis of Toulouse, the
terns reminiscentof Islamic motifs, suggest- Hungarianking Ladislas,and Stanislaus,
These richly decoratedbowls are outstanding ing a connection between Islamicand sainted bishop of Krakow,suggests that the
additions to the Museum'sgrowing collec- Byzantineceramicsin these centuries.The manuscriptwas painted for Charles II of
tion of Middle Byzantineceramics.Similar generous inward curve of its rim contrasts Hungary and his wife, Elizabeth,a Polish
in shape, with wide flaringoutlines rising with the straightlines of the more austereof princess. BDB
from delicatelyworked low feet, both are our new acquisitions.The ornamentationof
decoratedwith patternsincised into cream the latter is centered on an eight-lobed
slip and coveredwith transparentglaze. As medallion and featuresa band at the mid-
was typical in this period, the decorationis point of the sides decoratedwith an abstract
restrictedto the interiorsof the bowls. Bands rinceauand three trilobed arches. HCE
of varyingwidths, often containing abbrevi-
24
- ? e3 T?-
.I)i
,iri
.;.i i-; ar: i:/I
iGi ...????
.-,:
I - I I Ees-- sa 1S1 ;i; siB'J
-- r aauasrr"xra ppa
,li iti
;i
?:i.L`
: :hFiFPGL-,-IIT";P?uirr*? - I
:i::;
.4
;e
!?.?`-,.EE'C;Pi
crI;i
-?--.?
t L8
??-??;i I I
*...-
FT
?? k
B::?
II::iL.?
???i:
???;-
: ,.,..
I ?? ,t,,
?E`.,
4 r-? _i :;e?
:19 -,i
sap: ?tl:
.ir-
2-:?9;";-s .? i:I:?;
"-;'"gr.;g;,,,
*"I.I;:'"4R
rit*
bi;?i?
:i-.; .?":-
;-Jr:
.. : n;?5' 5
Ig? ;r*:? xl?::fi i r,: -; --
L'?iTWirBB"S'$ieE:'i
Aquamanile
German(Nuremberg),ca. 1400
Lattenalloy
H. 138 in. (33.3cm)
The Cloisters Collection, 1994
, _ 1994.244
. . I
W~
,i
Aquamanile(from the Latin words for water
and hand) are vessels that initially were used
I/ 'I .; by priestsfor liturgicalhand washing and
laterwere employed domestically.Cast in the
lost-waxprocess,these workswere generally
filled throughan apertureat the top of the
head, while a spout and spigot extending from
the chest allowedfor waterto be pouredover
the hands.
Aquamaniletake the form of a varietyof
creatures;the present example representsa
\
i i ;\?
!II
t rjl
proud lion. Produced in the imperialcity of
I?
rrI Nuremberg, this work is outstanding for its
;:I imposing style, masterfulmodeling, superb
casting, golden luster,and beautifully tex-
tured surfaces.Although the form and details
L
referto naturalfeatures,each element is sim-
plified and dramatized.The sturdyfringed
legs, the upwardlycurvedand tufted tail, the
expanded,mane-coveredchest, the
pulled-backhead, the arched
^-U'~ eyebrows,the flarednostrils,
the swollen and whiskeredupper
lip, and the menacingmaw with
baredfangsand extendedtongue
areall aspectsof a unified con-
7'^ ception of a very energetic
creaturecaught in the suspend-
,. ed action of a heraldicstanceand possiblyeven
in an interruptedroar.A diminutivedragon,
which servesas a handle,seems to shriekin
supportiveyet ineffectivedefiance. WDW
ctJ:,
I
'n
26
Probably the workshop of Sebastian
Lindenast the Elder
German,ca. 1460-I526
CoveredBeaker
German(Nuremberg),ca. I490o-o00
Gilt copperwith engraveddecoration
H. 9 in. (23 cm)
The Cloisters Collection, 1994
I994.270a,b
The distinctive profile of this beaker,gently

flaringat the lip, conforms to that found in
similarvessels bearingthe city punch of
Nuremberg.The use of animal forms as feet
and the lush foliate patterns,engravedin
reserve,set againsta hatched backgroundare
also characteristicof Nuremberg production.
There, as in many medieval cities, goldsmiths
were forbiddento work in gilt copperby strict
ordinancesdesigned to protect the markets
for gold and silverplate. In Nuremberg,
however,the Lindenastfamily had the right,
by imperialprivilege,to produce this class of
wares. Consequently, the very few surviving
gilt-copper vessels of this type are generally
attributedto the Lindenastworkshop. Most
of the surfaceof the vessel and cover is
engravedin an overall pattern of undulating,
spiky-leafedfoliage that overlapsitself as it honor stretched between the screws of a

moves seamlesslyacrossthe hatched surface, winepress.On the ledge behind him are a
without beginning or end. Along the bottom book, surely a Bible, with a sheet of paper
edge a single creature(not visible in this draped over it, and a glass beakeron which
photograph), abashed by its extravagantver- rests an apple. A column rises behind the
dant world, cowers with its tail between its cloth, and a rose and cup of wine appearin a
legs as it encounters a large snarling beast frame at the top of the hanging. This assort-
hidden in the foliage behind. The gilded ment of objects constitutes a metaphorfor
surface, rich and mellow in tone, is excep- the sacrificeof Christ by his Crucifixion,
tionally well preserved. TBH reenactedin the sacramentof the Eucharist.
The level of accomplishmentof the weaver
is evidencedin such detailsas the translucent
appearanceof the glass,the shading in Christ's
Christ of the Mystic Winepress
hair and beard,and the shimmeringqualityof
the leavesin the background.Becauseof the
SouthNetherlandish,ca. i5oo
extraordinarilyfine weaving, this hanging
Tapestryweave;wool, silk, and metallicthreads rivalscontemporarypaintingsin detail and
2878 X 3o0 in. (73.5x 77.5cm) refinement,while the extensiveuse of metallic
Gift of Mena Rokhsar, 1994 threadsprovidesthe textureand richnessthat
1994-484 aredistinctivecharacteristicsof this medium.
Tapestriesof this type appearin the I555
Christ, his right hand raisedin blessing and inventoryofJuana la Loca, queen of Spain,
his left touching an orb, is shown behind a indicatingSpanishroyaltaste for fine artworks
prie-dieu. His head is framedby a cloth of from its Netherlandishterritories. BDB
27
I A A A l A S S O
Giovanni di Ser Giovanni, called Scheggia

Italian (Florentine),I407-1486
The Triumph of Fame (birth tray); (verso)
Impresa of the Medici Family andArms of
the Medici and Tornabuoni Families
E. Richardson, and The Vincent Astor This imposing commemorativebirth tray
I449 Foundation Gifts, Wrightsman and Gwynne (descodaparto)was commissionedto celebrate
Tempera,silver,and gold on wood Andrews Funds, special funds, and Gift of the birth of Lorenzo de' Medici (1449-1492),
Diam. (painted surface) 2458 in. (62.5 cm) the children of Mrs. Harry Payne Whitney, the most celebratedruler of his day as well as
Purchase in memory of Sir John Pope- Gift of Mr. and Mrs. Joshua Logan, and an important poet and patron of the arts;his
Hennessy: Rogers Fund, The Annenberg other gifts and bequests, by exchange, 1995 name is synonymous with the Renaissance.
Foundation, Drue Heinz Foundation, I99. 7 The auspiciousimagery is taken from
Annette de la Renta, Mr. and Mrs. Frank Boccaccio'sLAmorosavisioneand Petrarch's
28

www.jstor.org
__~~~~~~~~~~
Trionfi.Knights extend their hands in alle- Medici diamond ring and the motto SEMPER Artaud de Montor, one of the earliestcollec-
giance to an allegoricalfigure of Fame,who (forever)and the Medici and Tornabuoni tors of Italian"primitives."It laterbelonged
holds a swordand a cupid (symbolsof victory coats of arms. to Thomas JeffersonBryan,the first New
through arms and love) and stands on a per- Paintedby the younger brotherof Yorkerto collect early Italianart. KC
foratedglobe with winged trumpets. The Masaccio,this is an object of unique historical

ostrich feathersin three colors around the importance.Lorenzokept it in his quartersin
rim are a heraldic device of Lorenzo'sfather, the Medici palace,and it was acquiredin the
Piero;the reverseside is decoratedwith the earlyyearsof the nineteenth century by
29
Bernard van Orley
Flemish, ca. 1488-1541
Otto, Count of Nassau, and His Wife,
Adelheid van Vianden
Virtuallyunknown until recently,this draw- figuresin a monumental manneragainst a

Pen and brownink, coloredwashes,white ing is a design for one of eight tapestries deeply recedingspace. Followingthe imperial
gouache,and blackchalk,on off-whitelaid commissionedabout 1528-30 by Count traditionof equestrianportraiture,he placed
paper Henry III of Nassau to glorify his ancestors Otto astridea rearingsteed and his wife on a
14 x I9 in. (35.7x 48.2 cm) of the royalhouse of Orange-Nassau.It horse shown boldly from behind, in poses
Purchase, Lila Acheson Wallace Gift, I995 exemplifiesthe work of van Orley,who, that create a sense of space and movement.
1995.I2 under the influence of Raphael,contributed Otto is describedin the cartoucheas "most
to the transformationof Flemishtapestry expert in mattersof war."Van Orley also
design in the first half of the sixteenth included countless details of costume and
century.(Raphael'scartoonsfor the Acts of setting that enhance the sense of realism.
the Apostles were woven in Brusselsfrom The drawing survivesbecause it was
1516on.) intended not for the weavers,who worked
Van Orley rejectedthe prevailingtaste for from full-scale cartoons, but probablyfor the
overallsurfacedesign and representedthe patron to judge the design. CL
30
Agostino Carracci Among the finest of Agostino'sdrawings, not only by contrastinganatomicaldetails but
Italian (b. Bologna;d. Parma),Iy57-1602 this is also an outstandingexampleof also by changing tonal scale, line weight,
Portrait of a Woman;(verso,not illustrated) Bolognese naturalisticportraitureat the end and hatching direction.Along with his more
Study of a Girl of the sixteenth century.Probablydating famousyounger brother,Annibale, and his
from the I59os, during the artist'sstay in cousin Lodovico,Agostino sought to reform
Redchalk,overtracesof blackchalk,on tan Rome, the drawingbearsa strikingresem- painting, changing from the artificialityof
blance to Agostino'spainting of Anna Parolini the late Manneriststyle, by focusing upon
paper
I35 X 9p3 in. (34.7 x 24.8
cm) Guicciardini(Gemildegalerie,Berlin),which this more deliberateapproachto drawing,
Purchase, Lila Acheson Wallace Gift, 1994 is signed and dated 1598.The drawing,how- through attentive,detailed studies afterthe
I994. 43 ever,communicatesthe identity of the sitter living model. To this purposethey founded
with more unsparingveracityand greaterpsy- the Accademiadegli Incamminati,an art
chologicalimmediacythan found in any of academyfeaturingthe study of design theory
Agostino'slate painted portraitsof women. and anatomy,in Bologna in I582. Similarpor-
Much of its expressiveforce derivesfrom the trait drawingsby the Carraccifamily and
woman'sintent gaze.Agostino subtly distin- their circle are in the collections of Windsor
guished between her seeing and her blind eye Castle and the Albertina(Vienna). CBC
3I
Giorgio Ghisi Right Knee Defense
bring up flesh upon you [Ezekiel37:6]) was
Italian, 1520-1582
engravedin the banderoleacrossthe top. The
After Giovanni Battista Bertani French(probablyParis), ca. I555-6o
passagesin Ezekiel (37:I-Io) prophesyingthat
Italian, 1I16-1576 Steel,gold, and brass
the dry bones will live were readby Christians
The Vision of Ezekiel H. 64 in. (I5.9cm)
as foretellingresurrectionand eternallife.
The subjectwas unusual in sixteenth-century Gift of Prescott R. Andrews Jr., 1994
I554 art, and Bertanihad no precedentfor his 1994.390
Engraving composition. The accuracyof the skeletons
Sheet 61x 263 in. (41.4 x 67.9 cm) This is the only known fragment from what
suggeststhat he may have looked to recently
The Elisha Whittelsey Collection, The once must have been a magnificent French
publishedanatomybooks. SB
Elisha Whittelsey Fund, 1994
I994.297.3
This compelling image is the invention of

Bertani,artisticoverseerfor the Gonzagas,
rulersof the small northernItalianduchy of
Mantua. Ghisi, also a Mantuan, is known to
have visited Rome with Bertani,probablyin
the I54os. Although during the 155os and
I56os Ghisi worked mostly in Antwerp and
France,he seems to have returnedto Italy
around the mid-I55os,when this print was
made. The stunning, darkimpressionis one
of only two known in this early,unfinished
state (the other is in the BritishMuseum). In
later states the mountains at the right were
reduced, the tablet at the left was inscribed
with Bertani'sname, and the inscription
DABO SVPERVOSNERVOSET
SVCCRESCERE FACIASVPERVOS
CARNEM(I will lay sinews upon you, and
32
Renaissanceparadearmor.The form of the Jacques Bellange In this elaboratecomposition, not related
knee suggeststhat the armorwas probablyof French, active 1595-1616
to a known painting, Bellangeemphasized
light cavalrytype, without lower leg defenses. Religious Scene the centralfigure through the use of powerful
Its embossed and gilt decoration,consisting
hatching and dramaticlighting. In contrastto
of dense foliate scrollworkand a grotesque Ca. i606-8 this effect of monumentality,the surrounding
mask with ram'shorns at the front of the Pen and brownink, brownwash
figuresemerge from largeareasof tonal wash,
main plate, recallsthe ornamentalmotifs and 778 X I234 in. (20 x 32.3 cm) their emphaticgesturesdelineatedin nervous
workmanshipof the Museum'sarmorof Purchase, Lila Acheson Wallace Gift, 1994 ink outline.
Henry II of France (acc. no. 39.121), which 1994.209
Bellange rarelyadhered strictly to con-
was probablymade in a Parisianatelierabout
ventional iconography.The present sheet
I555.Engravedon the plate below the knee is
Along with JacquesCallot, Bellangewas one was first published by JacquesThuillier in
the gilt monogram formed of the Greek let-
of the leading graphicartistsworking for the 1992 as a Lamentation, but it could alter-
ters chi and phi that identifies it as having
ducal court of Lorrainein the earlyseven- nately be read as a Raising of Lazarus.
belonged to the distinguishedcourtier,sol- teenth century. His highly idiosyncratic Supporting the latter interpretationare the
dier, and patron of the arts Claude Gouffier
style combines the elegant artificeof late strong diagonals of the central figure, which
(I5IO-I570), grand ecuyer (master of the Mannerismwith an energetic, expressive suggest upward movement. The women
horse) of France.The same monogram is
vitality.These stylistic tendencies are here flanking Lazaruswould be his sisters, Mary
found everywherein the decorationof
merged with the nascent tenebrismof the and Martha, their gazes fixed, not on their
Gouffier'schateau of Oiron and on the
early seventeenth century,which favoredan brother,but on the figure of Christ, stand-
numerous bookbindings and manuscriptillu-
isolated source of illumination to selectively ing in the shadows behind Lazarus.Christ's
minations commissioned by this ardent bib-
pull figuresout of a predominantlydark raised hand is illuminated, calling attention
liophile. It recurson one other piece of to the miraculous act. PS
setting.
armor,a richly etched and gilt Frenchclose
helmet of similardate, which by happycoinci-
dence is also in the Metropolitan'scollection
(acc. no. I4.25.596). swP
33
Jan Brueghel the Elder Carlo Dolci
verticalpen strokesthat give the impression
Flemish, I568-1625 Italian (Florence),16i6-I686
he made the sketch on the spot. The addition
View of Heidelberg Portrait ofAgata Dolci
of washesto define the riverbankin the fore-
ground, the grandiosemountains behind, and
Pen and brownink, brownand blue washes, the windswept clouds above imparta finished Redand blackchalk,partly stumped,brush
heightenedwith white, on off-whitelaidpaper and graywash, on buffpaper;framed by the
qualityto the drawingthat suggestsBrueghel
8x I2 in. (20.3 x 30.5 cm) made it in the studio. The enormous sense artistwith a polygonalborderin blackchalk
Purchase, David T. Schiff Gift and Harris of space createdby the washes recallsthe 0oV x 8 in. (25.8x 20.2 cm)
Brisbane Dick Fund, I995 or "worldlandscapes," Rogers Fund, 1994
Weltlandschaften,
I995 I5 pioneeredby his father,Pieter Brueghelthe 1994.383
Elder,but the use of brown and blue washes
Followingin the footstepsof sixteenth-century is characteristiconly of the son. The great Dolci excelled as a portraitistand painterof
Netherlandishartistswho had traveledto amateurMariettedescribedthis technique devotionalpieces with half-lengthfiguresand
Rome and sketchedthe foreignlandscapeand and expressedhis admirationfor such draw- became notorious for his extremelydiligent
sites, Brueghelmade this drawingof the city ings by Brueghelin the cataloguehe wrote working habits. EarlyBaroquedraftsmen
of Heidelbergon his journeyeither to or from for the sale of PierreCrozat'scollection of refined red-and-blackchalk drawingto
Italy, where he stayed from 1590 to I596. He drawings in I74I. CL achieveexquisite,naturalisticeffects in por-
recordedthe architectureof this center for the traitsand figure studies. Dolci was an extraor-
Reformationin greatdetail, using short, fine dinarypractitionerof this technique. Our
34
drawingappearsto date from the last yearsof father'sI686 will. Appearingto be approxi- eye."Agata is representedat a younger age in
the artist'slife, when he was housebound and mately ten yearsold here, she is formally two drawings,probablyby Agnese, in a
barelypainting afterrepeatedbouts of melan- dressedand wearsa coral necklace,an sketchbook dated I670 (FitzwilliamMuseum,
cholia.Agatawas the youngest of Dolci's apotropaicsymbol. Since Roman times red Cambridge).Our work was apparentlyowned
seven daughtersand may have been an artist coralwas believedto have healing powers, by the FrenchpainterFrancoisBoucher
like her better-knownelder sister,Agnese. and parentsoften hung coral aroundchil- (I703-1770), himself a virtuoso draftsmanin
Agatawas recordedas a young girl in her dren'snecks as protectionagainstthe "evil colored chalks. CBC
35
GustavWrangelare describedin an inventory
of I65I as Dutch, suggestingthe probableori-
gin for our hilt. The blade is stampedwith
the bishop's-headmarkof the renowned
Solingen bladesmithPeterMunich (recorded
ca. 161o-50). SWP
Flower Vase
seventeenthcentury.Molds for such shaped
Dutch (Delft, "GreekA"factory),first half of ceramicwareswere expensiveto produce and
the i8th century would have remainedin use over an extended
Tin-enameledearthenware("delfware)
period. Here, Chinese blue-on-white decora-
W 12 in. (30.5cm) tion has taken the place of the European
Purchase, Gift of Irwin Untermyer, by ornamentseen in earlyexamplesof this form.
exchange, and Rogers Fund, 1995 Originally,the panels had alternatingblue
I995 43 and white grounds,with reservedecoration
(white on blue and vice versa)of pictorial
Although markedwith the monogramAK, scenes such as boys playing in landscapes.
the markused from I687 to 1703at the Delft The multitieredcover also has been reduced
Rapier
"GreekA" factoryduring the managementof from earlierforms to a single concentrated
AdrianusKoecks,his widow, and their son, row of flower holders arounda largercentral
ProbablyDutch, ca. i65o Pieter,this flowervase is probablyan example one. This exampleexists in interestingcoun-
Iron and steel;moderngrip of woodand copper
of a stock product made well into the eigh- terpoiseto the earlierand much largervase
L. 36 in. (91.5 cm)
teenth century,a simplifiedversionof a high- opposite. JMCN
Purchase, Bashford Dean Memorial
style Baroque-periodmodel of the late
Collection, Funds from various donors, by
exchange, 1995
I995. I
During the second quarterof the seventeenth

century a new style of fencing began to
evolve that emphasizedspeed. The technique
requireda shorter,lighter form of rapier
than the one that had served as the principal
civilian sidearmsince the mid-sixteenth cen-
tury. Our newly acquiredrapierreflectsthis
transitionin its reduced size and simpler
guard.The chiseled iron hilt, formerlygilded,
was undoubtedly made for an aristocrator
wealthy burgherand displaysan unexpected
whimsy. The pommel and guard are com-
posed of fleshy faces combining frontal and
profile views that are symmetricalwhen
viewed with the blade pointed up or down.
The long rearquillon, too, is unusual, end-
ing in a head of an exotic man with a conical
cap and flowing mustache. The decorationis
rooted in the Manneristlove of grotesques
and other fantastichuman forms, motifs that
continued to be popular in Germany and
the Netherlandswell into the seventeenth
century.Two hilts with similarchiselingfrom
the armoryof the SwedishgeneralCarl
36
Daniel Marot (designer)
French, 663-1752
Flower Vase
Dutch (Delft, "GreekA"factory),period

ofAdrianusKoecks(activei687-I70o),
ca. 1690-95
Tin-enameledearthenware("delfrware')
H. 282 in. (72.4 cm)
Purchase, Bequest of Helen Hay Whitney
and Gift of George D. Widener, by
exchange, I994
I994.218a-c
The vase is one of only eight of this type

known. Originallyinserted into a cylindrical
ceramicpedestal, it was intended to stand on
the floor. The vase is an example of the mas-
sive ceramicsdesigned by Marot for Queen
Mary for her apartmentsat Hampton Court
afterher returnfrom Holland to England as
queen in I688. Marot, a French-trained
architectand Protestant,left Francein I685
and found employment in Holland with
Mary and William of Orange, her husband.
The vessel has a Roman bronzevase form
surmountedby two covers,each provided
with nozzles to display flowers,a design bor-
rowed from Near Easternflower containers.
The use of a color scheme taken from
Chinese porcelainwas naturalfor the leading
delftwarepottery in Holland-the "Greek
A" factorythat manufacturedthe vase. The
ornament, however,is of classicalinspiration,
showing Charityseated on a plinth under a
festooned canopy flankedby terms.Volutes,
medallions,and scallopedribbonsencircle
the shoulder.A pictureof a similarvase with
flowerstucked into the nozzles is painted on
the lower cover.The mingling of such dis-
paratefeaturesis remarkable,coming from
the formallytraineddesigner,and probably
indicatesan inspiredyielding to the require-
ments of the queen. JMcN
37
0S so
Giovanni Giardini
Italian, 1666-1721
Holy-Water Stoup
Italian (Roman), 1702

Gilt bronze,lapislazuli, and silver (r. I700-172I). This recently discovered work with the Ecstasyof Saint Mary of Egypt
H. 234 in. (60.3 cm) from the collections of the princes of Thurn justify Giardini'sfame as one of the greatest
Wrightsman Fund, I995 and Taxiswas undoubtedly conceived for a designersand metalworkersof his time. The
I995. II privatechapel. Recordsindicate that Giardini refined contrast between the strong gilt-
was paid for it in I702 and that it was donated bronze and lapis-lazulimoldings and the sil-
Giardini was the leading silversmithin by Clement XI to Prince Giovanni Battista ver of the relief (based on a composition by
Rome under the pontificate of Clement XI Borghese,ambassadorof the king of Spain, the Roman painter Benedetto Luti) recalls
Philip V. The energy radiatingfrom the the quality of comparableworks by Giardini
small semioctagonalreceptacleat the bottom now in the Schatzkammer,Vienna, and the
to the sharplywrought architecturaldesign Residenzmuseum,Munich. OR
of the concave frame and the exquisite
painterlyeffects of the repoussesilver relief
38

www.jstor.org
Achille-Etna Michallon
French, i796-i822
Waterfall at Mont-Dore
BecauseMichallon died at the age of twenty- Almost all of Michallon'ssurvivingpro-
i8i8 six, his fame as one of the creatorsof the new duction belongs to the Louvre.This jewel-
Oil on canvas school of landscapepainting was obscuredby like painting is thus exceptionallyrare.It is
6'4 x 2218 in. (41.3 x 56.2 cm) the shadow cast by his long-livedpupil Corot. one of only a handful of finished works that
Signedand dated (lowerleft):MICHALLON/ But when the bulk of Michallon'swork was the artistsigned and dated; furthermore,it is
i8r8 in perfect condition. Showing a famous
brought to light in I930, historianswere com-
Purchase, Wolfe Fund and Nancy pelled to change their view. As Rene Huyghe waterfallin Auvergnethat Michallon proba-
Richardson Gift, 1994 wrote, "Corotremainsa poetic miraclebut he bly saw on his way to Italy in 1817,it embod-
1994.376 is no longer a historicalmiracle."The source ies the vigorous naturalistaesthetic that the
of Corot'svision was suddenly apparentin artistbrought to the tepid Neoclassicism of
the work of a young artistwho had taught the first yearsof the nineteenth century. GT
Corot how to paint and how to see.
39
Johann Heinrich Fiissli (Henry Fuseli)
Swiss, i74i-I825
Hagen and the Nymphs of the Danube
One of the leadersof the Sturmund Drang Fuseli endowed the legendarywarriorand
I802 movement that originatedin Germany, his steed with the noble grandeurof classical
Pen and brownink, watercolor,and gouache Fuseli contributeda keenly originalintellect sculpturesrepresentingancient heroic youths
overgraphite,on creamwovepaper,water- and the quirksof a northernEuropean (the Dioscuri), which he undoubtedly had
marked 1794
temperamentto the mainstreamsof Neo- encounteredon Rome's Capitoline during his
I24X 4 in. (31.2 33.6 cm) classicismand Romanticism.Like many of Italiansojournsof I770-78. Although he
31X
Purchase, Lila Acheson Wallace Gift, 1994 his contemporaries,he participatedin the achieved renown first as a painter,Fuseli
1994-375 revivalof interest in subjectstaken from his- focused his vision most sharplyand consis-
toricalliterature.Thus his highly finished tently in a sizable body of studies drawn in
watercolorillustratesa scene from the graphite,chalk, and ink. Since most of his
thirteenth-centuryNibelungenlied,in which work has long been held in public collec-
the knight Hagen is warned by Danube tions, largelyin Zurich and London-where
River nymphs of the peril that awaits him he centered his career-a superb example of
on the far shore. his draftsmanshipsuch as this one rarely
becomes available. cI
40
Musique, Nice; they sharethe same intricate
profile and the appearanceof their broad
ivory mounts. Both are accuratelyturned and
bored, revealinga sensitive and experienced
hand. Despite some cracks,our oboe plays
well throughout its range. It has clearlyseen
extensive use; the fishtail key has been
repaired,and both keys may even be replace-
ments. The smallerkey's offset placement
requiresuse of the right hand in the lower
position, standardpracticeby the late eigh-
teenth century;earlieroboes usually had
duplicate keys for this note, allowing reverse
hand position. On this evidence our oboe
could date from the I770s or later,but the
style of the mounts resemblesthat of known
mid-century woodwinds. Perhapsfurther
researchwill identify Castel and place his
intriguing instrument in a more secure
context. LL
Onefrom a Pair of Verrieres The arms engravedon the rim are those
of John Sawbridge,Lord Mayor (I775-76)
and four-time member of Parliamentfor the
English,ca. I775
Sheffieldplate(silver-platedcopper) City of London, and his wife, Anne. Because
H. 534in. (14.5 cm) a love knot ratherthan a crest is placed above
Gift of Mrs. Sid R. Bass, in honor of the shield, these verriereswere probably
Mrs. Charles Wrightsman, I995
made for the Lady Mayoress. JMcN
I995.50.
Verriereswere used to cool wineglassesby

immersingthem in ice water.The foot of the
Castel
invertedglass rested outside the notches of
the verriere'srim. The low, oval, French Italian(?),i8th century
Oboe
form of verrierewas usual in the second half
of the eighteenth century.This form evolved
from the monteith, the originaldeep, round Italian(?),thirdquarterof the i8th century
bowl with notched rim that appearedin Boxwood,ivory,and silver
L. 224 in. (56.5cm)
Englandin the I68os.
Verriereswere often made in porcelain Purchase, Clara Mertens Bequest, in
and silver as part of dinner servicesand memory of Andre Mertens, 1994
were more common on the Continent than I994.364
in England. Our pair in Sheffield plate is
particularlyrare.The style is that of Neo- Possiblymade by a Germanworking in Italy,
classical,Greek-tastesilverworks of the 1770s this handsome oboe with two floral-engraved
and I780s, with rams'heads supporting the keys bearsthe stamp "Castel"beneath an
ring handles.Although the silverplating is indistinct letter and above a rampantlion.
substantialand the pieces arevery well made, Severalextant Baroquewoodwinds are simi-
they were not markedby the manufacturer, larly but not identically marked,giving rise
a practiceusuallyfollowed voluntarilyby the to speculation that they representthe work of
makersof Sheffield plate in emulation of the relatedmakers,one of whom elsewhere
markslegally imposed on gold- and silver- signed himself Giuseppe. This oboe closely
smiths. resemblesone in the Musee d'Instrumentsde
4I
Nicolas-Antoine Le Bel (painter)
French,activeI804-5
Plate
French(S?vres),i814
Hard-pasteporcelain
Diam. 95/8in. (24.5 cm)
Purchase, Rogers Fund; Bequest of
Annie C. Kane, by exchange; The Lesley
and Emma Scheafer Collection, Bequest of
Emma A. Sheafer, by exchange; and Gifts
in memory of John Goldsmith Phillips,
I994
I994.I14
iINf~~ ~ds" I 1 The painted scene illustratesa combat near

the ruined tombs of Baalbekin the moun-
tains of Syria.The scene was adaptedby Le
Bel from a drawingby the peripateticLouis-
FrancoisCassas (I756--I827),whose travels
took him fromnorthernEuropeto Istria,
Constantinople,AsiaMinor,and Egypt.Cassas
spent nearlya month in Baalbekin 1785, and
his viewswereetchedand engravedfor his
Voyage de la Syrie,publishedin I799.
Pittoresque
Our plate comes from a set of vuesdiverses
and is one of only two in the series to depict
a scene outside France.The servicewas
begun during the Napoleonic period but was
completed in I8i6, when it was deliveredto
Louis XVIII. CLC
Milk Jug and Hot-WaterJug
German(Dresden), 80oo-18o5
Silverand raffia
H. 6'8 in. (r.5 cm); 9 in. (22.9 cm) ,:
Purchase, Robert L. Isaacson Gift, I994
1994.407.,2 2
German silver made after the middle of the '(

eighteenth century is relativelylittle known,
and these are the first Neoclassicalpieces to
enter our collection. With their clarityof
form, justness of proportion,and well-placed
detail, they are at once perfectexemplarsof
their style and remarkablymodern. They
bear an unidentified silversmith'smark, the
initials CGK(?),which has been found on
? .1 r~ I I1 I
other silvertor the tea table, and an un-
recordedDresden year letter (B). The dating
is suggestedprimarilyon the basis of the stur-
dy cylindricalform and the unexaggerated
graceof the handles. CLC
42
Eugene Delacroix Unlike Ingres,who executed numerous por- and tucked under her belt at the waist,
French, I798-I863 traits on commission throughout his long the portraithas an intimacy that few of
Madame Henri Franfois Riesener career,Delacroix painted comparativelyfew Delacroix'sworks possess. It manifeststhe
(Felicite Longrois, 1786-1847) and almost all are of intimate friends.After artist'sdeep affection for his aunt, then a
the early deaths of Delacroix'sparents,his fifty-year-oldwidow, and the bold genius of
I835
closest relativeswere his mother'shalf-brother, his painterlygifts, temperedwith "asureness
Oil on canvas Henri Riesener,a successfulbut now-forgotten and an intelligence as to essentials,and a
294XX 234 in. (74.3 x 60.3 cm) painter,and Riesener'swife, the subject of quality of touch in the renderingof the
Gift of Mrs. Charles Wrightsman, 1994 this arrestingportrait. Despite the dazzling whole," as he himself wrote of this portrait
1994-430 facilitywith which Delacroix describedher when he chanced to see it some fifteen years
lace bonnet and ruff, and despite the corus- afterhe had painted it. EF
cating color of her foulard,worn like a cravat
43
Ignace-Henri-Jean-Theodore
Fantin-Latour
French,1836-1904
Self-Portrait
Ca. 1858
Oil on canvas
Io x 778 in. (25.4 x 20 cm)
Catharine Lorilard Wolfe Collection,
Wolfe Fund, I995
Fantin'snumerous self-portraitsin chalk,

charcoal,or oil from I854 to i86i constitute a
remarkableseriesin the artist'soeuvre. He
claimed late in life to have made them solely
out of convenience:he was a ready and inex-
pensive model. At the very least, however,
they betrayhis obsessive approachto the
masteryof technique at the beginning of his
career.More important, they reveal his dual
fascinationwith the works of Rembrandtand
Courbet, two artistswho are not normally
consideredin concert but who in fact sharea
common use of broad brushworkand thick
impasto to depict forms as if they were
emerging from an enveloping darkness.
The majorityof Fantin'sself-portraitsare
in chalk or charcoalon paper.Similarworks
in oil are in the Tate Gallery,London, and
the Musee des Beaux-Arts,Lyons. GT
Pierre-Jules Mene .I .... ......

French,z18o-8. 77
Pair of Covered Urns with Hunting
Subjects
Bronze
H. i43 in. (37.5 cm)
Gift of Dr. Wesley Halpert and
Mrs. Carolyn Halpert, I994
1994.531.I,2
Mene was a gifted animalierwho realized

considerablesuccesswith these oft-repeated a
urns becauseof their superbrustic ornament, ..
each havingtwistedbranchesof oak that serve ,
as handlesand framethe reliefsof hunting
subjects.One urn has a hooded falcon for a
finial; the other is topped by a heron. The
picturesqueeffects are genericallybaroque;
MAne orobablvthought of them as bein in
the stylisticvein of the LouisXIII period. JDD
44
Marie-Charles-Isidore Choiselat In the first decade of photographythe over- Francejust five yearsafterthe daguerreotype's
French, I815-i858 whelming majorityof daguerreotypeswere invention, this remarkablepicturedemon-
Stanislas Ratel portraits,as the complicatedproceduresre- strateshow the camerapromptedartiststo see
French, 1824-I893 quiredto producethese astonishinglydetailed and representthe world in new ways. Rather
Landscape with Cottage images on silver-platedsheets of copperwere than employing pictorialdevicesor perspecti-
best carriedout under the controlledcondi- val and atmosphericeffects rooted in the tra-
I844 (?)
tions of the studio.A few adventuroustravelers ditions of landscapepainting, Choiselatand
carrieddaguerreotypeequipmentwith them Ratelemphasizedthe two-dimensionalorgani-
Daguerreotype
and broughthome dazzlingrecordsof far-off zation of the picture'ssurface.The poplars,
Fullplate 68 x 8'2 in. (I6.3 x 21.7 cm)
Louis V. Bell Fund, 1994 churches,castles,and classicalruinsor, more reflectedin the water,seem to stretch across
1994-4I7 rarely,landscapeand vernaculararchitecture. the plate from top to bottom instead of sit-
Seldomdid they self-consciouslystrivefor art. ting on the far side of the pond; the cottage
This full-platedaguerreotype,the firstimpor- (perhapsa rustic pleasurehouse for the
tant Frenchphotographof the I84os to enter chateau beyond) forms, with its reflection,
the Museum'scollection,is one such rarity. a single geometric solid floating in space. MD
Made during an excursionthrough eastern
45
Charles Frederick Worth
French, I825-I895
Fancy-Dress Gown
1893
Silk taffeta
L. (centerback)77 in. (I95.4 cm)
Gift of James and Mary Kingsland, 1994
I994.462a, b
Worth, whose careerflourishedwith the lux-

urious tastes of Second Empire Franceand
the American Gilded Age, can be celebrated
for originatingthe concept of annual collec-
tions and the standardizedsystem of pattern
parts as well as for establishingthe designer
as stylistic arbiterand activatorof change.
Commanding exorbitantprices and pre-
siding despoticallyover an elite maison,
Worth dictated fashion to a class of women
occupied by society and the clothes for spe-
cial occasions, such as the as-yet-unidentified
fancy-dressball for which this piece was cre-
ated. Composed of a separatebodice and
skirt executed in shocking-pink and black
silk taffeta, with swirled paste buttons,
machine-lacetrim, and pleated silk chiffon
fichu, this spectaculargown aptly illustrates
the fashion for eighteenth-century-revival
events, one of the many popular themes an
ambitioushostess could have chosen. Here,
elements from the masculine-tailoredaesthet-
ic of the I770s, such as the narrow sleeves,
double-breasted,fitted bodice with imitation
cut-steel buttons, lace fichu, restrainedsleeve
ruffs, and skirt in imitation of an open robe
and matching under-petticoat,are modified
and mingled with I89os high fashion and fur-
ther transformedinto fancy dressby the
extravagantuse of iridescentcolor. JAL
Edmond Bacot
French, I8I4-1875
Saint-Maclou, Rouen
tographs,which ultimately were bound by
the writer'sson Charles,who had studied
1852-53 photographywith Bacot. The album recently
Saltedpaperprintfom glassnegative
acquiredby the Metropolitan, containing
i3 1x o10 in. (34.4 x 25.6 cm) this print and twenty-seven others by Bacot
Harris Brisbane Dick Fund, 1995 from about I853,all with elaboratelycal-
1995.96. 0 ligraphedtitles, is thought to be that same
volume.
In December I852Bacot, a man of indepen- By photographing in strong sunlight and
dent means living in Caen, traveledto Jersey with a long lens, Bacot transformedthe
with resourcesgatheredby the republicansof flamboyant Gothic facade of the church of
Caen and Bayeuxfor Victor Hugo and the Saint-Maclou into patches of deep shadow
exile community. He also carriedwith him and patterns of light playing on tracery.
FranSois-Joseph-Hubert Ponscarme
photographsof the Gothic monuments of Hugo's love of such photographssurely
French, I827-I903
Medal of Napoleon III, Commemorating Normandy,picturesthat Hugo describedas stemmed from a recognition that they artic-
"marvels"and that prompted him to write to ulated a highly romanticizedview of the
the Boulevard de Strasbourg
Bacot, "I congratulatethe sun for having a medieval-a view deeply colored by Hugo's
collaboratorsuch as you." In the year that own writings and poetic drawings of Gothic
1863 followed, Bacot sent Hugo additionalpho- architecture. MD
Bronze
Diam. 5s in. (r3 cm)
Purchase, Bequest of Gwynne M. Andrews,
by exchange, and gifts from various
donors, 1994
1994-347
This is the specimen that was shown in the

I967 exhibition at the h6tel de la Monnaie in
Paris,"LaMedaille en Francede Ponscarmea
la fin de la Belle Epoque"-an exhibition
that did much to rekindle interest in
Ponscarmeand his contemporaries.The cast-
ing faithfullycapturesin an almost impres-
sionistic way the flickeringsurfacesof the
wax model that precededit. The deed com-
memoratedis the completion of one of the
broad new thoroughfaresof Second Empire
Paris,the boulevardde Strasbourg,which
leads to the Gare de l'Est, its pointed roof
visible here at the vanishing point. Baron
Haussmann,city plannerpar excellence, is
the gentleman nearest the equestrian
emperor. JDD
47
Claude Monet After the Franco-PrussianWar,Monet settled strokes,with little oil employed as a vehicle
French, I840-1926 at Argenteuil, then a small town on the Seine for the pigments. As a result the mass of
The Garden ofMonet's House at north of Paris.Three yearslater,becauseof foliage in the upper half of the picture shim-
Argenteuil financialdifficulties, he gave up the lease on mers with light, and the facade of the house
the house he originallyrented and moved dissolvesin the glare of the sun. Light
1876
almost next door, to the modest two-story streamsthrough the leaves of the trees and
Oil on canvas pink building with green shuttersseen in the forms pools of glowing color on the lawn,
X 258 in. (8ix 60 cm) backgroundof this painting. The simple cir- where an inconspicuous couple rests in the
31
culargardenthat the artistlaid out behind shade.
Signed(lowerright):ClaudeMonet
Gift of Mrs. Charles Wrightsman, 1994 the house is featuredin no less than seven- Purchasedin I954 by Mr. and Mrs.
teen canvaseshe painted in I875 and I876 Wrightsman,this was the first painting to
1994.43I
(one is in the AnnenbergCollection). All of enter their collection. EF
them are executed in short, choppy brush
48
Paul Cezanne
French, i839-I906
Mont Sainte- Victoire
Mont Sainte-Victoireis the most durableand through a procedure,rarefor Cezanne, of

1902-6
prized motif in Cezanne'sart. No other topo- making additions to the canvasthat nearly
Oil on canvas
graphicalfeatureheld his attention for so doubled the width and added one-quarterto
224 x 3818 in. (56.5 x 96.8 cm)
long or inspired such a lengthy processionof the height. The artist began with a standard-
The Walter H. and Leonore Annenberg size canvason which he painted a close-up
extraordinarypictures, fifty-five images
Collection, Partial Gift of Walter H. and
extending from his early maturityin the view that placed the mountain'speak at the
Leonore Annenberg, 1994 center. He then added narrowstrips to the
I87os until his death. Cezannewas born and
1994.420 died within sight of its distinctive stony right and at the bottom. Unsatisfied, he
peak, but his involvement was most intense added another narrowstrip to the right, fol-
afterI902, when he built a studio at Les lowed by a wide strip. Carefullymasking the
Lauvesfrom which he had a commanding seams, Cezanne renderedthe panoramawith
view of it. small, parallelstrokes calibratedto suggest
Of all the depictions of the mountain, the earth, trees, mountain, and sky without
Annenbergpainting is unique in its broad actuallydescribingthem. GT
vista. The majesticcomposition was obtained
49
LOt * ALA I pA 0S OS
Armchair
American(EssexCounty,Massachusetts),
I64 0-1700
Oak
H. 362 in. (92.7 cm)
Purchase, Friends of the American Wing
and Sansbury-Mills Funds, Mr. and Mrs.
Robert G. Goelet Gift, Mrs. Muriel Gluck
Gift, in honor of Virginia and Leonard
Marx, and The Max H. Gluck Foundation
Inc., The Virginia and Leonard Marx
Foundation, and Mr. and Mrs. Eric
Martin Wunsch Gifts, 1995
I995.98
The most imposing chairsin seventeenth-

century New Englandwere the joined-oak
armchairswith panel-and-framebacks carved
in the same manneras chests-a raretype
until now not representedin the Museum's
Americanfurniturecollection. Based on
English Renaissanceand Manneristdesigns,
this superbexample,with its solid, vigorous
form enlivened by carving,has a command-
ing presence.Its massiverearposts taper on
the front surfacetowardthe crest and foot,
resultingin a back that slants to accommo-
date the human form and in legs that are
lightened. The taperingon the rearposts
echoes the canted sides of the squarepillars
on the front legs and arm supports.The carv-
ing, consistingof a double arcade,intersecting
lunetteswith stylizedfoliage,and S-scrolls,
createsa livelyinterplayof semicircles,circles,
and verticalaccents.The squarepillars,used
insteadof turningsto ornamentthe frontposts
(partof the vocabularyof Manneristdecora-
tion), arean unusualfeaturein New England
furnitureof the periodand areknown only on
this and five relatedchairs.Severalof these
chairshavehistoriesassociatingthem with
EssexCounty,Massachusetts,but the identity
of the shop that producedthis distinctive
designremainselusive. FGS
o5

www.jstor.org
Dressing Table The Queen Anne style in furniture-the legs and the pointed pad feet. The large
gracefullycurvedcabrioleleg, the scalloped carvedshell, which is gracefullyintegrated
American(Newport,RhodeIsland),1740-50 skirt, the scrolledpediment-was introduced into the skirt design, was a favoriteNewport
to Americain Boston during the earlyI730s. motif and a precursorof the block-and-shell
Mahogany,whitepine, and tulippoplar
H. 303o in. (72.2 cm) A regionalvariationof the style blossomed treatmentof the facadesof Newport case fur-
Gift of Yvette and Thomas Cole, during the mid-I74os in Newport, Rhode niture of the I76os to the I79os. The table
in memory of Louis W. Cole, 1994 Island,some seventy miles to the south. An closely resemblesthe lowboy billed in 1746
earlyexample,a dressingtable, or lowboy, to SamuelWard,latera governorof Rhode
1994.449
notable for its supremelysatisfyingpropor- Island,by Job Townsend, a progenitorof
tions and rich brown patina, has recently what was to become the most extensive
been added to the Museum'ssmall but select cabinetmakingdynastyin eighteenth-century
collectionof Newport furniture.Characteristic America. MHH
of Newport work arethe sharpedges of the
Closed Robe and Pair ofMatching Shoes
American, ca. I775

Silk damask(English,Spitalfields,ca. 1743-45)
L. (center back) 5sI2 in. (130.7 cm)
Purchase, Irene Lewisohn Trust Gift, 1994
I994.4o6a-c
This magnificent archetypeof Americanhigh

style from the third quarterof the eighteenth
century,composed of an unadornedgarment
with fitted sleeves, low squareneckline,
pointed bodice with extremelynarrowback,
and full skirt, miraculouslysurviveswith its
textile in virtuallypristine condition and,
atypically,complete with its matching shoes.
Because monochromaticand plainly pat-
terned costumes were frequentlyreworkedto
accommodatechanging silhouettes, this
gown, subject to only minor contemporary
alterations,is an exceedingly rareexample.
The damask, probably conceived by
Anna Maria Garthwaite,one of the best-
known designersfrom the weaving commu-
nity of Spitalfields,exhibits the large-scale
patterningand blank ground, the undulating
asymmetry,and the botanical accuracyof
English Rococo flowered silks. Although
she sharesan artisticsensibilitywith her con-
temporaryGeorg Ehret and might have been
influenced by his botanicalwatercolors,
Garthwaiteseems to derive her designs
directlyfrom nature.
Impeccablycomposed and woven, the
textile, with its monochromaticpalette and
refined patterning,speaks to the restrained
sensibility of the English and American mar-
kets as comparedwith the sumptuous bro-
cades and exuberantembroideriesfavoredin
France.This characteristiccombination of
elegantly simple silhouette and controlled yet
luxurious textile is manifest in the women's
costumes in many American portraitsby
John Singleton Copley. JAL
52
tinctive bass clarinetsthat resemblebassoons
in having a U-shaped tube. The unknown
makerof this unique alto clarionadopted the
bassoon form for a smallerinstrument,
pitched in E-flat. The double-boredbody was
carvedfrom a single maple block; a separate
piece forms the flaringbell, and a brasscrook
holds the mouthpiece. Six keys extend the
fingers'reach to additionalholes.
A contemporarywooden case inscribed
"Jas.G. Spaulding/ Vergennes/ Vermont"
holds the clarionand its accessories,including
a fingeringchartfrom laterin the nineteenth
century.This rarechartaccuratelycodifies
the fingering,but its pitches do not corre-
spond to this instrument's,probablybecause
a higher pitch was standardfor clarinetswhen
the chartwas drawn. LL
Covered Tureenfrom a Dinner Service
French(Paris),ca. i800-81h present.The handles and bands of the tureen

Porcelain are enrichedwith burnishedgold. Although
H. Io4 in. (26 cm) it is not known for whom the servicewas
Purchase, Solomon Grossman Gift, in made, it was clearlypart of a special commis-
sion for a wealthy and importantAmerican
memory of Berry B. Tracy, and The
Vincent Astor Foundation Gift, 1994 client. ACF
1994.4 80.1
During the early i8oos the vogue among

Alto Clarion
fashionableAmericanswas for furnishings
and decorationsin the FrenchEmpire taste.
This tureen, part of a large dinner service- American(New England),ca. I820
with its elegant classicalform, peach-colored Maple, brass,and cork
border,and grisailledecorationwith delicate L. 23/8 in. (60.5 cm)
highlighting in gold-represents the height Purchase, Clara Mertens Bequest, in

of fashion for America'selite in about I800. memory of Andre Mertens, 1994
The service is among the finest known to I994.365.
have been made specificallyfor the American
market.In addition to its depictions of classi- In the nineteenth century the term clarion,
cal and allegoricalfiguresand trophies relat- normallymeaning a type of trumpet, occa-
ing to music, art, agriculture,war, and sionallydesignateda clarinet,or clarionet,an
commerce, each plate featuresan American alternativespelling for the familiarwood-
flag with thirteen stars.The cover of the wind. This nomenclatureechoed the early
tureen exhibits on one side a detailed render- use of the instrumentin Baroqueorchestra-
ing of the goddess of liberty holding the tion, in which it could sound like a distant or
Americanflag, with an eagle by her feet, and diminutive trumpet. By the late eighteenth
on the other, a Native Americanprincess. century clarinetshad achieveda prominent,
These images at that time were recognized independent place in ensemblemusic. Low-
on both sides of the Atlantic as being pitched clarinetswere often curvedto bring
emblematic of America, representingher their finger holes within easy reach,and a
"savage"past and her heroic and republican group of New Englandmakersproduceddis-
53
Julius S. Dessoir
Activein New York1842-66
Armchairfrom a Three-Piece Suite
Although relativelyunknown today,Dessoir In the absence of many documented
American(New YorkCity), 1853 was an importantcabinetmakerin New York pieces, Dessoir's reputationhas been based
Rosewood(replacementupholstery) City at mid-century.No doubt a Frenchor on his submissions to the I853"New-York
H. 5 in. (I39.7 cm) Germanemigre,he firstappearedin New York Exhibition of the Industry of All Nations."
Gift of Lily and Victor Chang, in honor of directoriesin 1842;in I85Ihis shop moved to Some of those submissions, including a chair
the Museum's I25th Anniversary, x995 543Broadwaybetween Princeand Spring identical to this one, were published as
I995. 150.2 Streets,where it remaineduntil I865or I866. engravedillustrationsin 1854.Long thought
lost, this armchairand its mate, en suite with
a large sofa, are almost certainly the "sofa
and chairs"by Dessoir to which the official
catalogueof the I853exhibition refers.As
such, they representhis most ambitious
work. In addition to exuberantlycarved
rococo scrolls, cartouches,and flowers, a pair
of carvedbirds alight on either side of their
nest of fledglings at the center of each chair's
crest. Fully carvedyouths entwined in leafy
arabesquesare among the distinguished
elements on the sofa in the suite. CHV
54
Bakewell, Page, and Bakewell
American(Pittsburgh),1824-32
Decanter
American(Pittsburgh),ca. I826
Cutglassand white clay (sulphide)
H. 73 in. (18.7 cm)
Purchase, The Overbrook Foundation
Gift, I995
I995.I3
This decanteris one of a pair made of elabo-

rate cut glass embellished on the fronts with
sulphide portraitsof Benjamin Franklin.
(The mate is in the PhiladelphiaMuseum of
Art.) The difficult technique of embedding a
ceramicimage in glass, called cameo incrus-
tation, was fashionablein Europe in the early
nineteenth century,inspired largelyby the
interest in ancient cameos and medals.As
part of the ongoing attempts by American
glass factoriesto compete with imported for-
eign glass, the Pittsburghfirm of Bakewell,
Page, and Bakewellintroduced glasseswith
such decoration beginning in I825. Tumblers
were the most common form, with portraits
of distinguished American citizens such as
George Washington, Benjamin Franklin,
DeWitt Clinton, and Andrew Jackson
embedded in their bases. Sulphide decora-
tion on decantersis far more rare.This
patriotic decanteris further distinguished in
that the crisply modeled sulphide portrait
bears under the shoulder of the figure the
name of the Philadelphiamedalist Christian
Alexander J. Davis (designer)
Gobrecht. Gobrecht engravedthe portrait
American, 80o3-I892
(aftera likeness by Thomas Sully) for use on Sometimes he provided the interiorand the
Probably Burs and Brother (manufacturer) exteriordetails of a house and, unlike most
a medal that was made for the Franklin
American(New York),active1857-59
Institute in Philadelphiain 1825and awarded architectsof the period, Davis also occasion-
Side Chair
to the Bakewellfirm in that year.The ally supplied furnituredesigns to select
decanteris one of the most ambitious and clients. This walnut chair is a version of a
American(New YorkCity), ca. 1857
rareforms with such decoration. ACF design he made about I857forJohn J. Herrick,
Walnut(replacementupholstery) the owner of a castle by Davis that once
H. 395Yin. (oo. 6 cm) stood in Tarrytown,New York.A few chairs
Gift of Jane B. Davies, in memory of have survivedthat can be firmly documented
Lyn Davies, I995 to Herrick'scastle;all of them are of the
I995.11 same design as ours but are made of oak and
are slightly heavier in scale. Our chair may
This delicateyet animatedside chair is a have been made for the same house or by the
masterfulexample of the Gothic Revival same furnituremaker for another Davis com-
style. It has a beautifullycomposed back of mission. Although its exact origin remains
open traceryand slender legs that spring unclear,the chair is one of the Museum's
from feet that resemblediminutive deer's finest examplesof Gothic Revivalfurniture.
hooves. Davis, one of the preeminent archi- In addition, it complements the Museum's
tects of nineteenth-centuryAmerica, worked important archiveof architecturaldrawings
in other revivalstyles as well as Gothic. by Davis. AP
55
Adolph Alexander Weinman
American, 1870-1952
Descending Night
Ca. 1914; cast by I917

Bronze
H. 26 in. (66 cm)
Signed(rearedgeof base):? /AAAA
WEINMANA FECIT
Foundrymark (rearedgeof base):ROMAN
BRONZE WORKSN-Y-
Castnumber(undersideof base):N? i5.
Morris K. Jesup Fund, 1994
I994.50I
Solid academic and practicaltraining from

AmericanmastersAugustus Saint-Gaudens
and Daniel Chester FrenchearnedWeinman
prestigiouscommissions for architectural
sculpture, including, in I9Io, keystone heads
for the Metropolitan'sFifth Avenue facade.
William Stanley Haseltine the temple's ruined condition, Haseltine The statuette, DescendingNight, is a reduc-
American, i835-90oo impartsstrength to the building by closely tion after one of the sculptor'smost cele-
Girgenti (The TempleofJuno Lacinia at cropping it and silhouetting its form against brated efforts, a full-size fountain figure for
Agrigento) the radiantevening light. In coordinatingthe the I915Panama-PacificInternationalExpo-
taperingclouds and cast shadowswith the sition in San Francisco.The popularityof
oblique perspectiveof the columns advanc- this sculptureand its male pendant, Rising
i88i
and gouacheovergraphiteon blue
Watercolor ing toward the viewer, the artistseems fur- Sun, led Weinman, beginning in 1916,to cast
ther to assertthe authorityof the classical reductionsof them. The majority-includ-
paper
i5 x 2I78 in. (38. x 5. 6 cm) past upon the present. KJA ing this figure-were produced at the Roman
Inscribed(lowerleft): WS.H. / Girgenti
April 18thi88i
John Osgood and Elizabeth Amis
Cameron Blanchard Memorial Fund, 1994
1994-502
Born in Philadelphiaand educated at

Harvard,Haseltine formed his style at the art
academyin Diisseldorf, Germany,where he
associatedwith other aspiringAmerican
landscapepainterssuch as Albert Bierstadt
and WorthingtonWhittredge. Unlike those
artists,he spent most of his careerin Europe,
especiallyin Italy,sending his work home to
Americafor exhibition and sale. Haseltine
made this picture in Sicily,which he visited
three times. He won recognitionfor his ambi-
tious views in oil of the Greek theaterat
Taorminawith Mount Aetna in the distance.
In this watercolorhe portraysthe promi-
nent Doric monument crowning the south-
easterncornerof the so-calledAcropolis of
the ancient Greek colony of Acragas(called
Agrigentum by the Romans, Girgenti by
Italiansin the nineteenth century). Despite
56
BronzeWorks, then the leading lost-wax
casting foundry in this country.
DescendingNight is a quintessential
example of AmericanBeaux-Artssculpture,
in which an allegoricalreferenceenhances a
skilled renderingof an ideal female nude.
In a sinuous asymmetricalpose, the relaxed
figure raisesher hands to draw hair away
from her face, revealinga downcast counte-
nance. The statuette is a personificationof
the waning hours of daylight, the symbolism
reinforcedby the low-relief crescentmoon
and starson the integralbase. This particular
bronze is distinguishedby its splendid green
patina:sculptorsoften reliedupon color as a
means of expressingthe aestheticindividuality
of each cast. TT
Tiffany Studios
American (New York), 1900-1932
Window
American(New York),ca. 900o-I9I5

Leadedfavrileglass
I00 X 56 in. (254 x 142.2 cm)
Gift of Frank Stanton, in memory of

Ruth Stephenson Stanton, 1995
1995.204
Louis Comfort Tiffany (I848-I933) was one

of America'spreeminentartistsin glass in the
late nineteenth and earlytwentieth centuries.
Trained as a painter, Tiffany shifted his focus
to the decorativeartsby the late I87os.
Although he embracedvirtuallyeverymedia,
it is his work in glassthat demonstrateshis
true genius. The asymmetricalcomposition
of the window acknowledgesTiffany'sadmi-
ration for Japaneseart, an interest sharedby
many artistsof his day. Color and nature,
however,were the primaryinspirationsfor
his work in glass, as exemplifiedby this
extraordinarilybeautiful window. It convinc-
ingly conveys the appearanceof a dogwood The window incorporatesa rich assemblage wood blossoms. Bicolored,mottled, opales-
tree, the branchesand blossoms seen behind of variousspeciallytexturedand shadedglass- cent glass conveys modeling and shadow.To
a trellis, and a generalizedlandscapein the es perfectedby Tiffany'sstudios, from frac- achievefurtherdepth of color, glassplating
backgroundof yellow-greenspring grasswith tured, or "confetti,"glassto the rippledglass occurs on the back, sometimes severallayers
a brilliantblue sky above. utilized to simulatethe textureof the dog- thick. ACF
57
Childe Hassam
American, I859-I95
Celia Thaxter's Garden, Isles of Shoals,
Maine
working at the Academie Julian in Paris on AppledoreIsland,one of the Isles of

1890 from I886 to 1889.Unlike most of his fellow Shoals, ten miles east of Portsmouth,New
Oil on canvas students, however,he was attractedto the Hampshire.It belongs to a seriesof oils and
I734 2I V in. (45. x 54.6cm) FrenchImpressionists'commitment to out- watercolorsportrayingthe cutting gardencul-
Signedand dated (lowerleft): ChildeHassam door painting and particularlytheir cele- tivatedby Hassam'sfriend, the poet Celia
I890 brationsof distinctive sites. Hassam settled Thaxter.Offering a sumptuous contrastto
Partial and Promised Gift of an in New Yorklate in 1889and became the the island'srugged terrain,the gardenin this
Anonymous Donor, 1994 most prolific recorderof city scenes in an lavish canvasis a carpetof vibrantpoppies,
1994.567 Impressionistmode. He usuallyspent sum- accented by gracefulhollyhocks and lark-
mers working in New England artists' spurs,almost framinga view of sun-bleached
Like other leading AmericanImpressionists, colonies, which were especiallymeaningful Babb'sRock. Createdduring Hassam'sfirst
Hassampursued Frenchacademictraining, to a painter descended from old Yankee summer back in the United States,the paint-
stock. ing suggestshis pleasureat the prospectof
This is one of the finest picturesof the nourishinghis Impressioniststyle in a visually
many that Hassam made during summers exciting and spirituallyredolent locale. HBW
Childe Hassam
American,1859-I935
The Water Garden
A glorious naturaltapestry-a maze of tion, flattenedspace, and vigorousbut orderly
1909 flowers saturatedwith sunlight-entices the stitchesof pigment. It illustratesthe modifica-
Oil on canvas viewer.A bit of pool, coveredwith waxy tion of Hassam'sstyle afterthe turn of the
24 x 36 in. (61 x pi. cm) water lilies and their deep green foliage, fills century,when he absorbedPostimpressionist
Signedand dated (upperleft): ChildeHassam the lower right corner.A sunlit path, lined on influences.Perhapshe intended this Japan-
1909 either side with dense clumps of white, blue, esque design to honor visuallythe Japanese
Inscribed(on reverse):The WaterGarden/ and purpleJapaneseirises, offers an invita- irisescontainedwithin it.
C.H. (in a circle) / p909 tion to the viewer and curves away to the Hassam may have executed the painting
Partial and Promised Gift of Douglas on a friend'sEast Hampton, Long Island,
right,where it is soon overwhelmedby masses
Dillon, 1994 of sword-shapedleaves and a profusion of property,which featureda beautifullily pond
1994.450 delicate petals. At the left a narrowbrook surroundedby irises.The artistlaterpurchased
meanderstoward a small footbridge and a a home in East Hampton, where he spent
screen of distant trees. long periods during the last sixteen yearsof
This lush, intimatelandscaperevealsfor- his life. HBW
mal disciplinein its strongrhythmiccomposi-
59
I
was a chief proponent of this style, and in During World WarI Nevinson'scareerwas
this particularlyelegant example the mouth first establishedin Englandwith his Cubist-
of the vase is formed of lightly overlapping and Futurist-inspiredpaintings that recorded
calla lilies-his preferredflower-emerging the war effortsat home and at the front. His
from long, pale painted stems. CLC subsequentreputation,however,restedmain-
ly on his prolificprintmakingactivities.In
April I9I9, on the occasion of an exhibition of
his war prints, Nevinson stayed for a month
C. R. W. Nevinson in New YorkCity. Impressedwith the magni-
British, 1889-I946 tude and vitality of this modern metropolis,
View of Wall Street Nevinson made numeroussketchesthat he
laterused in London to createa seriesof at
least seventeenprints and fourteen oil paint-
1919
Oil on wood ings. The scene depicted here is the congested
i6x I12 in. (40.6x 29.2 cm) financialdistrict in lower Manhattanaround
Signed(lowerright):CRWNEVINSON Broadwayand Wall Street.Nevinson'svan-

Purchase, Gift of Mr. and Mrs. Arthur tage point, from the rooftop or office window
of one of New York'searlyskyscrapers,trans-
Wiesenberger, by exchange, I994
forms the city into a steamyvision of mass
1994.18
and motion, composed of huge rectangular
Nils Emil Lundstrom (designer)

Swedish, 1865-I960
Rorstrand Manufactory
Swedish(Lidkoping),i726-present
Vase
Ca. 9o00-1903
Hard-pasteporcelain
H. IS78in. (35.2 cm)
Purchase, Friends of European Sculpture
and Decorative Arts Gifts, 1994
I994-447
In 1895, following the appointment of Alf

Wallanderas the new artisticdirector,
Rorstrandbegan to develop an Art Nouveau
style dominated by delicate sculpturaldetail
and underglazepainting in a subtle range of
pastel colors. A popular configurationwas a
smooth-profilevase finished at the top with
naturalisticallymodeled flowers. Lundstr6m
60

www.jstor.org
blocks of stone, dramaticdiagonallines, and
repetitiveangles.Farbelow the towering
buildingsis a thin strip of sidewalkdotted
with pedestrians. LMM
Fernand Leger
French, 881-1955
Woman with a Cat
I921
Oil on canvas
53 x 354 in. (130.5 x 89.5 cm)
Signed(lowerright):F. Leger2I
Anonymous Gift, 1994
1994.486
Motionless, hierarchic,and frontal, this

colossal creatureseems made of some un-
definable, rubberizedstuff. The powerful,
large nude woman, painted in grisaille,is
composed of spheres,cones, and tubes. She
leans againstbillowing pillows, one off-
white, the other of a black-and-yellowdia-
mond pattern.A yellow blanket protects her
lap, upon which rest an open book and a
black cat. Her mane of black hair covershalf
of her white, sphericalface. The starksim-
plicity of the composition is matched by the
reducedpalette of red, yellow, black, and
white.
Womanwith a Catbelongs to a group of
works of monumental female figures-some
reading,others drinkingcups of tea-that are
emblematicof the artist'snew, grand figure
style from his "mechanical"period of I918-23.
These works might be seen as preparationsfor
his largemasterpiece,ThreeWomen(Le Grand
Dejeuner),of 1921 (Museum of Modern Art)
and its two smallervariants.Legeralso paint-
ed variantsof the single-figurecompositions
and made a slightly smaller,nearlyidentical
versionof Womanwith a Cat (Kunsthalle,
Hamburg). SR
6i
Henri Matisse
French, 1869-1954
Girl by a Window
Ca. I92I-23
Oil on canvas
I8 x 21 in. (45.6 x 53.3 cm)
Partial and Promised Gift of Alice
Albright Arlen, in honor of her mother,
Josephine Patterson Albright, 1994
I994.545
Beginning in December 1917,Matisse spent

the winter months in Nice, living first in
varioushotel rooms. In 1921 he moved into
an apartmentat i, place Charles-Felixand
settled permanentlyin that city. Matisse's
picturesfrom this period might be regarded
as constituting a visual diary,in which he
recordedtirelesslyhis immediate surround-
ings: interiors,with and without posing
models, and still lifes, as well as views from Arthur Dove
his windows and terrace. American, 1880-1946
In this small composition twenty-year-old Fishboat
Henriette Darricarriere,Matisse'sfavorite
Dove spent much of his artisticcareeron
model at the time, standspensivelyat the
I930
window in the artist'sfourth-floorapartment. Long Island,New York,living on a boat in
Oil and wax emulsionon compositionboard
She turnsher back on the familiarview of the springand summer and near the water in
23
7X 33 8 in. (60.6x 84.1 cm) winter. Inspiredby the marineview, Dove
distantbeach of the baie des Anges, dotted
Signed(lowerleft):Dove here transformsan ordinaryworkboatand the
with palm trees and tiny figures. In the fore-
Gift of Carl D. Lobell, 1994 water and sky around it into a lively com-
ground rise the low stucco houses on the 1994.34.2 position of verticalpoles, horizontalbands,and
quai des Etats-Unis. Henriette'sgreen blouse
with its white trim createsthe sole sparkleof sweeping arcs.Merging the forms of the boat
with those of the landscapeimbues the vessel
color on a gray and melancholy day. SR
with organiclife. Fishboatis a classicexample
of Dove's Modernist approachto abstraction,
wherebyshapes,lines, and colors are meant to
suggest the universalharmonyamong all
things, naturaland man-made.As in paint-
ings by GeorgiaO'Keeffe, Dove's long-time
friend, the subjecthere is seen close-up and
enlarged,filling the entire foregroundof the
picture plane and forcing the viewer to focus
on the abstractqualitiesof a familiarimage
ratherthan on its narrativeassociations.
Fishboatis one of five gifts from Carl D.
Lobell receivedby the Museum in I994. The
others include two paintings by Dove and his
wife, Helen Torr,and two bronzes,by Max
Weber and William Zorach. LMM
62
ii`--
?
- I
c t _
\ik.
.s.
-1
Ift ?? .i-I
N tw
i'
:'
-I'
i
I.. '. i
Gerald Summers (designer)

British,I899-I967
Makers of Simple Furniture (manufacturer) Summers'sfurniture,which he constructed Simple Furniture.His earliestpieces were
Armchair of plywood, was among the most innovative painted, since plywood, although it was com-
produced in England during the I930s. The monly used for furnitureframesby the I930s,
'934 FinnisharchitectAlvarAalto, the first mod- was generallyconsideredtoo plain to be suit-
ern designerto exploit the flexibilityof ply- able for visible surfaces.
Bentplywood
H. 30 in. (76.2 cm) wood in constructingdomestic furniture, In 1932, within a year of founding his firm,
Purchase, The Cynthia Hazen Polsky had created, in 1931,an experimentalchair in Summersdeveloped a new finish of French
Fund and Lita Annenberg Hazen which the seat and armswere molded from a polish, tinted a creamywhite and buffed to
Charitable Trust Gift, 1994 single cut sheet of plywood and attached to a high gloss, which revealedthe grain of the
1994-428 a cantileveredtubularmetal base. Summers plywood ratherthan hiding it. Although
may have known this design, since examples handsome,this new translucentsurfaceproved
Two-Tiered Table of Aalto's furniturewere exhibited in London to be fragile,and almostall known pieces of
in I934. However,with this chair he outdid Summers'sfurniturehave been stripped.
Aalto, cutting his plywood sheet in such a This armchairand its accompanyingtiered
1934
way that it could be bent in a mold into the round table are remarkablein retaining their
Plywoodand glass
H. I6 in. (40.6 cm) shape of an entire lounge chair:back, seat, original finish. jsj
Gift of John Shand Kydd, 1995 arms, and legs.
I99y.225a, b
Summersmanufacturedand sold his own
designs through his small firm, Makersof
63
William Baziotes
American, i9i2-i963
The Flesh Eaters
Baziotespainted TheFleshEaters,one of his white bust is silhouetted againsta gray-black
I952 largestand most ambitious compositions, at ground, its pointed headgearjust penetrating
Oil and crayonon canvas the height of his career,when he had refined the pink zone above. In a paradoxcharacter-
60 x 72 in. (152.4 x I83.2 cm) the technique of rubbing layerupon layer istic of the artist, franklypretty colors coexist
Signed(lowerright):Baziotes of thinned oil onto the canvasto create an with menacing forms.
Purchase, George A. Hearn Fund, Arthur opalescent surfacerich with imaginarybio- Like the Surrealistshe admired and like
Hoppock Hearn Fund, and Hearn Funds, morphic imagery. his fellow AbstractExpressionists,Baziotes
Bequest of Charles F Ikl, and Gifts of At the left of this submarinescene a pale was fascinatedby the power of myth. Here,
Mrs. Carroll J. Post and Mrs. George S. his title and imagery suggest the story of the
gray form-either an armlessseated figure
Amory, by exchange, '995 or an enlargedhead with gaping mouth- Cyclops, the one-eyed giant who devoured
I995.234 floats beforewavy green lines of seaweed. Ulysses'sailorsin Homer's epic. Thus
Tendrilsreinforcedwith crayon curve out- Baziotes proposes a more universalnotion,
ward from the point of its single eye. Above, that humans may prey upon or consume one
at the right, a blue crablikeform-also one- another. NR
eyed-hovers in a pinkish haze. Below, a
64
Lee Friedlander
American, born 1934
Nashville
In the early I96os Friedlandermade a small EdwardHopper and Alfred Hitchcock, both
1963 seriesof photographsof television sets while of whom were fascinatedby the psychology
Gelatinsilverprints he was travelingacrossAmerica on two and alienatingenvironment of the American
958 X 62 in. (24.5 x 16.5 cm); 94 x 62 in.
Guggenheim Foundationfellowshipsand on traveler.
(23.5 x I6.5 cm) editorialassignmentfor severalpopular Outfitted with Martian-likeantennae,the
Purchase, The Horace W. Goldsmith men's magazines.The witty, often ironic pic- television sets in the series broadcastscenes
Foundation Gift, I995 tures provide intuitive commentaryon televi- from movies, sitcoms, and advertisements
1995. 68.1 sion as "theplug-in drug,"the revolutionary but beam their ambiguous images into other-
Purchase, Harriette and Noel Levine Gift, fixture of twentieth-centurylife that may be wise empty rooms. Although the advertise-
I995 the central image of the age. Most of these ment here may be for cold medicine,
1995.168.2 photographswere made in an appropriately Friedlander'sphotographsreflect on the fine
modern, artificialspace-a motel room- line between pain and pleasure,tragedyand
which is at once bedroom, living room, and comedy, the sanitized and the erotic, and are
theater.They connect Friedlanderto several as dense with mixed messagesas a typical
generationsof artists,and especiallyto evening of television. JLR
65
Jean Dubuffet
French, 1901-1985
The Coffee Grinder
I945
Plaster,oil, tar, and sand, on canvas
453 x j5 in. (116.2 x 88.9 cm)
Signedand dated (on verso):J. Dubuffet/ noel
I945
In Honor of Ralph F Colin, Gift of
his wife, Georgia Talmey Colin, 1995
1995.142
The Coffee Grinder
November18, 1944
Lithograph
13/ x p9/ in. (4 x 24.1 cm)
Inscribedin pencil (lowerleft):J. Dubuffet;
(lowerright)epreuved'essai
Purchase, Mrs. Fernand Leval Gift, 1995
I99. 183
Dubuffet waited until he was forty to devote

himself to art. A man of exceptionalintelli-
gence, he chose to paint childlike images that
combine a bold handling of texturewith a
wry, darksense of humor. He consideredhis
art rough, direct, and unfashionable.The
subjectsof his early paintings are city streets
of no historic interest, ordinarypeople per-
forming everydaytasks, and likenessesof
friends.He also examinedwith naivewonder-
ment ordinaryappliancessuch as a telephone,
a typewriter,and even a dentist's tool. hieratic figure completely fills the picture's
Dubuffet frequentlywatched his wife as frame. Dubuffet silhouetted this pale form
she sat and crankedthe handle of a coffee againsta somber background,actuallya
grindergripped between her knees. The sub- relief built with droppings, lumps, and fur-
ject, frontallyviewed, became a theme for a rows, combined into a substancethat he
lithographand for severaldrawingsand describedas "earthfermented by water."
paintings. The final version, however,bears Dubuffet finished The CoffeeGrinderon
slight resemblanceto Lily,who was dark- ChristmasDay I945. It is, perhaps,his earli-
haired, angular,and thin. Dubuffet flattened est masterwork.As an artisthe did not seek
the head and broadenedthe body so that the to please, and he was alwaysunafraid. WSL
66
Elaine de Kooning
American, I918-I989
Self-Portrait
In this self-portraitby de Kooning, the artist interestin primitivismin Americanart circles
I946 is seen seated with a book open on her lap. of the 1940s. The amorphoussack on the
Oil and charcoalon canvas She is dressedin a smock, pants, and stylish floor behind de Kooning is hard to identify,
234 x 193 in. (60.3 x 50.2 cm) shoes. An ashtrayand coffee cup have been but the elegant decanteron the shelf is simi-
George A. Hearn Fund, 1994 placed casuallyon the floor beneath her lar to that seen in Willem de Kooning's I940
I994.4II bentwood-style chair.Her self-consciouspose painting The Glazier(also in the Museum's
and practicalattire indicate an assertive,self- collection). Although de Kooning's treat-
awarewoman as artistand intellectual. (De ment of the human figure is less fragmented
Kooning was also a well-respectedart critic than her husband'sat this period, the
in the I940s and I95os.) Objects in the care- emphasison the segmented planes of forms
fully furnished interior-the Africanraffia- and the use of ocher and terracottacolors are
pile cloth and the two photographsor also characteristicof Willem de Kooning's
reproductionsof what seem to be Africanor figuralworks of the I940s. LSS
Caribbeanlocales on the wall-indicate the
67
Anselm Kiefer
German, born 1945
From Oscar WildeforJulia
The Rhine
also wants the richnessof German culture
1974
I982 redeemed.
and gouacheonpaper
Watercolor
Cut and pastedprintedpapers,mountedon Kieferconceives and revisesthe complex
15 x iir3 in. (39.7 x 29.8 cm)
canvas
Inscribed(centerleft):von OskarWilde/fir subject matter of his huge paintings in more
74 x 1334 in. (188.3x 263.5cm) intimate works on paper.The Museum has
Julia
Inscribed(lowerright):A acquiredfifty-one of these mixed-media
Promised Gift of Cynthia Hazen Polsky,
in memory of her father, Joseph H. Hazen Purchase, Lila Acheson Wallace Gift, 1995 drawingsdating from I969 to I985, as well as
1995. 4. 44 three monumental collages dating from 1982
Faith, Hope, Love to 1987, composed of numerous individual
Kiefer'swork contains a layeredterrainof woodcuts. These works on paper,long kept
1976
cultural reference:to myth, political history, together by the artist, constitute a nuanced
literature,architecture,and music. His epic overview of the first two decades of his work.
Brushand ink, watercolor,pastel, andpencil
onjoinedpaper painted landscapesdepict, with sadnessand It is the largestsuch concentration in any
36'2x 2458in. (95.3x 62. cm) irony, the same Germanicsagas,heroes, and institution.
Inscribed(on treetrunks,vertically):Glaube, Neoclassicalbuildings that were glorified by Thirty-threeof these works are predomi-
Hoffnung,Liebe
the Third Reich. Thus Kieferhas confronted nately watercolor.Among them, FromOscar
Promised Gift of Cynthia Hazen Polsky, postwarGermanywith its severaldecades of WildeforJulia demonstratesKiefer'sbravura
in memory of her father, Joseph H. Hazen repressionof Nazi imagery.The artistwants handling of the medium and fondness for lit-
the horrorsof the past acknowledged.He eraryallusion. The title and image referto
68
Wilde's story TheNightingaleand the Rose, Here, this symbol of creativitystands for the
wherein, for the sake of the ideal of love, the nurturingof decency.
songbird impales herself overnight upon the The building and frame in Kiefer'scollage
thorn of a white rosebush,so her voice and TheRhineare made up of differentwoodcuts
blood may nourish to rednessa bloom assembledinto one composition. The build-
desiredby a fecklesssuitor to present to his ing, an example of National Socialist archi-
greedy amorata.Wilde's bitter ending, in tecture, was designed in about 1939by
which the prickednightingale sings herselfto Wilhelm Kreisfor the Hall of Soldiersin
death and the girl rejectsthe blood-red rose Berlin. The image is framedby the imprints
in favorof jewelry offered by a new suitor, of wood planks that proclaim, by their repe-
appealedto Kiefer'sidealism and sense of tition within the work, the print medium.
irony. Here, in largeformat, Kieferagain recallsthe
In the largestof the watercolors,Faith, Germanpast, evoking Albrecht Diirer'shuge
Hope, Love,the three Christianvirtues are sectionallyprinted woodcut of I515,the
inscribedverticallyon the trunks of trees in a TriumphalArchof EmperorMaximilian I
darkwood evocativeof the tall timbers of Like the Renaissanceprint, Kiefer'scollage
Icelandicsaga. Their roots are embedded in was conceived to be displayedpublicly. NR
an artist'spalette, an icon that appearsfre-
quently in Kiefer'sart of the I970s and I98os.
69
t
.I f
i
p
.1 I
David Smith made with collagesof flat shapes of paper One of Warhol'sgreatestcreationswas his
American, I906-I965 defined the ultimate proportionsof the own public persona,which combined an
Untitled sculpture.This study is painted in black ink almost pathological need for media exposure
mixed with egg yolk, a medium Smith often with the opaque demeanor of the catatonic.
I953 employed. Each stroke representsa single By the end of the I96os Warholhad embed-
Brushand eggink onpaper form or element that would be used to com-
i8x 24 in. (45.7x 6i cm) pose figuralworks such as his Sentinel series
Gift of Candida and Rebecca Smith, 1994 of the late I95os and early I96os and the
Voltri seriesof 1962-63. LSS
1994.4 0
One of the most celebratedsculptorsof the

twentieth century,Smith describedhis studies
as "atmospheresfrom which sculpturalform
is unconsciouslyselected."He himself was
the "subject"and "thedrawingsthe act." Andy Warhol
This study is one of seven recently acquired American, 1928-I987
from the artist'sestate. As a group, they show Self-Portrait
the varietyof Smith'stechniques, each one
seemingly calculatedto reflect the character- '979
istics of the final three-dimensionalwork. A Instantcolorprint
pioneer of welded sculpturein this country, 24 x 20 in. (6i x 5o.8 cm)
Smith used both fabricatedand found Purchase, The Andy Warhol Foundation
objects to createhis work. In studies in for the Visual Arts Gift, Joyce and Robert
which he spatteredpigment around cut-out Menschel Gift, and Rogers Fund, I995
papershapes, the resultingnegative images I995.251
were more pristine and geometric. Those
70
ded his spectralvisageand blankgaze in the Andreas Gursky Gursky began by mixing these structural
nationalconsciousness.Simultaneouslyevery- German,born1955 approacheswith the traditions of northern
where and nowhere,ubiquitousand invisible, Schiphol landscapepainting. Initially he made easel-
Warhol'scomplete negationof the self allowed size photographsof vast, softly hued land-
his work to function as a kind of mirror,re- I994 scapes in which tiny figuresplayed. In the
flectingwith a hallucinatoryclaritythe foibles Chromogenic
print I990s he expanded the scale of his pictures
and vanitiesof our time. 73 x 878 in. (185.4 x 22.3 cm) to wall size and the scope of his subjectsto
Much of Warhol'swork can be read as a Purchase, The Howard Gilman include cityscapesand interiorsshaped by
meditation on the transienceof life, from his Foundation Gift, 1995 industrial,electronic, and other automated
iconic portrayalsof a stoically suffering I995 91 functions of modern life.
JacquelineKennedy to his paintings of skulls In Schipholtheartist frames the tall
from the mid-I97os. Eyes closed and with an Born in Leipzig,Gurskywas educatedin the clouds, low horizon, and perfect geometries
unearthlypallor,the artistappearsin this late heartof West Germany,firstin Essenand then of a runway in the windows of Amsterdam's
self-portraitas the martyredsaint, suspended in Disseldorf, wherehe becamea "masterstu- airport.Deftly laminating the luminous skies
between the agonies of the flesh and the dent"of BerndBecherat the Kunstakademie. of BaroqueLow-Country painting, the
blinding white light of the afterlife.Stripped Becherand his wife, Hilla, professand prac- Romantic theme of the windowed view, and
of the guises and camouflagethat character- tice a straightforward
style of photography, the abstractionof de Stijl, Gursky gives us a
ize many of his other self-portraits,this rivet- which catalogueswith clarityand dispassion landscapelayeredwith nostalgia, structured
ing picture is idiosyncraticin its candorand the unselfconsciousstructurestypicalof a cul- by Modernism, and sealed behind glass-an
directness;strangely,it seems both to refer ture.Their classictechniqueand typological expansiveyet neatly delimited vista for
back to the attempt made on his life in 1968 method recallthe work of August Sander, human transport. MMH
and to chillingly prefigurehis untimely death who similarlycataloguedGermansociety in
in 1987. DE the I920s.
7I
A I A AL ALk
Sword and Sheath
Nigeria (courtof Benin), I856-97

Sheath:silk, wool, and cottoncloth, cotton
yarn, leather,metal tacks,and staples;sword:
ivoryand iron
Sheath (with strap): h. 52 in. (132.1 cm);
sword:1.32 in. (81.3cm)
Purchase, Rogers Fund, and Frederick R.
Mebel, Fred and Rita Richman, and
Noah-Sadie K. Wachtel Foundation Inc.
Gifts, 1994
I994.329a,b
The rise to power of the kingdom of Benin

in the fourteenth century coincided with its
increasedcontrol over regionalcommercial
exchanges.This ceremonialsword and its
elaboratesheath and shoulder strap are a tes-
tament to the continued cosmopolitan
nature of that court over the following five
hundred years. The iron blade, the leather
pouch that encases it, and the ornate tasseled
baldriceach representmedia and forms
appropriatedfrom foreign sources.These
sourceslie as close as the Yorubakingdom of
Owo and as remote as North Africa and
Europe.
In contrast to exotic imported trade
materials,ivory is the local resourcethat lit-
erallylies at the heart of Benin'swealth. The
culturalsignificanceof ivory is evident in the
handle, wrought in a series of zoomorphic
insignia emblematic of divine kingship.
These include a band of undulating serpents,
an abstracteddesign of pangolin scales, and a
leopard'shead.
This ensemble is a rareexample of the
elaboratecostume paraphernaliaworn at
Benin before the turn of the century. Only
one other object of this kind has survived,in
the collection of Chicago's Field Museum.
However, images of court members wearing
such ceremonialcostuming have been pre-
served in the durable materialsof the more
familiarcast-brassplaques and carvedivory
tusks. AL
72

www.jstor.org
I A
A LA A
sages in which the outlines of a bird and Sub-Saharanxylophones appearin many

turtle are finely etched. Abstractmotifs, such forms, ranging from complex multikey struc-
as the broad chevron band (sahohin),the ring tures to simple wood slabs placed upon the
of carvedheads (tsanhuen), and the three- ground.The single-key,gourd-resonatedtype,
dimensional elaborationof the base, which not previouslyrepresentedin the Museum's
takes a traditionalstool form, all referto collection, is distributedthroughout south-
local insignia of leadership. central ZaYre,Zambia, and southern Malawi
This object'sfine white-chalkpatina and and is usually unembellished. The newly
style of sculpturalembellishmentare reminis- acquiredHembe xylophone is extraordinary
cent of other Lagoon artisticpractices,among for its large size and carefullycarved and
them the decorationof carvedpillarsin the sculpted key, rigged within a cradle of thin
domestic architecturefor local leadersand the cords and two bowed supports.The unusual-
applicationof white kaolin to the bodies of ly thick key (most are slender slabs) is trian-
drummersduring performance. AL gular in cross section, thinned in the center
for tuning, and distinguishedby a carved,per-
haps ancestral,head at one end. Xylophone
ensemblesassociatedwith hunters of the
Buyangasect may use two or more discretely
tuned one-key instruments for ceremonies
Kidimbadimba (One-Key Xylophone) before and after important hunts. The char-
acteristicbuzzing timbre of the struck key,
Zaire (Luba-Hembepeople),early20th century produced by a vibrating membrane inserted
Wood,gourd,gum, and cord into the gourd's side, may be alteredby
Diam. 21 in. (5.3 cm) putting the left hand inside the opening of
Purchase, Clara Mertens Bequest, in the gourd. One-key xylophones may be
memory of Andre Mertens, 1994 played while the musician is standing:a cord
I994.345
around the neck suspends the instrument at
waist level. JKM
Drum
Coted'Ivoire(Lagoon),early20th century
Woodand kaolin
H. 64 in. (I62.6 cm)
From the Collection of Nina and Gordon
Bunshaft, Bequest of Nina Bunshaft, 1994
1995.64.9
Pairsof slender columnarwooden drums of

this type were produced in southeasternCote
d'Ivoireby severaldiverseculturescollective-
ly referredto as Lagoon. Known as pende, or
"talkingdrums,"these instrumentsserve as
importantvehicles of social and artistic
expression.Owned by individualsin posi-
tions of leadership,they are used in perfor-
mances that disseminatenews of momentous
developments to the community at large.
The overallsurfacedesigns of incised and
relief carvingsare subdivided into two dis-
tinct fields. Within these boundaries,the
instrument'srhythmic tonal quality is trans-
lated into contrastingpatterns.The rigidity
of this formal composition is softened in pas-
73
Doorjamb
New Caledonia(Kanak,styleof central

region),I9th-2oth century
Woodwith tracesofpaint
H. 5i2 in. (130.8 cm)
Harris Brisbane Dick Fund, I995
I995. 30
New Caledonian doorjambsappearto have

alwaysoccurredin male-femalepairs and
were usually found attached to each side of
the entrancewayto a chief's round house.
Together,the male and female doorjambs
representedthe collective ancestorsof the
clanspeopleconcerned and would be used to
help consolidate the people's identity and
their ties to clan land.
Although the meaning of the iconography
on these doorjambswas subject to regional
variation,it appearsthat the body of this
type of jamb representedthat of an ancestor
wrapped in funerarymats. The tight geomet-
ric pattern is typical of the style recorded
from central New Caledonia. The face, with
verticallycompressedand broadened fea-
tures, was carvedin the mannerused in cen-
tral and southern New Caledonia. Gender
was indicated by the chevron pattern on the
forehead,which was often said to representa
comb. If the chevrons had a vertical axis they
indicated combs carriedby men, who were
said to have worn combs in an upright posi-
tion. A horizontalaxis, as found on this
piece, indicated that the image representeda
female ancestor. MG
74
Eagle Transformation Figure
Mexico (Olmec),8th-6th centuryB.C.

Jade (albitite)
H. 42 in. (11.4 cm)
Rogers Fund, 1994
I994.380
Olmec transformationfiguresdepict human

beings taking on significantaspectsof power-
ful animals,particularlypredators.In ancient
Mexico, jaguarsand eagles were among the
most reveredof these animals, and both
appearamong transformationfigures. In
these figures, the salient zoomorphicaspects
are focused on the head, and the present
example is particularlyclear in its distinc-
tions between human and animal features.
The latter are those of the crestedharpy
eagle, the largestand strongestof American
eagles. The figure'simpressivehead is topped
with a largeforeheadcrest, such as that of
the harpy,and is coveredwith hairlikefeathers
on the back. It has big round bird's eyes and
a very hooked beak placed immediately
below a human nose. A small beard adorns
the chin, and the short rotund body is with- The function of Olmec transformation They were worn as outer cloaks by men, and
out bird features. figuresis presentlyunclear.They are custom- those belonging to persons of rankwere
arilycarvedin varietiesof greenstonein small highly colored and carefullypatterned,such
portablesizes, and they may actuallyhave as this example, made during the centuries
been part of the paraphernaliaof a priest or when the authoritarianInkas dominated the
other ritual specialist. centralAndes. The mantle amply illustrates
The Olmecs lived along the coast of the the coming together of two different design
Gulf of Mexico in the centuries from about traditions: that of the Andean highland
1200 to about 400 B.C. and were influential Inka, who were noted for severe, rectilinear
throughoutmuch of Mexico and regions design and sober color patterns,and that of
farthersouth. jj the peoples of the Pacific lowland coast,
which the Inka conquered.Among coastal
peoples greaterspontaneity of design and
execution as well as the use of brightercolors
were the norm. The mantle is believed to
Mantle
come from the southern Pacific coast of Peru.
The geometric regularityand horizon-
Peru (Inka), late isth-early i6th century
tality of pattern here speak to Inka taste, as
Camelidfiber do the darksaturatedcolors. The intricate
572 x 60o2 in. (146. x 153.7 cm) stylized bird designs in the central units and
Purchase, Pfeiffer Fund and the diagonal patterning,however,are more
Arthur M. Bullowa Bequest, 1995 consistent with coastal practice.The use of
I995.I9
bright white, which sets off the blue, green,
and most particularlythe two different reds
Rectangularin shape, for wear over the in a sophisticated manner,also indicates
shoulders,mantleswere used in Peru great awarenessof color itself, an experience
throughoutmuch of its Precolumbianhistory. "foreign"to Inka tradition. JJ
75
A A
p p
Pien Lu
Chinese(Yuandynasty),active
mid-I4th century
Peacock and Peonies
Hangingscroll,ink and coloron silk

668 X 40o4 in. (170 X 102.3 cm)
Purchase, The Dillon Fund and The B. Y.
Lam Foundation Gifts, 1995
i995. 86
A rarefourteenth-centuryexample of flower-
and-birdpainting, Pien Lu's Peacockand
Peoniesrepresentsthe cruciallink between
the first flourishingof the genre during the
Sung dynasty (96o-I279) and its revivalin
the early Ming (I368-I644). A tour de force
of naturalisticrepresentation,the painting
presentsa minutely observedcorner of
nature, perhapsan imperialgarden.A female
peacock stands poised beside an ornamental
rock and a large tree peony. Flawlesslyexe-
cuted in fine, precisebrushworkand colored
in delicate hues of malachite, azurite, and
cinnabar,Peacockand Peoniescontinues the
highly descriptive,naturalisticstyle of the
Sung ImperialPaintingAcademy. Only the
self-consciouslycalligraphiccharacterof the
drawing,particularlynoticeablein the studied
outline of the leaves, betraysits fourteenth-
century date.
The depiction of a phoenix or peacock
among flowering peonies is a decorative
motif that dates back to at least the eighth
century in China. The female peacock, like
the mythical phoenix, often symbolizesthe
empress,while peonies connote nobility,
prosperity,and fecundity, as well as feminine
beauty.The conjunction of these auspicious
motifs enhances the painting's decorative
function and may be an indication of the
gender and high status of its recipient. MKH
76

www.jstor.org
deity in the guise of a lion, an animal with This silk tapestry (k'o-ssu)panel is an excel-
sacredconnotations in Buddhism and fre- lent example of sixteenth-centurytapestry
quently depicted in Tibetan art in the role of work, which is known for its complex
a guardian. designs and rich color. It featuresa pattern
The hilt is skillfullyconstructedof iron known as "homageto the phoenix." The
segments joined by brazing.The main fea- mythical phoenix, supreme among birds,
tures of the decorationare chiseled in relief stands on a rock at the center bottom of the
and highlighted by damasceningin gold and panel, surroundedby eleven different birds.
silver.The sides and back of the hilt are also They include a silver pheasant,a paradisefly-
damascenedin silver.Hilts of this shape were catcher,a crane, a goose, a peacock, a golden
made to be fitted with a straight,double- pheasant,a parrot,a kingfisher,a mandarin
edge steel blade. The qualityof the hilt's dec- duck, and two others that have not been
oration suggeststhat it was originallycarried identified.
by an officer or a high-rankingofficial. DJL Many of the birds in this textile bear
characteristicsthat are not found in nature,
and their relativesizes are not to scale. By the
Tapestry-WovenPanel time this tapestrywas woven, representations
of certain birds had acquiredpatternsof styl-
Chinese (Ming dynasty [1368-1644]), ization that, as much as their actual physical
i6th century features,permit their identification here and
Silk, metallicthread,andfeatherfilaments in later occurrences,such as Ch'ing-dynasty
345 X 23 4 in. (88 x 59 cm)
civil rank badges.
Purchase, Gifts in memory of Jean E. This textile is a gift in memory of Jean E.
Mailey, 1994 Mailey by friends of Miss Mailey, former
I994.363
curatorof textiles in the Textile Study Room
at the Metropolitan. JCYW/JD
Sword
Tibetan,i3th or i4th century

Iron, steel,gold, and silver
L. 7'4 in. (8.3 cm)
Purchase, Rogers Fund and Fletcher Fund,
by exchange, I995
I995.136
The form and overalldecorationof the hilt

of this sword are Tibetan, while severalof its
ornamentaldetails-such as the scrolling
foliage, spiralpatterns,and zigzag motifs-
suggest a Chinese influence. The pommel is
decoratedwith a distinctive leonine mask,
which has appended hands graspingtendrils
that issue from its mouth. This creatureis
derivedfrom the Indian kirtimukha(face of
glory), an auspicioussymbol widely used in
Tibetan art as a protection againstevil. It
appearsfrequentlyon Buddhist altarsand
other ritual objects. The largermask below,
its prominent eyes and nose enveloped in
stylized clouds, may representa protective
77
Brocaded-Gauze Panel (detail)
Gauze weaving is one of China'smost highly Underlying the panel's seemingly simple
Chinese(Ming dynasty[1368-1644])
developed textile techniques. This panel, appearanceare sophisticatedmaterialsand
Silk and metallicthread with a brocadeddesign of animatedgolden techniques. The metallic thread used in the
Overall 40'2 x 332 in. (o03 x 85 cm) rabbitsrunning among clouds, is a fine textile consists of gilded paperwrapped
Gift of Robert Hatfield Ellsworth, in
example. It is similarto a length of brocaded around a core of both yellow and red silk,
memory of Jean Mailey, 1994 gauze found in the Ming dynastyTing-ling which enhances the effect of the gold, and
I994.391 imperialtomb, which contained the remains the rabbit'seyes areaccentedin white and
of the Wan-li emperor (r. I573-I620) and his blacksilk painstakinglywoven into the design.
two empresses.However, this textile'sgreater This textilewas given in memoryof JeanE.
simplicity of design justifies an earlierdate Mailey,formercuratorof textilesin the Textile
within the Ming dynasty. Study Room at the Metropolitan. JCYW/JD
78
Brush Holder
Bamboo carvingis a majorbranch of late the panoramiclandscape-including buildings
Chinese,I7th century Chinese decorativearts. It reachedits highest and figuresengaged in leisurelyactivities-is
Bamboo
development in the seventeenth century dur- inscribed the "Ode to the Pavilion of the
H. 514 in. (13.3 cm) InebriatedOld Man," by the scholar-official
ing the late Ming and early Ch'ing dynasties,
Signatureand seal of ChangHsi-huang when a number of artistsin this medium Ou-yang Hsiu (I007-I072). The inscription
Purchase, Mr. and Mrs. John A. Wiley rose to prominence.Among them was Chang is executed in minute charactersin running
Gift, Seymour Fund, Bequest of Hsi-huang, who was famous for the liu-ch'ing script, a standardfeatureof the work of
Dorothy Graham Bennett and Erich O. (reservegreen) technique, seen on this work. Chang Hsi-huang. The seated figure in a
Grunebaum Bequest, 1994 The design is cut in relief in the smooth pavilion on the other side of the brush holder
1994.208
greenishskin of the bamboo and contrasts is the poet.
with the darker,more fibrous ground. The In spite of his fame, very little is known
relief areasare finely modeled to give a threeof the life of Chang Hsi-huang except that he
dimensional effect. was said to be a native of Chiang-yin in
On one side of the brush holder, above southern Chiangsu province. JCYW
79
Anonymous
Illustrated Manuscript of the Lotus Sutra Brush Holder
Buddhist teachings. The sutra itself is writ-
Korean (Koryoperiod [918-z392]), ca. I340 ten in silverin a gracefulvariantof T'ang- Chinese,i7th century
Goldand silveron indigo-dyedmulberrypaper Bamboo
style clericalscript and is precededby the
in theform of afolding book H. 638 in. (i6 cm)
pictorialsermon of the elaboratefrontispiece.
H. I3 in. (33 cm); io6pages, w. (each) 42 in. In fine gold lines within a patternedborderis Purchase, Florence and Herbert Irving
(I. 4 cm) a scene of the Buddha preachingto an assem- Gift, 1994
Purchase, Lila Acheson Wallace Gift, 1994 bly of followers,along with lively illustrations I994.381
1994.207 of key parables. BBF
The seventeenthcenturywas a period of pros-
Copying Buddhist scriptures,or sutras,by perity in the southeasternprovincesof China
hand is an importantform of Mahayana and witnessedthe last greatera of artistic
Buddhistpractice,believedto ensurespiritual
and materialwell-being. Beginning in the
eighth century,Buddhist-inspiredrulersof
China, Korea,and Japancommissioned large
sets of decoratedsutrasto gain personal
merit or to safeguardtheir realms.The pre-
cious materialsand the effort expended in
producing the detailed frontispieceand cal-
ligraphyof this manuscriptbefit its nature as
such a votive offering.
The second of twenty-five books of the
Lotus Sutra,this manuscriptreflectsthe
unsurpassedquality of illuminated sutras
produced under the patronageof the Koryo
court in the thirteenth and fourteenth cen-
turies. By that time the hand-scrollformat
had been largelyreplacedby this type of book-
let, a continuouslength of paperfolded in nar-
row accordionpleats and securedbetween
coversembellishedin gold and silverwith lotus
and "preciousflower"scrollssymbolic of
80
activity in this region. Artists frequently
worked in more than one medium, and
many of the artswere interrelated.One of
the most notable artsof this period was bam-
boo carving,the leading school of which was
in Chia-ting (now in the outskirtsof
Shanghai),where the bamboo carversoften
were also painters,and some were horticul-
turalistsand landscapearchitects.
This brush holder is a representativework
of the mid-seventeenthcentury.The high-
relief carvingis in the style of the Chia-ting
school, with human figurescarvedalmost
entirely in the round and buildings, rocks,
and trees standing away from the ground.
The focus of the scene-a lady at her writing
desk in a pavilion, attended by an old ser-
vant-is taken from a contemporarywood-
block print. The design of the gardenis in
the high fashion of landscapearchitectureof
the period, with rocks and trees encroaching
on the buildings and a small stream running
by, creatingan impressionthat the house and
gardenare situated in the wooded foothills of
a rocky mountain. JCYW
Anonymous
Branch of Grapevine in the Wind
Korean(earlyChosenperiod), i6th century

Hangingscroll,ink on silk
534 x 3j12 in. (40 x 80 cm)
Purchase, The Dillon Fund Gift and
Friends of Asian Art Gifts, 1994
I994.4.39
A wind-tossed grapevine,heavy with ripen-

ing fruit, the rustlingof its dessicatedleaves
almost audible, is renderedwith a varietyof
masterfullyhandled brush techniques.The
sway of the serpentinebranch in largearcsis
executed with strokesof changing speed and
pressureto suggest both contour and volume
in a technique known as "flyingwhite." The ing ink tones, and rough weave of the silk cation of autumn, the grape, an exotic species
contrastingtexturesof plump fruit and brittle indicate its productionby a Koreanartist,this from regionswest of China, was a metaphor
leaves are achievedwith carefullymodulated picture follows the traditionof grapevine for Buddhism,which came from India. An
tones of wet and dry ink that also impart a paintingsby the thirteenth-centuryChinese inscriptionexpressinga longing for the peace
luminosity within the painting redolent of painterJih-kuan.Inscriptionson his works of the Pure Land suggeststhat the grapealso
the glow of sunset or moonlight. suggest that this type of painting had several symbolizedthe promiseof rebirthin the
Although the style of brushwork,contrast- symbolic associations.Besidesits obvious evo- westernparadiseof Amitabha Buddha. BBF
8i
Mandala of the Four Deities ofMount
Koya
Japanese(Namboku-choperiod), I333-39
Ink, gold, and mineralpigmentson silk
Painting i6x 3738 in. (40.6x 94.9 cm)
Purchase, Friends of Asian Art Gifts, 1994
1994-309
This depiction of four Shinto deities in

ancient court attirewithin a schematized
shrine is a mandalaof a syncreticShinto-
Buddhist cult at the Amano shrine at Mount
Koya.Accordingto legend, Kukai (773-835),
founder of the shrine, wanderedin searchof
a site where he could establisha center for
the EsotericBuddhist teaching he had
learnedin China. In the mountains he met a
giant hunter with two dogs, who led him to
Mount Koya and offered him land and pro-
tection. The hunter was the mountain god
KaribaMyojin, envisioned here as a court
noble ratherthan a hunter, but identifiable
by the black and white dogs guardingthe
shrine. With the goddess to his left, Niu
Myojin, he has been veneratedlocally since
ancient times. In the assimilationof Shinto
worship into Buddhist syncretictheory,this
pair came to be identified as Japanesemani-
festationsof Dainichi Nyorai, the cosmic
Buddha at the center of Esotericpractice.
Niu Myojin embodies the phenomenalworld
of the womb mandala,while KaribaMyojin
representsthe realm of wisdom and spirit of
the diamond mandala.The two deities seat-
ed below this primal pair representShinto
goddessesfrom other regions, Itsukushima,
near Hiroshima, and Tsugaru,in Fukui
Prefecture. BBF
82
Standing Bodhisattva (probably
Avalokiteshvara)
Sri Lanka (Anuradhapura period),

ca. 8th century
Bronzewith high tin content
H. (with pedestal) IIV in. (29.2 cm)
Gift of Miriam and Ira D. Wallach
Foundation, 1994
I994-509
EarlySri Lankanstatues of fine quality are

probablythe rarestof all South Asian sculp-
ture. This fact is reflectedin the small size of
not only the Museum'sSri Lankancollection
but of Western collections in general.
Sri Lankahas traditionallybeen a bastion
of TheravadaBuddhism. Becauseof this,
individual sculpturalrepresentationsof
Buddhasare by far the predominantsubject
of the island nation'sart. Mahayana
Buddhism, with its emphasison the role of
the bodhisattvas,was also practiced,but even
in Sri Lankarepresentationsof bodhisattvas,
particularlyin bronze, are rarities.The recent
gift of this fine standing bodhisattvamust
thereforebe considereda highly significant
addition to the corpus of Sri Lankanart in
the West.
Standing on a double-lotus pedestal
(separatedfrom the figure at the time of dis-
covery), this bodhisattvahas both armsraised
symmetricallywith the right hand making a
variantof the vitarkamudra(the expository
gesture) and the left hand, the katakamudra
(the gesture of holding an attribute).The
figure is standing in the symmetricalsama-
bhangaposture, knees locked and both feet
firmly planted on the pedestal. He wears a
long skirt and is elaboratelybejeweled.The
front of his high conical crown has a figure
that might be a miniature stylized seated
Buddha. ML
83
IX
or!t/
.I,
;e :.??E.
-ljwj-L-5
;l/6?i r?tf:;B;;";??
Seated Buddha Akshobya (? [The

Impeturbable Buddha of the East])
date. Little art survivesfrom Tibet from meditation and thereforehis enlightenment.
Tibetan,pth-ioth century around the tenth century,but what does The same gesture is also associatedwith
Gilt copper seems to be-like our statue-an eclectic Akshobya, one of the five Tathagatas(esoteric
H. 22 in. (58 cm)
synthesis of elements drawn from the artistic Buddhas),who evolved as personificationsof
Purchase, Rogers Fund and Florence and traditionsof CentralAsia, India, Nepal, and this steadfastvictory.The Tathagataswere
Herbert Irving Gift, I995 China. central to the iconographyof early Tibetan
995.io6 The identificationof the statue is diffi- Buddhism. The postion of our Buddha's
cult. The earth-touchinggesture (bhumispar- other hand, with his thumb and middle finger
The robust body type of this unique early shamudra),a variantof which our Buddha pressedtogether in an unusual gesture not
Tibetan Buddha seems to derive from the art makeswith his right hand, is most frequently indicativeof meditation, seems also to sup-
of the North Indian post-Gupta period associatedwith Shakyamuni,the historic port our identification of this statue as
(7th-8th century), while its physiognomy is Buddha. It alludes to his victory over the evil Akshobya. SMK
based on Central Asian prototypesof similar demon Mara,who sought to disturb his
century.Until now, the raretradition of archwaywith foliate volutes supported by
Chandamaharoshana, a Buddhist
larger-scalepainting from Nepal has been fantasticalcolumns on vase-shapedbases
Guardian
representedby only one smallpaubha (paint- rises above him. He is surroundedby a host
ing on cloth). This splendid largepaubha of auxiliarydeities. As is usual in Nepalese
Nepal, rith century with vibrant palette and kinetic arabesques, paubhas,the donors of the painting are
Ink, opaquewatercolor,and gold on cloth typical of late-medievalNepalese art, is a shown in one of the lower corners (here the
32 x 262 in. (8i.3 x 67.3 cm) majoraddition to our holdings. left), and the monk(s) officiating at the offer-
Gift of Perry J. Lewis, I994 The paubha depicts the Buddhist ings are depicted in the other. In Tibet,
1994.452 guardiandeity Chandamaharoshana.The Chandamaharoshanais known as Achala,
meaning of his name may be translatedas the immovable. SMK
The Museum'scollection of Nepalese art "violent"(chanda)and "verywrathful"
includes a superb group of gilt-copper sculp- (maharoshana).He is believed to annihilate
tures of the ninth through the fifteenth cen- all evil with his anger.Framedby flames, he
tury and a fine assortmentof painted book kneels on a raisedthrone and brandishesa
coversof the tenth through the fourteenth sword with his left hand. An elaborate
85
their actual manufacture,but one workshop,
dating from at least the nineteenth century,
has been identified in Miraj, in southern
Maharashtra.These special-useinstruments
are alwayspainted with colorful Mysore-style
mythological figures on the gourd body and
wooden belly and floral patternson the neck.
The newly acquiredtambura,named for the
city of Pandharpur,is from the Miraj work-
shop. In addition to being beautiful, it is a
functional instrument. Its four steel strings
and a unique wide and flat ivory bridge
enable it to produce a buzzing drone, which
is needed to reinforcethe harmonic orienta-
tion of the ragaplayed on a melodic instru-
ment. The figures on the body and belly
include Krishnaand the milkmaids (from
one of the key stories about Krishna),
Ganesh, and manifestationsof Shiva. Thus
adornedwith gods, this musical artwork,
truly one of the best examplesof its type in
any museum, reflectsthe Hindu principle
that all traditionalmusic is devotional. JKM
Nainsukh of Guler horizontalssegregatesthe royal from the

Indian, i7Io-i778 divine, mediated by a poignant void: a rec-
Maharaja Balwant Singh ofjasrota Does tangle of water.Nainsukh uses the cool
Homage to Krishna and Radha whites and graysof the prince'sattire and the
architectureand the greens of the landscape
India (PunjabHills,Jasrota),ca. I750 as foils for the technicolorvision beneath the
Ink and opaquewatercolorwithgildingonpaper crimson canopy. One hardlyrealizesthe dif-
73 X 638 in. (19.6x I5.4 cm) ference in scale between the maharajaand
the gods in the peaceful and coherent world
Rogers Fund, 1994
I994.377
the artisthas created. SMK
Nainsukh of Guler was one of the greatest

Indian artistsof the eighteenth century.His
paintings herald a naturalismthat came to
dominate the PunjabHills style of miniature
Pandharpuri Tambiura
painting late in that century.Nainsukh's
oeuvre is centered around an extraordinary
group of refined and psychologicallycharged India, igth century
paintings and drawingsdone about I740-63 Gourd,wood,steel,and ivory
for MaharajaBalwantSingh, his greatest L. 37 in. (94 cm)
Gift of Mr. and Mrs. Sidney Bressler, 1994
patron, at the court of Jasrota.This painting
portraysBalwantSingh standing at the 1994.498
thresholdof a tented pavilion with his hands
raisedin anjalimudra(the gesture of adora- This tamburaillustratesa tradition of highly
tion). He gazes toward a raisedgolden dais decorativeyet idiosyncraticmusical instru-
on which he sees the deity he has chosen for ments from India. These instruments,which
personaldevotion, the Hindu god Krishna, are smaller,more embellishedversionsof
together with the deity's beloved, Radha. professionalmusicians'instruments,were
The painting is a tour de force of subtle used on special occasions by ladies and chil-
balancesof proportion, color, and, ultimately, dren or were made especiallyas gifts for
psychology.The intersectionof verticalsand exceptionalmusicians. Little is known about
86
Linga with a Face of Shiva
(Ekamukhalinga)
Thailand(Phetchabunprovince,Si Thep[?]),
7th-early8th century
Stone
H. 558 in. (140 cm)
Gift of The Kronos Collections, 1994
I994.5I0
This largelinga, the phallic-shapedemblem

of the Hindu god Shiva, is purportedto have
come from Si Thep, a most important city
situated along ancient trade routes traversing
centralThailand. Judging from many of the
sculpturesrecoveredfrom the Si Thep area,
it was a center of considerableartisticsophis-
tication.
The linga is the most sacredobject in a
Shaivitetemple, where it is worshipedin the
innermostsanctum. This particularlinga is
remarkablefor the length of its octagonal
shaft. Since this section would have been set
into a stone spouted pedestal, the yoni (theo-
reticallythe female counterpartof the linga),
and would have been completely or almost
completely hidden, the originalensemble
must have been extraordinarilylarge.
Depicted in low relief on the phallic-
shaped section exposed to the worshiperis a
single face of Shiva. Shiva is depicted in his
terrifyingmanifestation,with fangs and a
knotted brow. The unusuallysensitive depic-
tion of the physiognomy together with the
subtle modeling reflect the sophisticated
aestheticjudgments of a highly skilled artist.
Shiva is shown in orthodox iconographic
fashion, with a verticalthird eye and the
crescentmoon in his hair. ML
87
Standing Padmapani Lokeshvara
PadmapaniLokeshvarais the lotus- (padma-) styles, seems to have been one of Shrivijaya's
Indonesia(Shrivijayastyle),ca. secondhalfof
bearingmanifestationof Avalokiteshvara,the majoroutposts.
thepth-first halfof the ioth century bodhisattvaof infinite compassion.After the It is not alwayseasy to tell if Shrivijaya-
Bronze Buddhashe is MahayanaBuddhism'smost style bronzesculpturesof the eighth to the
H. i24 in. (31.1 cm) tenth centuryfound in peninsularThailand
populardeity.
Gift of The Kronos Collections, 1994 The great SoutheastAsian maritime werecreatedlocallyor on one of the Indonesian
I994.528 empire of Shrivijayaprobablyhad its capital islands.However,this relativelylargeand
on Sumatra.Among Shrivijayasvariousart imposingsculpture,purportedto have been
styles, those of Indonesia, particularlyof cen- discoveredin peninsularThailand'sSurat
tralJava,seem to be predominant.Peninsular Thani province,is almost definitely of
Thailand, an areawhere the somewhat con- Indonesianorigin. ML
fusing art history includes its own indigenous
88
STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION
Publication title: THE METROPOLITAN MUSEUM OF ART BULLETIN
Publicationno: 885-660
Date offiling:OctoberI, I995
Issuefrequency:Quarterly
No. of issuespublishedannually:Four
Annualsubscription price:$25.00, or freeto MuseumMembers
Completemailingaddressof knownofficeofpublication:1ooo FifthAvenue,New York,N.Y. I0028-oi98
Completemailingaddressof headquarters orgeneralbusinessofficeofpublisher:10OOFifthAvenue,
New York,N.Y. Ioo28-oI98
Full namesand addresses ofpublisher,editor,and managingeditor:
Publisher: The MetropolitanMuseumof Art, IOOO FifthAvenue,New York,N.Y. 1oo28-oI98
Editor:JoanHolt, IOOO FifthAvenue,New York,N.Y. 10028-oi98
ManagingEditor:None
Owner:The MetropolitanMuseumof Art, 1ooo FifthAvenue,New York,N.Y. o0028--198
Knownbondholders, mortgages, and othersecurityholdersowningor holdingonepercent
or moreof thelocalamountof bonds,mortgages, and othersecurities:None
Averagenumberof copies Singleissuenearest

duringpreceding12months to filingdate
(Sept.94-Sept. 95) (July95)
A. Totalcopiesprinted(net pressrun) 119,749 12I, 128

B. Paidand/orrequestedcirculation
1. Salesthroughdealers,carriers,
streetvendors,and countersales None None
2. Mail subscription(paidand/orrequested) 114,462 117,200
C. Totalpaidand/orrequestedcirculation 114,462 II7,200
D. Free distribution by mail 1000 700
E. Freedistributionoutsidethe mail 4087 3050
F. TotalFreedistribution(sum of E and D) 5087 3750
G. Total distribtion (sum of C and F) 119,549 I20,950
H. Copies not distributed
1. Office use, left over,unaccounted,spoilage 200 178
2. Returnsfromnews agents None None
I. Total (sum of G, H1 and H2) 119,749 121,128
J. Percentagepaid/orrequestedcirculation 95.6 96.7

www.jstor.org
The Metropolitan Museum of Art Bulletin Seco
(ISSN 0026-I52I) Pai
at N
The Metropolitan Museum of Art and
IOOOFifth Avenue
New York, NY I0028-I098
ReturnPostageGuaranteed

Recent Acquisitions A Selection 1994 1995 The Metropolitan Museum of Art Bulletin V 53 No 2 Fall 1995

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Recent Acquisitions A Selection 1994 1995 The Metropolitan Museum of Art Bulletin V 53 No 2 Fall 1995

Uploaded by

Copyright:

Available Formats

The Museum

Metropolitan of Art Bulletin Fall I995

A SELECTION: 199 4-1995

THE METROPOLITAN M USEU M OF ART

The Metropolitan Museum of Art

Publishedquarterly? I995 by The Metropolitan

Second-classpostagepaid at New York,N.Y., and

GeneralManagerof Publications:John P.O'Neill.

All photographs,unlessotherwisenoted, by the staff

On the cover:Giovannidi SerGiovanni,called

50 North America I700-I900

72 Africa,Oceania,and the Americas

It wouldbe temptingthisyearto returnto ourrelatively weakNorthernholdings,and a memberof the Museum'sAcquisitionsCom-

The Metropolitan Museum of Art

are frequentlyrepresentedon the great pro-

Fragment of a Head of KingApries

Egyptian(Dynasty26), reign ofApries

Apries is one of the rulersof Late Period

The Metropolitan Museum of Art

Taras(Roman Tarentum,modern Taranto),

Table Support Decorated with Griffins

Greek,secondhalf of the5th centuryB.C.

This is half of one of two supports for a table

whorl, contiguous to the fan-shapedlip, and seriesof elegant marbleperfume containers

glaze. This pair of examplesof the fourth

Earringswith figuralprotomeswere popular

Roman, late ist century B.C.-st century A.D.

Similaritiesin the technique, scale, design,

Roman, A.D. 14-37

The carnelianintaglio is a courtly production

Intaglio in Gold Setting

The Metropolitan Museum of Art

Crossbow fibulaewere in vogue as imperial

The Metropolitan Museum of Art

Middle Byzantine,late Iith-early i2th century

This exquisitedouble-facedpendant icon is a

portableand that the attributesreflectedthe

Temperaand gold leaf onparchment

Events from the life of Saint Francisof Assisi

of varyingwidths, often containing abbrevi-

The distinctive profile of this beaker,gently

spiky-leafedfoliage that overlapsitself as it honor stretched between the screws of a

Giovanni di Ser Giovanni, called Scheggia

The Metropolitan Museum of Art

foratedglobe with winged trumpets. The Masaccio,this is an object of unique historical

Virtuallyunknown until recently,this draw- figuresin a monumental manneragainst a

This compelling image is the invention of

During the second quarterof the seventeenth

Dutch (Delft, "GreekA"factory),period

The vase is one of only eight of this type

Italian (Roman), 1702

The Metropolitan Museum of Art

Verriereswere used to cool wineglassesby

iINf~~ ~ds" I 1 The painted scene illustratesa combat near

Milk Jug and Hot-WaterJug

German silver made after the middle of the '(

cating color of her foulard,worn like a cravat

Fantin'snumerous self-portraitsin chalk,

Pierre-Jules Mene .I .... ......

Mene was a gifted animalierwho realized

Worth, whose careerflourishedwith the lux-

This is the specimen that was shown in the

them are executed in short, choppy brush