The metropolitan museum of art bulletin v.27 #10 june 1969

JUNE 1969

The

Museum Metropolitan

of

Art

B

U

L L E T

I N

a .

I,

\I

I

of

Aspects DIETRICH

M

ORE

THAN

VoN

a

Collection

BO T H M E R

A HUNDRED

VASES

Curatorof Greekand Roman Art

from the collection of Walter Bareiss, shown

during the summerin the Blumenthal Patio, were chosen from over four hundred. All of them were collected in the last twelve years, and the collection is still growing. When Mr. Bareiss first visited Greece, in I952, he fell in love with the country and its art.

His earliest collecting had centered around Far Eastern art; later he made a name for himself as a collector of modern art, and today his interest is divided between the contemporary and the classical. This does not present a conflict, for Mr. Bareiss is more interested in the personal style of an individual artist than in the general style of a period.

Ever since Mr. Bareiss gave me access to his vases five years ago, I have been fascinated by the constant process of selection and upgrading that is so essential to the formation of a great collection. It is sometimes claimed, and quite wrongly, I think, that wealth alone can bring about almost anything, and that a collection normally represents the income bracket in which a given purchase can be made. This approach tends to ignore something more fundamental: why is money spent at all on works of art? And to what extent can money determine the characterof something as personal as a collection of Greek vases? Surely other considerationsenter into it. I have known of nobody, even men of almost unlimited wealth, who did not at the moment of purchase have to meet the challenge of a choice - a choice based on preference as much as on cost. No one will claim that it is fashionableto collect Greek vases, and even paying unheard-of prices will not put a collector of Greek vases into newspaper headlines or the annuals of auction houses. The very fact that the passion spent on these lesserknown works of art cannot be appreciated by everyone makes such a collector rely more on his own sense of beauty than on popular appeal. Some collectors do not move without counsel; others are as impetuous as a young man in love, and their regrets are less frequently voiced over objects they should not have bought than over masterpieces they lost.

With over fifty thousand painted vases in existence, no single collection can lay claim to being truly representative. The long life of a museum brings with it some

Contents Aspectsof a Collection DIETRICH

VON

BOTHMER

425

EuropeanDrawingsfrom the BareissCollection JACOB

BEAN

437

TrainingYoung Curators JOHN

WALSH,

JR.

442

A LittleFrenchBook ANNE

PALMS

CHALMERS

COVER,

445

FRONTISPIECE

Red-figured kylix.Signedby Dourisas painter.Attic,about 480 B.C. Boys in school. Width 15 6 inches(39 cm.). All the vases

in thisarticlewere illustrated lentby WalterC. Bareiss.

L 68.142.z5

425

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

measureof assurancethat its collectionof vases,if workedon steadily,will in time improve;while the supplycontinues,it is often morea questionof budgetaryallocations than of opportunities.Here museumsthat wereable to lay their foundationsin the happierdaysof the nineteenthcenturyand the firstyearsof this, have the advantage of a wealth of examplesof recognizedquality againstwhich each newcomeris measured.A contemporarycollector,on the other hand,must start fromscratch.He may envy the easewith whichthe greatprivateand publiccollectionswereformedin the last century, but he may feel compensatedin knowing that today's increased knowledgeof vasepaintinghelpshim to a surerrecognitionof style than waspossible for his predecessors.

Appreciationof a paintedvase does not, of course,consistsolely of datingit or attributingit to a specificartist. Scholarshiphas advancedin the last sixty yearsto the point wherepracticallyevery Greekvasehas been or can be attributed, and certainsalescataloguesalmostexploitscholarlyrefinementsand aboundin such catch phrasesas "rare,""unique,""unusual,"or the like. Rememberingthe numberof vasesthat exist, a true collectoris not easilyseducedby such epithets.He must findin the objectitself a fulfillmentof the desiresof his acquisitiveinstinct.

Mr. Bareisshas been guided by his own idealsof quality and by an all-pervasive senseof curiosity.Some of his vaseswere boughtfor the sheerbeautyof their shape, but the majoritywereselectedwith an eye to the painteddecoration.His interestin the subject, coupledwith a genuineunderstandingof quality in drawing,has freed Mr. Bareissfromthe quaintprejudiceagainstfragmentsthat is encounteredso often.

The true connoisseurof paintedGreekvaseswill put greatervalue on a singlefigure, incomplete,painted by a masterthan on a seductivelycompletevase decoratedin haste by a hack. Moreover,his eye will be able to restorean entire figure,or even a wholecomposition,on sherdsthat are tantalizinglyincomplete.His vasesneed not be signed;he will recognizeartistsby theirstyle alone,and he will rememberthat many of the bestvasepaintersarestill anonymousto us andhavehad to be given distinctive namesin moderntimes.

Museumof Art Bulletin TheMetropolitan VOLUME

XXVII,

NUMBER

I

JUNE

I969

Published monthly from October to June and quarterly from July to September. Copyright ? I969

by The Metropolitan Museum of Art, Fifth Avenue and 82nd Street, New York, N. Y. o0028.Second class postage paid at New York, N. Y. Subscriptions $5.00 a year. Single copies fifty cents. Sent free to Museum members. Four weeks' notice required for change of address. Back issues available on microfilm from University Microfilms, 313 N. First Street, Ann Arbor, Michigan. Volumes i-xxxvII (I9051942) available as a clothbound reprint set or as individual yearly volumes from Arno Press, 330 Madison Avenue, New York, N. Y. 10017, or from the Museum, Box 255, Gracie Station, New York, N. Y. 10028. Editor of Publications: Leon Wilson. Editor-in-chief of the Bulletin: Katharine H. B. Stoddert; Assistant Editor: Susan Goldsmith; Designer: Peter Oldenburg.

426

So farI havespokenof Mr. Bareiss'svasesasa whole;the oneson viewin the Museum werechosenwith severalpointsof view in mind.Apartfromthe obviousfirstconsideration, artisticquality,an attemptwasmadenot only to showto advantagethe entire gamut of the Bareisscollection,but also to supplementour own rich display.Those who love Greekvasesfor the sakeof their refinedshapeswill thus detect one of the earliestpanel amphoraswith flangedhandles(Figure4), a kylix exceptionalin form and decoration,signed by the potter Nicosthenes,and a hydriawith rarecoloristic touches of white on foot and mouth (Figure 8), and will observe the drinking cup from its modest beginning (Figure 2) to its proud perfection in the late archaic period (Cover). The specialist in regional styles will be delighted by the lekythos (Figure I) and olpe from Corinth, the two cups made in eastern Greece, the hydria from the territory of Chalkis, and the small Laconian cup. Those who know their Greek mythology only from Bulfinch or other watered-down versions will be amazed at the vigor and freshnessthe ancient painters brought to these stories: he will see the Calydonian boar hunt through the eyes of an archaic artist (Figure 2), and watch the exodus of Anchises and his family from Troy as depicted five centuries before Vergil (Figure 9) or the death of Agamemnon as painted years before it was dramatized by Aeschylus (Figure I I). Those less keen on puzzling out depictions of often complex myths will recognize unexpectedly intimate glances into the home life of the Athenians: women descending into the wine cellar for an unobserved quick drink (Figure I5); boys at school confronted by their teachers (Cover and Frontispiece); revels and their consequences (Figures I , 12, 13). Equally impressive to some will be the array of great

names in vase painting: the black-figure masters are represented by Lydos and the Affecter (Figures 4, 5); the inside of a cup attributed to Oltos is painted in blackfigure, while the scene on the outside is executed in the new red-figure technique (Figures 6, 7), and the style is continued through Epiktetos to the Brygos Painter, Makron, and Douris, to list only the chief of the cup painters. Among the others, the Berlin Painter, the Eucharides Painter, Myson, and the Triptolemos Painter should be noted in passing. The subtle change in drawing that sheds the archaic manner and leads on to the freedom of the classic period is best exemplified by the fragments of a large hydria with the arming of Achilles, perhaps by the Hector Painter (Figure I4), and the full classic style is reached with the mug by the Eretria Painter (Figure I6).

At that time, Attic vase painting went into a decline, and for good drawing we must turn to the red-figure styles formed in southern Italy after the Peloponnesian Wars

by Greek immigrants. By now, however, wall and easel painting were fully developed, and vase painting occupied a humbler position. Whereas in the archaic period, as we know from some rare surviving examples, wall paintings and panel paintings looked remarkably like contemporary vase paintings, the discrepancy in scale between the two, not to mention the more imaginative use of color employed on walls and panels, must have resulted in ever-widening differences.Painting on clay remaineddependent on the limited palette of ceramic colors, and though the drawing, with its increased understanding of perspective, both corporeal and spatial, with its skilled use of shad-

427

ing, its staggered compositions, and its subtler renderings of facial expressions, must have been similar in the two branches of painting, the overall effect must have been completely different. In the fourth century, especially in the Greek colonies of southern Italy and Sicily, the lavish use of added colors was surely prompted by an understandable desire to rival the bigger paintings on walls and panels, but the result was no closer to "free" painting than, let us say, colored woodcuts or lithographsare to oil paintings.

In their efforts to reproducethe achievements of a more successfulbranchof painting, the South Italian vase painters concentrated on the pictures and paid less attention to the special requirements of the different shapes, with the result that the pictures tend to lose their close, organic relationship with the surface on which they are painted. In turn, the potters' repertory, which included the traditionalAttic shapesas well as some specifically native ones, lost the subtle sense of proportions and careful balance of component parts that distinguished the Athenian prototypes. It has therefore been said with some justice that South Italian vase painting can best be appreciatedon fragments.

Here the eye is not distracted by the shape and can read, as it were, the drawing in all its purity. Significantly, Mr. Bareiss'sforays into South Italian wares have been concentrated on fragments.

The exhibition spans three centuries of vase painting, from a delightful miniature lekythos of the mid-seventh century (Figure I) to the ornate products of Sicily, dated in the middle of the fourth century B.C. (Figure I7). In the history of Greece, it is these three centuries in which the Greek culture was born and flourished, in which her achievements in all fields - architecture, sculpture, painting, literature, music, rhetoric, philosophy, science, and politics-came to pass. This exhibition, small and restricted as it is, puts into sharp focus much of the Greek heritage, fortunately not yet forgotten.

LEFT

secondblack-figure i. Blacf-Jigured lekythos.Proto-Corinthian, style,about650 B.C.Sphinxes and goat; below,two houndsand a hare.Most of the mouth,neck,and handleare restored.

Height, as restored,24 inches(7 cm.). L 68.42.1 OPPOSITE,

ABOVE

2. Black-figured Siana cup. Attic, about 580-570

B.C. The Calydonian boar hunt. Width i38

inches (34 cm.). L 68.s42.4 OPPOSITE,

BELOW

3. Black-glazed cup-skyphos. Attic, about 540 B.C. Width 9V16inches (24.1 cm.). L 69. 1.16

428

I.

~

u~~

U

- ~~~~~~~~~?

~:i~9~

I

i-

:i_~-i:~?l~~,~,,,?-~?

-

~~L~aBF~~.,'~~i~a~L~~..~~.

i

ij-~ d I

??,?-s-:;:

.:*

~~ -"~es

..I;

':

.1.1

.r~ ..

...

-9~

.~-:

?4p~~~i

"~~?~? ~~ ~ ~ ~ ~~~...,~~~~~~~~~~~~iel ~~~~~~~~~s* .

.

r~asi?~l

I~~~~~

~i

~~~~~~~~~~~~~~~~~~~~~~~~--;:r~---.__: .~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ __

r~~~~~. w -:i~~~-?-rss:??;?~~~-1;?::; i1.5??_:; i~~~~:-i"??,...A A, E1.-~~~~'-I?I:::::;"~~~~~~~~~~~:-:':?'?

I?:~~ ~ ~ ~ ~ :k::~:"~~~~~~~~~~~~~~~~~~~~~~~~ A ?:

~~-:-.?::ir~

-r::I';:c~~::~-:

c:,?:~~~~?:::::?i:;1,?:;-

:I-,::-: ::::~i: [:':;i

";"-~:

.:::

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I

~~i,,::.I i'..:w ~I:;?:::: ;~"?~% I!:'

?j~~~

\~~~I_ =~~~""~""i*"~j~ '~~aPg~l ~ ?~~1_1~"a _'..: ~ ~ Eg '"`~~~~~"--"`'~~~~~g"'" -:~~~~~~~~~~"%R l~~~~~ 1

~~~MIir::

ti:::

.,,

~~~~~~~~~~~~~~~t: :

.~~~~ ;??I:::::.. :i ;

.: -

.. ^::?:-

Il:.:,: :

-

-

::

:,-~~~~~~~~~?:~-,~l

-~ ~ ~ ~ ~ ~~~~~I?l:?"'..r."4 5:~~ .~~~~~~~~.:, ,

-,

-;

?

-

ll'::::?:c:;,~:

r-lr":;

-

ABOVE,

LEFT

4. Blacl:figured amphora of type A. Attributedto Lydos. Attic, about 550-540 B.C. Theseus slaying the Minotaur, with Athenianyouths and maidens looking on. This is one of the earliest amphorasof the type withflanged handles and a flaring foot, contemporarywith those painted by membersof Group E, with which the vase has some affinities.Height i818 inches (46 cm.). L 69.11.6 ABOVE,

RIGHT

mannerist,the 5. Black-figuredneck-amphora.Attributedby Beazley to the chief black:-figure the the shown centaur in B.C. is Herakles attacking Attic, Nessos, Affecter.

540 presenceof Iolaos and othermen. On the neck, threerevelers.Height 751? inches (38.5 cm.). L 68.I42.5 OPPOSITE

6, 7. BlackJfiguredand red-figuredkylix. Attributedby Beazley to Oltos. Attic, about 520 B.C. On the black-figuredtondo, reveler;inscribed"Memnon is handsome." On the red-figured outside, here illustrated,youth. Width z6 inches (40.6 cm.). L 69.I I.33

I)

I ,e 0

OPPOSITE

to the Lykomedes 8. Black-figured Painter,namedafter hydria.Attributed on a column-krater in theMuseum.Attic,about Apollo'scharioteer 510 B.C. On the shoulder,Heraklesand the Nemean lion; on the body, Heraklesattempting to stealtheDelphictripod,Apolloand Artemisinterand Athena vening, supportingHerakles.Theirnamesare inscribedin the Samianalphabet.Themouthandfoot arepaintedwhite.Height154 inches(40.I cm.). L 68.142.8 RIGHT

Attributed to the LeagrosGroup.Attic,about 9. Black-figured neck-amphora.

510-500 B.C. Aeneas rescuinghisfather, Anchises, accompaniedby his

mother,Aphrodite,andhis son,Ascanius,afterthefall of Troy.Thenames of threeof thefiguresareinscribed.Ontheneck,charioteer.

Height154 inches(40.1 cm.). L 69.1.1i BELOW

to thePainterof LondonE 2. Attic,about io. Red-figured kylix. Attributed Thezonearoundthetondois not black,as In the reveler.

B.C. tondo, 510 on mostcups,butpaintedwitha glazethatfiredred. WidthI31516inches (35.5 cm.). L 68.142.9

iii

IfLi

*6:* ;F1

i

f;;UP3ii*"F-iiiri

i:

I?-

t :c")'

P:

j:

'%i

q

c

rcr:?:a

a

II

?::

.1

i:::

n:

. P/

r

P

?v

ii

ir'

?,

,,q, sr :i

fjjci' ?d:,,!

4s-

??

i lj-??

*i

"?:

;Ef ;?Y

`r I: t I

IllrlLBbE

.i,

4

r?:

?

i:

::4 ,

?:rr

s1

d,i?

?-.':

s

-T4

lltr*;l;al j**w' r

(;?

-'Pftlx

, L1!

I

Plr?-l

?I F:

t

4

i ILeZ'Irusu=a,:l ;I;

-. *e 4*

.:I 1

`I rT

'-b.a

?:

?i:1"-]

,L

r?E~

j5i

'YL

OPPOSITE,

ABOVE

ii. Fragmentaryred-figuredkylix. Attributed by the owner to the BrygosPainter.

Attic, about 490 B.C. The death of Agamemnon, with Clytaemestraremoving the robe in which he had been trapped.In her right hand, now missing, she may have held an axe to administera third wound. His hair looks wet: in some versionsof the myth he was killed after his bath. Note that his eyes are dead but not closed, and that his mouth is open.

Diameter of tondo 68 inches (16.9 cm.).

L 69. 11.35 OPPOSITE, 12.

BELOW

Tondo of a red-figuredkylix. Attributed

by Beazley to Makron. Attic, about 480-470 B.C. Revelerwith a staff and drinkingcup. Diameteroftondo 41 inches (Io.8 cm.).

RIGHT

13. Detail of the outsideof a red-figuredkylix.

Signed by Brygosas potter and attributed by Beazley to the Briseis Painter.

Attic, about 480 B.C. Revelers.Diameter I2>6 inches(30.7 cm.). L 68.142.17

14. Fragmentaryred-figuredhydria. Perhaps

by the Hector Painter. Attic, about 440 B.C. Achilles in his tent, receiving his new armorfrom Thetis and six Nereids arrivingon dolphins. Widthi74 inches (43.8 cm.). L 69.11.26

15. Red-figured skyphos.Attic, about470-460 B.C. Servantgirl

andhermistressin a winecellar;theladyof the houseis on thesly.Height616 inches(I5.45 cm.). L 69.1 .70 drinking

i6. Red-figuredmug. Attributedby Beazley to the Eretria Painter. Attic, about 430 B.C. Boy on a seesaw. Height 32 inches (8.8 cm.). L 69.11.29

17. Fragmentary squat lekythos.Sicilian,mid-fourth red-figured centuryB.C.Flutingsatyrsailingon a wineskin.Height, as preserved,536 inches(i3.3 cm.). L 69.11.58

European

Drawings from

WHILE

the

Bareiss

Collection

MR. BAREISS'S Greek vases are on exhibition, thirty-five European draw-

ings from his collection will be shown in the loggia of the Blumenthal Patio; they testify eloquently to the range and excellence of the collector's taste.

JACOB

BEAN

Pablo Picasso (bornI88z),

Spanish. Nude. Pencil, Io x z3 inches. All the drawingsillustratedwere lent by Mr. and Mrs. WalterBareiss. SL 69.I7.26 Picasso supplied the illustrations for a memorable edition of Ovid's Metamorphoses,published in Lausanne by Albert Skira in I93I. This drawing is a study for the etching that serves as the title page to the Fourteenth Book of the Ovid's collection of Greek and Roman myths.

Picasso, always open to the example of ancient art, has captured some of the spirit of Greek vase painting in the elegant simplicity of the abbreviated contour.

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

MM;

nwzm

MI-

P-1 4M, gr

vI

IT

A X gis

N-

RRk

R

4-0

g W

n

w

96

4

N,

o,

VW

MA

M

a Z

M,

41

LeI 01

v,

P---

'N

Nl_1111"Ti

-

V

V.

-V 10

W

7.1,

J

1r,

N

.

. . ........

g 4?v.

Z

7,1K..

. . ..... . ....

. ...

.

W.

3;

ipF, 3o A

6

'M

9"M

S

g

4

MP

t

4 Z

m

n.

j

-i.,Z,

7_

MT

Allw-

5. .

S_

. . .. . .....

ct

-6z"

k7tl

4

-77

Ti, 01

IM

A

xzv

6 re

R

A

,U

A

"a,

tpl W6

Iv.

,_q

gl

-.V! 2, NQ . -4,

4SM

-

b,

-.. . V "q!_

-

-,.,

W

. '', 6

. r.

.x

'N -

-

.

. . .

On

J

R.

'IT p,.

"

A-111.

11 -1 -1. _1

.11,1;.

-

I., x"

. , _K!v. ,g

A,. -17!-;,,

'N

'U

. ... , ' *,; ` M.. '. I a ,

Yq

A M&

O

6 A

Ai Y,

g

N

A

iV V-.

&

;:Cb F"'Als Ael

O.

m

4,

S. _K N

M,,R n

W,

K, V

W

OM

-A.

"q.M,

A

2

W _Y_ k

-AN -.N

Pl,`?`,

I

'*0Z,

Z

Yn,

VM1Z--.-'

. ........

N",A-v2 w-, K

-WR

gn,

y

.. . ........

c

_0 x

2,4-s-

t'. A.

AM

pqo

_4

O..

'x" R, 0.

y

4

Q. "O

_At

P

_.,;

_4.

.

1'.

li ej

-, .

V

X-

I5

Rk

N -y b7.

W!11'i?.';

,n

N.,

M

Z

N,

Y

61,

C

J

7"

oi

5a y"

R

J

8

4_1

v

V---

Z4

.

P, p,

A

,!07 V

2

-ZW,

.3 Z-;

J.7

,

-

O"

g,

.. .... ....

-y R

_N

2

01

V,

r,

SZ

5S. -0,

,z

WiM .

V

4 z, 7,1

_4

J

1w ""'z.

ef

4,

'v

Oskar Schlemmer (1888- 943), German.KneelingFig-. ure. Pen and black ink, iiy

iSnB

x 88

inches. SL 69.77.36 From

1920

to I929, Schlemmer

was master at the Bauhaus, the trend-setting German school of architecture and industrial design.

This amusing but plastically convincing doodle probably dates from those years, and it is a token of the stylistic economy that was characteristic of all Bauhaus instruction and production.

l sa

(1834-1917), French. Standing Woman. Brown and white oil paint on cardboard, i81116 x '9136 inches. SL 69.17.10

Edgar-Hilaire-Germain Degas

Degas's study of a standing woman, showing alternative suggestions for the position of her arms, is the earliest drawing in the exhibition. Executed on cardboard with the point of a brush and pigment thinned with turpentine, it can be dated about I874 and is very probably a study for Scene d'Interieur - Le Viol, in the Mcllhenny collection in Philadelphia. In the painting the anguished victim of the rape is seated, not standing, but the model with her chemise falling off her shoulder is the same.

Fernand Leger (i881-1955), Round Table. Pencil, I58

French. Still Life on a

x 1214 inches. SL 69.I7.23

Leger has turned his analytical glance to a table crowded with objects that have been chosen for the subtle interplay of their forms. Rounded, often cylindrical shapes communicate a rigid but highly ornamental plasticity.

Georges Braque(I882-1963), 8% x

63/6

French.Still Life: Mandolinon a Table. Collageand watercolor,

inches. SL 69.17.5

The use of printed paper - newsprint or book pages - as a constructive and decorative element in paintings and drawings was a pre-World War I cubist innovation, and Braque, one of these cubist innovators, continued to use it in later years. His rare drawings tend to be intensely painterly; this still life, which probably dates from I920, is, in a sense, a small painting to which the printed support gives a fourth, enigmatic dimension.

Pablo Picasso.BurningLogs.Penand blackink, orangeand brownchalk,gray wash, 81'6 x 23 inches.SL 69.I7.28 Picassohasdated this exceptionaldrawingJanuary4, I945. Unusualin that it cannotbe connectedwith any painted work, it records the artist's intense observation of a log fire's flickering forms and colors, and gives eloquent testimony to his constant recourse to nature.

""

Z

,11

"

Training

Young

Curators

J 0 H N W A L S H, J R. Associatefor Higher Education

EARLY

THIS

YEAR

the Museum made a remarkable

acquisition,the illustratedApocalypsedescribedin the following article. What was remarkable,however,was not so much the high qualityof the bookas the fact that the Museumbought it on the recommendation of a student. The student, Anne Palms Chalmers,was one of twelveparticipantsin a uniquecuratorialtrainingcourse -Museum Trainingand Connoisseurship II, a graduate seminarconductedby the Museumfor the Institute of Fine Arts of New York University.For the past twelve years the Institute and the Museumhave collaborated in the trainingof young curatorsin a two-yearprogram leadingto a Master'sdegreein arthistoryanda certificate in museumtraininggrantedjointly by both institutions.

Under this program,a student who wants to explore the possibilityof a museumcareertakesan introductory coursein his first year of graduateschool.That course, taughtin the last few yearsby A. Hyatt Mayor,Curator

Jr. Photograph:MichaelFredericks,

Emeritus of the Museum's Department of Prints, concentrates on the history of museums and art collecting, and involves behind-the-scenes visits to a series of museums. Rigorous screening reduces the students to the group of about fifteen who are admitted to Museum Training II. In this seminar the students meet with Museum curators in their offices and storerooms, to study works of art and to discuss them with the particular concerns of a curator in mind: their authenticity, their quality, and their condition. Here many students have their first chance to handle original works- to turn small bronze sculptures, for example, or to examine delicate porcelain pieces- to know the objects more intimately, and to experience some of the pleasures the artist intended the owners to feel. Frequently the students are asked to discuss the objects on the spot. Gaps in their training become obvious, and they quickly learn that discipline and precision are as indispensable to the curator as they are to the academic scholar. Last fall, for instance, Dietrich von Bothmer, Curator of Greek and Roman Art, put in front of his students without any ceremony a bronze object with a head of Medusa in relief (published a little later in the October Bulletin). He asked them to describe it and tell what it was used for. Medusa is a familiar enough image to a graduate student and bronze is not a difficult material to recognize, and yet the students were surprised to learn how hard it can be to describe something precisely, how little they knew about materials and the way such pieces were made, and how revealing physical data can be. From this data and other evidence, Dr. von Bothmer showed them how he had deduced that the piece was probably a finial from a Roman ship. At another meeting of the seminar, Richard Ettinghausen of the Institute (now Consultative Chairman of the Department of Islamic Art) put five very similar plates on the table, and asked the students to arrange them in chronological order. In this case a Chinese plate had been the model for a series of Islamic ones. Just to

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

begin their job, the studentshad to spot the peculiar of detail that are sympdrynessand misunderstandings toms of copieddecoration;then they had to applylogic andsomeimaginationto reconstructthe sequence.They did fairlywell, but theirstrugglesgave themnew respect for the complicatedinterplayof eye and instinct that makesan effectiveconnoisseur.

This year the twelve studentshad a particularlydifficult final examinationof their skillsas connoisseursand their abilitiesas scholars.We askedthem to put themselvesin the place of curatorsin the MetropolitanMuseum,and to go out into the New York art marketand locate a work of art suitablefor purchase.They understood that they were limited to $i,ooo, and that they were to borrowtheirobjectand bringit to the Museum for an exhibition,and then presentit to a specialpurchasingcommittee.In past yearsstudentsin this course had bought objects with $25 of their own money and defended them in a mock presentation.But $25 had seldomboughtmuch,and it wasbuyingsteadilyless.We felt that a $,000olimit wouldexposethe studentsto art of somerealquality,and that a presentationto an actual purchasingcommitteewouldgive thema tasteof what a curatorhas to do for the Trusteesseveraltimes a year.

Nervous but for the most part elated, the group scouteddealersfor severalmonths, consultingthe recordsof the variousdepartmentsof the Museumto check prospectivepurchasesagainstthe existingcollections.In earlyJanuarythey broughttheirobjectsto the Museum and held a "dry run"of their presentations,just as the curatorsdo beforemeetingsof the Trustees'Acquisitions Committee.Then an exhibitionof their pieceswas installedin the BoardRoom, with a catalogueand labels preparedby the students, to which the staffs of the Museumand the Institutewere invited.

The studentshad found some interestingand beautiful things.There was a Peruvianmask,probablyof the Early MochicaI style, unusualin beingmadeof copper and in excellent condition.Anotherstudent assembled a groupof threepreclassicMexicanfigurines,oneperhaps as old as 800 B.C., with much of their original paint beau-

tifully preserved.There was an Indianminiaturepainting, thought to belong to the Bhagavatagroup of the late eighteenthcentury. As might have been expected, however,most of the objects were European.Among themwereseveralfine drawings,suchas one by the prolific VenetianGiuseppeBernardinoBison, and another by an unknownItalianwhom the student identifiedas Pietroda Cortona.Therewerea numberof smallsculpturesand an imposing,two-hundred-pound fragmentof

a Syrianfrieze of the fifth or sixth century A.D.,decoratedin reliefwith the alpha-omega monogramof Christ. most the Perhaps objectwas Mrs.Chalunprepossessing mers'sApocalypse,a bookthat one couldfully appreciate only by turningthe pagesand by knowingits place in the historyof bookmakingand graphicart.

Twelve days after the exhibitionopened, the special purchasingcommitteemet to hearthe oralpresentations.

It was chairedby the Director,ThomasP. F. Hoving, and included the senior curatorsof the Museum and many of the faculty of the Institute. One by one the studentscame to the headof the table to give their reasonsfor recommendingtheirobjects,and the piecescircled the tablefor examination.Questionsfrom the committee were direct and sometimesunsettling. To the studentwhopresentedthe Indianminiature:"Youdidn't sayanythingaboutthe condition.Thereseemto be losses and repairshere.Are there?"To anotherstudent,about hisseventeenth-century Germanalabasterrelief:"That's allverywell, but do you thinkit'sgood?I findit mushy."

Sometimestherewerequickandsatisfyinganswers,sometimesnot. Therewereintenselittle conferencesbetween colleagues,and occasionallya memberof the committee would suddenlyprovidethe answerto someunresolved question.When the student who presentedthe Syrian relief fragmentpointed out a cut-off ornamentat one side,forinstance,CarmenG6mez-Moreno,AssociateCurator of Medieval Art, immediatelyidentifiedpart of the ornamentas the rearquartersof an animal,making it clearthat the decorationwasnot only continuousbut richerthan the studenthad suspected.

Most of the studentsarguedtheir caseswith remarkablepoise,drawingon painstakingart-historical research.

But not all of themwerefully preparedfor the questions that areoften askedin museums,but seldomin the classroom: "Couldn'twe do better for the money?""Why do you like it?" "How does it compareto what we alreadyhave?"

After the last studentwas heard,the committeemet overlunchto decideits choiceof an object.It wasquickly agreedthatsixworkswereworthseriousconsideration.

The ensuingdebate concernedthe relativeimportance of the six contenders,and severalweresoondropped;on this count, for example,the committeeconcludedthat althoughthe drawingby Bison was lovely, acquiringit wouldnot makea truly significantdifferenceto the collection. On the last poll Mr. Hoving found the committee almostunanimousin its choice of the illustrated Apocalypse,andit wasdecidedto buy it for the Museum.

But the committee was sufficientlyimpressedby two 443

otherworksto urgethat the curatorialdepartmentsconsider them for purchase.After the meeting, the Syrian relieffragmentpresentedby ElizabethStarkWardwas moved to the Departmentof MedievalArt for examination, and severalweeks later it, too, was bought for the Museum.

Many of the studentsin this year'scoursewill go on to completethe MuseumTrainingProgramby working as interns in the variousdepartmentsof the Museum.

Therethey servea many-sidedapprenticeshipthat is not unlike a doctor'sinternship,learningthroughfull-time work and throughfrequentconferenceswith older colleaguesin the Museum.Some will be given fellowships under a new $416,000 Ford Foundationgrant, which will providetwo anda halfyearsof supportfor Museum

Trainingstudentswho want to resistjob offersand go on for the doctoraldegree, the traditionalhallmarkof advancedscholarship.Curatorswith Ph.D.s are encounteredmoreandmore,as the realizationspreadsthat museumwork requiresno lessknowledgeor disciplinethan academicwork, and that in fact curatorscan combine teachingwith theirmuseumdutieslogicallyandusefully.

At times, this year'spresentationsto the purchasing committeemay have had the aspect of an ordealor a ritualinitiationto curatorship,but the experiencetaught the studentsinvaluablethingsabout how and why museumsacquireart. And throughit someof them will be better preparedfor the time, comingsoon, when as curatorsthey try to convince genuine, skepticaltrustees of the significanceand the beautiesof a work of art.

Photograph: Michael Fredericks,Jr.

A ANNE

Little PALMS

French

Book

CHALMERS

GraduateStudent,Instituteof Fine Arts, New YorkUniversity

St. John the Evangelistdevouringthe Book of Revelation,from Les Figures de l'Apocalipse de Saint Ian (Paris, Etienne Groulleau, I547), sig. C ii verso, describedin thefollowing article. This scene illustratesRevelationx:I-II, in which St. John eats the book deliveredby an angel who had "come downfrom heaven, clothed with a cloud; and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars offire." RogersFund, 69.530

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

I.

AlbrechtDiirer, The Four Horsemenof the Apocalypse,first published in Nuremberg, 1498. Woodcut, of unius S. Morgan, z9.73.209

154

x

I inches. Gift

any countries in sixteenth-cena beauty and exceldeveloped tury Europe lence in the art of the printed book never surpassedsince that time. An exquisite French example recently acquired by the Metropolitan Museum is Les Figuresde l'Apocalipse de Saint Ian, a tiny illustrated book containing thirty-six woodcut scenes from the Revelation of St. John the Evangelist and from the Acts of the Apostles. Ingenious ornamental borders enclose these scenes and Latin excerpts from the sacred texts. The facing pages bear French verse translations of those texts and moralizing commentary.

Les Figures de l'Apocalipse was printed in 1547 by Etienne Groulleau, who by that time had assumed control of the important Parisian publishing house of Denis Janot. In addition to taking over Janot's business, the new publisher married his predecessor'swidow, a common practice in sixteenth-century publishing.

Because Groulleau had long been connected with the Janot house and because Les Figures de l'Apocalipse followed the format of Janot's numerous small mythological and religious picture books and emblem books, perhaps even incorporating woodcuts executed during Janot's lifetime, bibliophiles often refer to the book as the Janot Apocalypse.

Such a title helps to distinguish this book from the many others in a long tradition of Apocalypse illustration, both in manuscripts and in printed books. Perhaps the best-known Apocalypse illustrations in woodcut are those designed by Albrecht Diirer, who published three editions in Nuremberg, two in 1498 and one in 1511. His series of large compositions crystallized and transformed earlier iconography and exerted enormous influence in the sixteenth century throughout northern Europe (see Figures I-4).

Les Figures de l'Apocalipse also represents another tradition, that of books of ornamental designs and illustrations for artists and craftsmen to use as patterns. Artists had always depended partly on traditional repertories of

2.

Hans SebaldBeham,TheFourHorsemenof the from Typiin ApocalypsiJohannis Apocalypse, Egenolff,539), sig.A iii recto.

(Frankfurt,Christian Woodcut, 28 x

28

inches.RogersFund, 20.6

3. The Four Horsemenof the Apocalypse,from Les Figuresde l'Apocalipse de Saint Ian (Paris, EtienneGroulleau, I547), sig. A vii verso. Woodcut, inches.RogersFund, 69.530 416 x 24

4. BernardSalomon, The Four Horsemen of the Apocalypse,from Figuresdu Nouveau Testament (Lyons, Jean de Tournes, I554), sig.

E vii recto. BernardSalomon was one of the best-knownwoodcut France. designersof sixteenth-century These cutsfirst appearedin an edition of 1553. Woodcut,

22

inches. The Elisha Whittelsey Fund, 55.566.2

x 2

designin theirworkand,like Villardde Honnecourtin the thirteenthcentury,had often assembledtheir own books of patterndrawings. Once such designsbegan to be printed in the fifteenth century, it was possible to disseminatethem widely. The importance of prints and printed books, both in northern Europeand in Italy, as conveyorsof design cannotbe stressedtoo much. As William Ivins, firstCuratorof Printsat the Museum, phrasedit, "the exactly repeatablepictorial statement" releasedfor the first time to a large numberof artistsmany copiesof identical decorationor composition,with none of the variationsthat freehandcopiesexhibit.

One categoryof printed book was an extremely importantsource of patterns.This was the emblembook, whosecombinationof conceit symbolicpictureand epigrammatical wasvery popularin the sixteenthcenturyand increasinglyso in the seventeenth.Emblem 5. Hans Holbein the Younger,The booksdrew on a taste for gracefuland pithy Historiarum Fiery Furnace,from VeterisInstrumentiIcones allegorythat had been cultivatedin the literatureof Alexandrianwritersand theirRoman Trechsel The Brothers (Lyons, imitators.This tastehadsurvivedthroughthe for the BrothersFrellon, I538), Middle Ages-especially in the form of besscene This from sig. L verso. tiaries,lapidaries,and heraldicdevices-and thefirst edition of Holbein's continuedto informPetrarchanverseand had Iconesshows the readabilityof his attract the attention of Renaissancehumanstyle and the clarity of his narists, such as MarsilioFicino. The particular rative, which influencedmany volumes of Bible storiesthrough- kind of symbolismwith which printed emblem booksare associatedwas introducedto out northernEurope. Woodcut, the Renaissanceworldin I4I9, when a Greek 2%8 X 2%8 inches. Rogers translationof the Hieroglyphica,a text of Fund, I9.3.I

questionable origin attributed to a supposed Egyptian called Horapollo, was brought into Italy. The Hieroglyphicadescribed a number of occult signs and their meanings, and its importance for design was soon recognized. By the mid-fifteenth century, Leon Battista Alberti stressed in his treatise on architecture that such emblems provided an invaluable source of ideas for coins, medals, triumphal arches, and suites of rooms.

The popularity of the Hieroglyphica and its suggestions for emblems prompted many efforts to devise modern counterparts; one example is the HypnerotomachiaPoliphili, which incorporates a number of hieroglyphic-like symbols in its illustrations. It was written by Francesco Colonna in I467 and published at the influential Venetian press of Aldus Manutius in 1499 (Figures 8 and io).

Another imitator of the Hieroglyphicawas Andrea Alciati, an Italian humanist who studied law in Bologna and taught in many universities, including Bruges and Paris. Alciati was fully aware that emblem books could serve as sources of design. In the dedication of the I531 edition of his Emblemata, published in Augsburg by Heinrich Steyner, Alciati spoke of the emblems' many practical uses, and he expanded on the idea in his Lyons edition of 1551.

In the same way, Gilles Corrozet, a friend of Denis Janot and Etienne Groulleau, wrote a book of emblems, the Hecatomgraphie(Figure I3), which Janot published in Paris in 1540. In that book Corrozet addressed a "discourse to men of good spirit and lovers of letters," saying: "Thus can image-makersand woodcut designers, painters, embroiderers, goldsmiths, enamelers, take from this book any fancy, as they would from a tapestry."

He even gave instructions to artists in the little poems that accompany his emblems and epigrams.

But the interest fed by these emblem books of the early sixteenth century was mainly a profane one; the books' roots were in the fables of Egypt, Rome, and Greece, or unusual occurrences of the natural world, and the images they provided were of gods and goddesses, courtiers and peasants. Although such subjects

foundgreatfavorin the city of Parisand the court of Fontainebleau,publishersin Lyons, the closestimportantprintingcenter to Geneva,felt the moralresponsibilityof the Reformation.In 1538, a challengeto the vogue foremblembooksappeared,in the formof the VeterisTestamenti, IconesHistoriarum printed by the brothersTrechselfor the brothersFrellon in Lyons. It is a small book containing Frenchquatrainsby GillesCorrozetandbeautiful illustrationsof scenesfrom the Old Testament (Figure 5). The woodcutshad been designed in

1529

or I530 by Hans Holbein

the Youngerand cut in Baselfor a Lyonnais editionof the VulgateBible.

Lest his publicmiss the point of the publication of the Icones,Gilles Corrozet,in the introductorypoem for the secondedition of 1539, told the readerto forgetprofaneviews of HelenandVenusandto lookat these"most sanctifiedimages,whichpoint out picturesof the saintswith a holy finger."The publicand artistsevidentlylookedcarefully,becausethe influenceof thesewoodcutson the smallreligiouspicturebooksthat proliferatedthrough France,Germany,and the Netherlandsis second only to that of Diirer. Craftsmensoon beganto use the illustrationsfromsuchbooks for itemsof dailyuse, in the sameway as they used designsfrom emblembooks.For example, a platterfrom Lyons, now in the Museum's collection,copies exactly the scene of Josephand His Brethrenfrom a book illustrationof I553 (Figures6 and 7).

The woodcutsof the JanotApocalypseare clearly conceived-in the same spirit as the Old Testamentillustrationsby Holbein- as a counterto the manyeditionsof little emblem books,suchas the Alciatiprintedby Christian Wechelin I534 and Janot'sown Hecatomgraphieof 540. Likethoseof the Hecatomgraphie, they are also doubtlessintended to serve as patterns of design, not only of Apocalypse scenes, but also of ornamentalbordersand cartouches.JeanMaugin,who translatedthe text of the Acts of the Apostlesinto French verse, explicitly addressedthe Janot Apocalypse to artistsin a "discourseto all picture makers,paintersand others favoring these divinesciences,"in whichhe announcedplans

6, 7. Joseph and His Brethren.Above, sceneby BernardSalomonfor Quadrins historiquesde la Bible (Lyons, Jean de Tournes, 1553). The impression illustratedisfrom the same block Salomon had used in I553, but it was printed by Samuel de Tournes, long after his family had moved to Genevato escapereligiouspersecution,in Icones Veteriset Novi Testamenti(z68i). Woodcut,24 x 3 inches. Gift of Lincoln Kirstein, 61.554.6. Below, a platterfrom Lyons decoratedwith an almost-exact copy of the Salomon scene. About 1553-i600. Ceramic,Urbinomaiolica style, diameterI78 inches. Gift of . P. Morgan, I7.190.1804

8, 9. Left, designof a ladypulling an emblematic vase,from Poliphiliby Hypnerotomachia FrancescoColonna(Venice, AldusManutius,1499), sig. G vi recto.Woodcut,8A x

to extend the repertoryof New Testament scenes.

Like the majorityof woodcutdesignersin the early years of printing,the man responsiblefor the cuts in LesFiguresde l'Apocalipse hasremainedanonymous.The identity of the artistin sixteenth-centurybooks,however,is 54 inches. Gift of J. P. Morgan,23.73.7.Right,the usuallylessimportantthanthat of the printer, samescene,from Discoursdu who determinedand controlledthe character and quality of his productionand, with it, songede Poliphile(Paris, the tasteof his contemporaries.

The Venetian Kerver, 7546), sig.

Jacques G ii verso.Notethesculptural pressof AldusManutiuswas enormouslysuccessfulin transmittingprinciplesand patterns modelingof theforms in Kerver'sbook,therhythmical of the humanisticRenaissancethroughall of treatment of thedraperyand Europe. Aldus printedmany of the classics, and the elaboration figure, castingGreekand italic types, the latterhavthe the details of takenfrom ing been copied from the chanceryhand of Aldine edition. Woodcut, 64 the Papal secretaries.I have mentionedthe x 58 inches.HarrisBrisbane I499 Aldine publication of the HypnerotoDick Fund,26.77 machiaPoliphili,which was full of modern hieroglyphicand Renaissancedesign, cut in the very open, two-dimensionalline drawing of Venetianbook illustration(Figures8 and Io). This book reached an even wider audience in 1546, when a Parisian printer of

450

Germanorigin, JacquesKerver, publisheda French edition, adapting the fifty-year-old Venetian illustrationsto a more contemporary, northernwoodcutstyle (Figures9 and I ).

In France,GeoffroyTory exercisedasgreat an influenceon designas that of Aldus.Tory who became wasa booksellerandgrammarian Printerto the King in French;he joinedwith other French humanistsin designingGreek, Roman, and italic types for editions of the classicsand in formulatingallegoricaltheories about the shape and significanceof letters.

Through his Champfleury,published in 1529,

and through several editions of Books of Hours (Figure

I2),

he introduced concepts

of classicalbeauty and proportionthat were essentialfor developmentsin printingduring the followingdecadesin France.In the process, he createdexquisitefloralarabesqueand architecturalbordersandinitials,whichtranslated monumentalItalian Renaissanceand Moresquemotifsinto printedformand influenced the taste of many designersafter him.

Tory's successoras Printer to the King in

Frenchwas Denis Janot,the son of a printer, Figuresde l'Apocalipse,publishedtwo years who was active in Paris from I530 to

after his death by his heirs (Figure I4). From I540 through I565, the year of Groulleau's with making Parisianwoodcut design conform death, the Janot house consistently provided to the stylish decoration of Fontainebleau, handsome new examples of taste and learning.

Two of the most popular books printed by and he resolved to form a workshop of skilled craftsmen who would produce fashionable the Janot house are now in the Metropolitan specimens of the art for his books. He was Museum: they are L'Amour de Cupido et de joined in this endeavor by Etienne Groulleau Psiche, Mere de Volupte by Lucius Apuleius, and the humanist poet Gilles Corrozet; the published after Janot's death by Jeanne de latter had been exposed to beautifully exe- Marnef Janot, still a widow, in I546, and Les cuted Swiss woodcuts when he wrote the Figures de FApocalipse. Because Jeanne apFrench quatrains for Holbein's Icones, and he plied to the king for a privilege in I546 to wished to rival their excellence in Paris. In print both these books, and because each conaddition to the elegant, delicate style that tains the same ornamental borders, it appears Janot eventually developed in his woodcuts, that they were meant to be pendants-one his particular contribution to the art of the sacred, one profane. Both are direct adaptabook was an especially pleasing format. He tions of foreign models, and their dissimilardevised a clear arrangement of illustrations ities are interesting and complementary, in and text on pages facing each other, all in tiny that they reflect some essential differences books. The diminutive proportions of the vol- in character between early sixteenth-century umes made the fineness of the cuts and bor- Italian and northern woodcut illustration. ders all the more charming.

Cupid and Psyche, a mythological allegory, In the early i540s

I545.

Janot became concerned

One finds this arrangementin Corrozet's is copied,fittingly,frommodelsof the school of printsby Michiel of Raphael,reproductions left sideof the openbookone seesan elaborate Coxie engravedby AgostinoVenezianoand ornamentalborderenclosingan emblemand the Master of the Die (Figures15 and I6). its epigram,with verse underneath,and on The engravedcompositionswere translated the rightsidemoreexplicatoryandmoralizing into termsof woodcut,drawnin simple,linear poetry. One can understandthat these bor- design,with the contoursof the figuresemdersand sceneswould be favoritesourcesfor phasizedand the forms arrangedclearly on artists.Janotcontinuedto use this formatin the page, in a mannerdeveloped from the all his smallbooks,and one findsit still in Les illustrationsin Venetian books, such as the Hecatomgraphieof I540 (Figure I3). On the

45'

so, ii.

Left, Poliphilus Sleeping,

from Hypnerotomachia Poliphili, sig. A vi verso.

Woodcut, 41

x 54 inches.

Gift ofJ. P. Morgan, 23.73.!. Right, the same scene,from Discours du songe de Poliphile, sig. A iii verso. Woodcut, 43 x

512

inches. Harris Brisbane Dick Fund, 26.77

12.

Adoration of the Magi, from Horae in Laudem beatiss.semperVirginisMariae [Hours in praise of the ever-blessedVirgin Mary] (Paris, Simon de Colinesfor Geofroy Tory, I525), sig. F iii recto. The arabesque rinceaux, vases, and candelabraof the bordersare characteristicof Tory's Italianate taste. The scene adapts thefigure canons used in French books during thefirst quarter of the centuryto the linearflatness of Venetian cutting. In the black king, one sees cutting similar to the Florentine"white on black" technique,in which the surface of the wood block is incisedto print white lines, ratherthan being cut out, leaving a relief that prints black. Woodcut, 6Y16x 34 inches.

Harris BrisbaneDick Fund, 30.72.1

13.

Gilles Corrozet,Hecatongraphie(Paris, Denis Janot, 1543). This bookwas first printedin I540, but our illustrationisfrom the I543 edition. In our disthat appearson the cussionwe haveretainedthe spelling"Hecatomgraphie" x inches.

Harris Brisbane title Dick Fund,25.69 1540 page. Woodcut,41/6 3

14. The Treadingof the Grapesand the Reaping of the Grain,from Les

Figures de l'Apocalipse, sig. C vii verso, C viii recto. Note the delightful borderwithfemale terms at each side, which recalls stucco decoration at Fontainebleau. Woodcut,416/ x 2 inches. Rogers Fund, 69.530

'5. PsycheBathing, an engravingfrom a series designedby The Master of the Die and Agostino Venezianoafter Michiel Coxie.

Coxie was a Germanin the school of Raphael; these sceneswere also usedfor stainedglass, tapestries,andfrescoes.

Bartsch, xv.2I5.45.

Engraving, inches. Rogers Fund, 41.71.3

712

x 918

AttI.e5at.fxC. I li oAor.hcJtaLno lpici latcjla. Ac ( cntrarMonlc pcra G~ e I 4ajl St4'?, c Piar it nDopo c4l1errit la(7IaMo a ..ftorf.-f; NU.1cnoiorlodcpi --ica

z6. PsycheBathing, scene sevenfrom L'Amour

de Cupido et de Psiche, Mere de Volupte

by Lucius Apuleius (Paris, Jeannede Marnef Janot, 1546). Woodcut, 4/6 x 23 inches. Harris Brisbane Dick Fund, 30.57.I

SI

B

5 I

:S

I9=l Ir

Aldine Hypnerotomachia Poliphili(Figures 8 and Io).

l'Apocalipsein context. The three books are almostidenticalin iconography,but the character of the designsand the formsof figures show them to be productsof three different stagesof stylisticdevelopment.The booksare fromthreeimportantprintingcenters,Frankfurt, Paris, and Lyons, all publishedwithin lessthanfifteenyears,from I539 to I553.The periodwas one of stylisticflux, duringwhich elementsfrom Italian Renaissanceand manneriststylesweremixingin Francewith those of the Netherlandsand Germany.

In 1530,FrancisI hadsummonedGiovanni Battista di Jacopo,called Rosso, from Florence to direct the decorationof his greatpalace at FontainebleaunearParis.He thus embarkedupon a systematicinfusionof Italian style into France,which involved importing not only casts of classicalstatues, but also modernpaintingand sculpture,artistsandarchitects.Rosso'sstyle reflecteddevelopments

The execution of the woodcutsin Les Figuresde l'Apocalipseis, if anything,finer and more skillfulthan that in the Cupidand Psyche, and the figuresare certainlyas elegant; but the significantfactor is that this sacred subject is cut in the Germanmanner.The forms are hatched with many flexible lines thatmodelobjectsin the round,and the compositionsmake less use than the Cupidand Psycheof white areasof the page, either to exploitsurfacepatternsor to implyspatialrecession.Of course,althoughthe styles of the two booksderivefromthe differenttraditions of GermanyandItaly, they areunited by the characterof Parisianillustration,with its delicate handlingand sophisticatedfigures,which Janot and other printershad developed by this time.

The Germancharacterof the cuts in Les Figuresde l'Apocalipseis not surprisingwhen we rememberthe influenceof Diirer'sApocalypseillustrationson artiststhroughthe sixteenthcentury.The JanotApocalypseis, however,mostdirectlyadaptedfromwoodcutsby Hans SebaldBeham,a Germanwhosefigure types and line techniquewere stronglyinfluenced by Diirer. This immediatederivation from Beham's Typi in ApocalypsiJohannis (publishedin Frankfurtby ChristianEgenolff in I539) is clear in the scene of the Four Horsemen.The figureof Death in both Beham and Janot carriesa scythe, not a pitchfork as in Diirer (FiguresI-3).

It is alsointerestingthat the Janot,in turn, influencedthe Apocalypseillustrationsof a laterbookin the Museum'scollection:Figures du NouveauTestament, publishedin Lyons by Jean de Tournesin I553 and illustratedby BernardSalomon.The scenethat underscores the connectionamongthe Beham,Janot,and SalomonApocalypsesis the Visionof the New 7. Hans Sebald Beham, The Vision of the New Jerusalem,from Typi in Apocalypsi Jerusalem(FiguresI7-19). The generalcomof in but one course, Diirer, Johannis, position, appears sig. D iii recto. The scene illusdetail is to my knowledgeunique to these tratesRevelationxx r:io, "And I, John, three books: the little canal that appearsin saw the holy city, new Jerusalem,coming the centerof Jerusalem. downfrom God out of Heaven,preparedas A stylistic comparisonof the three sets a bride adornedfor her husband." Woodof illustrationshelps to place Les Figuresde cut, 28 x 2Y8 inches. Rogers Fund, 20.6 454

in Rome and Florence in the 1520s, a time in court, under Giorgio Vasari. Rosso brought a which such artists as Giulio Romano, Perino more vigorous, early version to France in his del Vaga, Parmigianino, and Rosso himself personal, abstract, angular style. were beginning to interpret Renaissance style The advent of Primaticcio at Fontainebleau in a new way. They drew on monuments of in 1532 introduced a further refinement of the Renaissanceand of classicalantiquity - for early mannerism to France. Born in Bologna, example, Raphael's stanze and loggie, Michel- Primaticcio was exposed early to the sweeter angelo's Sistine ceiling, classical sarcophagi, forms of Emilian artists, such as Correggio and and Trajan's column- but transformed them Parmigianino, and had developed a somewhat with early stirrings of what would develop in- more languid, softly elongated figure style to the mannerist aesthetic. To simplify dras- than that of Rosso, a style that the French tically, this aesthetic has been characterized found particularly congenial. Also, having as one in which style was cultivated for itself: worked with Giulio Romano on the stucco human forms were elongated, with small heads decoration of the Palazzo del Te in Mantua and extremities, poised in difficult positions; from about 1526, Primaticcio was able to exelandscapes were made to recede suddenly, cute the complex ornamental frames that figwith figures compressed in the foreground, ure prominently in Fontainebleau decoration, creating illogical spatial effects; line and con- sculptural contrivances of strapwork, putti, tour were considered the supreme tools for long-legged nymphs, garlands of fruit and defining form. Such concerns were codified in flowers, all stuccoed in bas-relief.

The Italian innovations at Fontainebleau, mid-century Florence by artists of the Medici

LEFT

I8. The Vision of the New Jeru-

salem, from Les Figuresde I'Apocalipse,sig. D vi verso.

The borderof thispage is closely associatedwith the Janot house.

Denis Janot had used a printer's markof a thistle,and his heirs apparentlyadaptedit and added the motto, "Nul ne s'y frote," or "Nobody meddles with it." Woodcut, 416 x 2 4

inches. RogersFund, 69.530

RIGHT

I9.

BernardSalomon, The Vision of the New Jerusalem,from Figuresdu Nouveau Testament, sig. G ii verso. Note the particularlyefective use of St. John and the angel as repoussoir figures to emphasizerecession.

Woodcut, 21y x 2 inches.

The Elisha WhittelseyFund, 55.561.2

455

2o. Hans Sebald Beham, The Whoreof Babylon, from Typi in ApocalypsiJohannis, sig. C iv recto. Thisprint illustrates Revelationxvii:i-s8, "and upon her head was written,Mystery,Babylon the Great, the Motherof Harlots and Abominationsof the Earth. And thereare sevenkings:five arefallen, and one is, and the other is not yet come; and when he cometh, he must continuea shortspace." Woodcut, 28 X 2Y inches.

RogersFund, 20.6

21.

The Whoreof Babylon,from Les Figures de l'Apocalipse, sig. D verso.Note the winged creatureson the border,spritesof Italian descent.Woodcut,4J16X 2C4 inches.

RogersFund, 69.530

including those of others who came in the I540s, such as Benvenuto Cellini, were received by French artists with enthusiasm (if ? not without jealousy of "the foreigners"). we the of remember must Again importance prints in disseminating the styles. Engravings and etchings from Italy had prepared the way in France, and reproductions of the decoration at Fontainebleau by printmakers, such as Fantuzzi and the Master L. D., further jc spread their mannerist figure canons and conceptions of spatial arrangement. These concepts were soon imitated by French artists, with varying success. By the forties, the most advanced artists, especially Jean Cousin the iaa Elder and Jean Goujon, had begun to combine them with traces of northern Renaissance style, to develop a particularly French form of classicism. Often, however, the recently acquired vocabulary was translatedinto purely decorative terms, again mixed with German i and Netherlandish elements; goldsmiths, tapestry designers, enamelers, and other decorative artists used the forms of Rosso, Primaticcio, and Cellini as elegant adornments.Etienne

456

a md

d

f

a

22.

BernardSalomon, The Whoreof Babylon, from Figuresdu Nouveau Testament, sig. F viii recto. Woodcut, 22 x 2 inches.

The Elisha WhittelseyFund, 55.56r.2

Delaune and others createdmany prints of thesedesigns,furtherspreadingthisornamental varietyof the new taste.

The threebooksof Apocalypseillustrations thatwe arediscussingstandin clearrelationto these rapidstylisticchangesin northernEuof the differencesamong rope. Characteristic the booksis the sceneof the Whoreof Babylon (Figures20-22). Hans SebaldBehamdid not travel to Italy, and had probablyhad no accessto prints of Fontainebleaudecoration

by I539. To be sure, Diurer,on whose style Beham still relied, had been profoundlyaffected by his Italian trip, but he had transformedinfluencesof Mantegnainto personal expression.Hence,it is not surprisingthat the characterof Beham'scuts is decidedlyGerwho man. Like others of his contemporaries woodcuts and small engravingsand produced with whom he is groupedunder the nameof "Little Masters,"Beham retaineda concern for duplicatingthe feelingof pen drawingin woodcutscenesfilledwith calligraphicmodeling and detail. Also, the compositionof the Beham scene is largerthan that of the two French Apocalypses,not only in measure-

ment, but in the sensethat the proportionsot the figuresare shorter,and their featuresare coarser.The kings bowing to the Whoreare what one might expect to find in German printsof triumphalor royalentries,theirsubstantialbodiesweigheddown with clothesin heavyfolds.The Whorehas the samequality; she is not elegantly simple enough and decidedly too plump to be confusedwith the Frenchdemoisellesin the other books.

By contrast,the scenesin the JanotApocalypse tend towardthe miniature,primarily decorativeversionof the Fontainebleaustyle that one finds in goldsmithwork and ornamental engravingsof the I54os. They are drawn and cut with markeddelicacy, and, althoughstill definitely related to the German source, they simplify the complicated, ratherheavyline of Beham,so that the forms are modeledwith less calligraphichatching.

Although the poses are copied, the figural typesof the Whoreandkingsareparticularly French, like diminutiveladies and courtiers of Fontainebleau,with the elongatedlimbs, smallextremities,andswellingcontoursof the stucco figuresby Primaticcio.They are cut with precision,and,whenwe considerthe dimensionsof the cuts, i 4 by 2 inches,we are astonishedat the finesseof all the formswithin thatspace.Thisqualityof executionandcharacter of designwere rivaledin booksprinted by only a few of the housesin Paris in the second half of the I540s, all reflectingthe preciousaestheticof the craftsderivedfrom Fontainebleau.

The illustrationsby BernardSalomonare moredirectlyItalianatethan thoseof the Tanot Apocalypse.Lyonswasone of the important crossroadsof trade between Italy and Franceand, as such, continuallyexposed to Italianstyle firsthand.Salomon'scuts are informed partly by the same Franco-Italian style that influencedLes Figuresde l'Apocalipse,but hereit is often moredirectlyrelated to the tasteof the monumentalfrescoesof the ItalianRenaissancethanto the manneristdecorationand bas-reliefof Fontainebleau.The Whoreand kingsareconceivedas figuressurroundedby space,with the effect enhanced by the eliminationof the tree behind the 457

25. BernardSalomon,The Openingoj the FifthSeal,fromFiguresdu NouveauTestament, sig. E vii verso.Woodcut,2Y2 X 2 inches.

TheElishaWhittelsey Fund, 55.561.2

Hans Sebald Beham, The Openingof the Fifth Seal, from Typi in Apocalypsi Johannis, sig. A iii verso.

This picture illustrates Revelation vi:9-I

I,

concerningthe risen martyrs who were clothed with white garments.

Woodcut, 28

X 28

inches.RogersFund, 20.6

24.

The Openingof the Fifth Seal,from Les Figuresde l'Apocalipse, sig. A viii verso. The bordersof this page are hunting motifs close to the iconographyrelatingto Diane de Poitiers.

kings.The Whoreand the ApocalypticBeast are sharplysilhouettedagainstthe open sea and mountainsto give them a definite position in space,and the draperyof the Whore is modeledin large,roundedfolds.In another scene,the Openingof the Fifth Seal (Figures 23-25), the Italian origin of such figures is clear. WhereasBeham'sfiguresderive from Diirerand Janot'sfromFontainebleaudecoration,Salomon'srecallthe huge male nudes of Michelangelo,suchas thoserisingfromthe dead in his paintingof the Last Judgmentin the Sistine Chapel.By using these sculptural forms revolvingin space, probablytransmitted by one of the manyprintsreproducing Michelangelo'swork, Salomon transformed the effectof his smallwoodcutfrom that of a pretty, ornamentaldesignto a spatialcomposition of almost monumentalcharacter.The aestheticof suchmonumentalfigparadoxical

Woodcut, 4Y6 X 234 inches. Rogers Fund, 69.530

458

ures in miniature was popular by this time in

in thelaterFonItaly.It wasto beexploited

tainebleau-school paintings of such Italians as Niccolo dell'Abbate and such Frenchmen as Antoine Caron.

The ornament in the Janot Apocalypse was as responsive as the vignettes to prevailing taste. The extremely inventive borders and cartouches demonstrate again the currency of the Fontainebleau style. The cartouche shown in Figure 28 is an adaptation of the elaborate strapwork frames with cupids, fruits, flowers, nymphs, satyrs, and terms that probably had been transmitted to the artist of the Apocalypse through prints of the early I54os by artists of the Fontainebleau school (Figure 26).

The scene of the Treading of the Grapes and the Reaping of the Grain (Figure I4) shows a border with female terms, which resemble those in Figure 26, and the horned head at the 26. Ornamentalframein the style of the decorationat Fontainebleau,almost identical to an etching by Fantuzzi. Herbet, V.75.116. Counterproofof etching, bottom, with wattles hanging from his cheeks, is a common Fontainebleau figure. The Apociss'6 x i6Y2 inches. The Elisha WhittelseyFund, 49.50.103 borders often the devices of also use alypse French royalty: one of them, cut in a slightly older, less Italianate style, incorporates the porcupine of Louis XII and the salamander de Gormont,1546). The only of Francis I, who died in 1547, the year when 27. Titlepage of Livrede Moresques (Paris,Jero6me Museum'scollection.Woodcut, the Apocalypse was published. The hunting knowncopyof thisbookis in theMetropolitan 8 x 512 inches. Harris BrisbaneDick Fund, 26.71.8 border (Figure 24) and the crescent-hornedof Dimotifs border include term (Figure 3) ana and the chase often associated with Diane de Poitiers, mistress of Henry II. The borders may also show the currency of Netherlandish ornament in France, another example of the effective dissemination of design by prints and printed books. The Museum has the only known copy of a book of Moresque patterns printed in Paris by Jer6me de Gormont in I546. De Gormont copied his book directly from one published in Antwerp

by Cornelis Bos, possibly around 1540, which was, in turn, taken from an Italian book by Francesco Pellegrini. The title page designed

by Bos and copied by de Gormont (Figure 27) uses frames of strapwork, hanging fruit, and grotesque satyr figures, which are in some ways like the Janot cartouches and borders, although exploiting concavities and convexities to a greater degree. The problem of priority in this kind of decoration, whether Italian,

459

NTIQVE E LA

CHR ESTIEN

MISERICORDE

DV

cigneurDiu , & denofireredemtion,parle moyende icfusChrift )nfihtnofireSauucur,& toufiours

gy vfe, cefiez, le

amaors ladgo-

Des3fits amrsr,

&pls ntes doloreufes: ce auueglmonde yue4lp M tCnt at meteur,trop lubriqutgt& mmund. owustde a charnalit, vow 'a awe zd ite Aueztke

ye,pl

ciuulstt .

?ibtei

4auxoufirs adonne

enus?pailard% hbabndoannce

lafif cu idoieun '

vw 'ab.ue(eft pupow Di? e ten# K. dcoddupu{ffrt'Piea d?es dc. Dieux rz., t' doucerdef orde.

28. Two facing pages from Les Figuresde l'Apocalipseshowing cartouche,sig. F iiii verso. The mottoin the cartouche,"Soing et Secret"or "Careand Secrecy," is that of Jean Maugin, the translatorof the New Testament texts. Woodcut, 28

x 2%

inches.RogersFund, 69.530

French, or Netherlandish, is a very complicated one; nevertheless, the currents were in the air by 1546, and the designs of the borders for the Apocalypse and the Cupid and Psyche reflect them.

With its exquisite illustrations and its varied ornament, Les Figures de l'Apocalipse de Saint lan is indeed a beautiful and rare little book, a jewel of mid-sixteenth-century book design in France.

for making the Museum TrainingProgrampossible. Thanks of the same kind are due Colin Eisler, who has advisedme on French sixteenthcentury books, and to the Print Division and Rare Book Division of the New York Public Library,whosehelp has been invaluable.

For furtherreadingon the subjectsof French illustratedbooks,emblembooks,and the style of Fontainebleauand the maniera,see: Sylvie Beguin, L'Ecolede Fontainebleau (Paris, 1960).

Robert Brun, Le Livre illustre en Franceau XVIesiecle(Paris, I930), especiallypp. 64-97.

Ambroise-FirminDidot, Histoirede la gravure NOTES sur bois (Paris, i863).

Arthur M. Hind, An Introductionto a History This copy of Les Figuresde l'Apocalipsewas once owned by Hippolyte Destailleur,a nineteenth- of Woodcut(London, '935).

W. M. Ivins, "ArtisticAspectsof I5th Century centuryFrencharchitectand a great connoisseur of prints,drawings,and rarebooks.The Museum Printing" in BibliographicalSocietyof America, ownsmuchof Destailleur'scollectionof ornamen- XXVI (1932).

A. F. Johnson,Periodsof Typography,French tal designs, and it is fitting that this book, so charminglyuseful as a pattern book, should join SixteenthCenturyPrinting(London, I928). its fellowshere.

J. Lieure,La Gravureen Franceau XVF si?cle; I would like to give particularthanks to the La Gravuredansle livreet 'ornement(Paris,1927).

Mario Praz, Studiesin Seventeenth-Century staffof the Museum'sPrint Departmentfor bearIming with my many foraysinto their study room agery (2nd rev. ed., Rome, i964). This is the and, of course,to the EducationDepartmentand principalsourceof emblem-bookinformation. the Instituteof Fine Arts, New York University, John Shearman,Mannerism(Baltimore,1967).

The

of Index

NEW SERIES,

203 Waterbury

Collection,

exhibition note, F. Chow, 424 ADDITIONS to the collections ANCIENTNear Eastern art

(1967-I968),

70-129

Excavations at Dinkha Tepe, i966, 0. W. Muscarella, 187-I96 Tepe Nush-i Jan: A Mound in Media, D. Stronach, 177-186 ANNUALreport of the Trustees for the fiscal year i967I968, in the October Bulletin I968 ARCHAEOLOGY

Excavations at Dinkha Tepe, I966, 0. W. Muscarella, I87-I96 Tepe Nush-i Jan: A Mound in Media, D. Stronach, I77-I86 ART History for Pre-College Students: A Museum Seminar, T. M. Folds, 237-238 ART of Oceania, Africa, and the Americas, exhibition, R. Goldwater, J. Jones, and D. Newton, 397-410 ASPECTS of a Collection, exhibition, D. von Bothmer, 425-436

B

Art

VOLUME XXVII

AANAVI, Don. Western Islamic Art, exhibition, 197ACCESSIONS from the Florance

Metropolitan Museum L

U

SUMMER

I968

J. Bean, 425-441 BEAN, Jacob

European Drawings from the Bareiss Collection, exhibition, 437-44I Fortunate Year, exhibition, 312-322 BEARDEN,Romare. The Black Artist in America: A Symposium, 245-26i BELLA, Presenting Stefano della, exhibition, P. D.

Massar, I59-176 BLACKArtist in America: A Symposium, R. Bearden, S. Gilliam, Jr., R. Hunt, J. Lawrence, T. Lloyd, W. Williams, and H. Woodruff, 245-26I

T

I N

TO JUNE

I969

BOHNEN, Blythe. Old Masters -New Apprentices, 230-236 Dietrich von. Aspects of a Collection, exhiBOTHMER, bition, 425-436 BRADFORD,William. Thirty Photographers, exhibition, 362-364 BURCH,An Interview with Wilson, J. Schwarz, 273-279

CERAMICS

Ancient Near Eastern Excavations at Dinkha Tepe, i966, 0. W. Muscarella, I87-196 Tepe Nush-i Jan: A Mound in Media, D. Stronach, I77-I86 Greekand Roman Aspects of a Collection, exhibition, D. von Bothmer, 425-436 CHALMERS, Anne Palmis. A Little French Book, 445-460 CHANDLER, Bruce. Nighttime CHARLES

and Easter Time, 372-384

V, Some Portraits of, Y. Hackenbroch,

323-

332 CHOW,Fong. Accessions from the Florance Waterbury Collection, exhibition note, 424 CONDIT, Louise. Teaching

BAREISS Collection, exhibition, D. von Bothmer and

E

L

the Teacher, 239-240

CONROY, Frank. Salvation Art, 270-272

CONTEMPORARY arts. The Sculpture of Jules Olitski, K.

Moffett, 366-371; exhibition note, H. Geldzahler, 365 CORPORATION members

elected (i967-1968), 150 CURATORS,Training Young, J. Walsh, Jr., 442-444

DELLA Bella, Presenting Stefano, exhibition, P. D. Massar, I 59-176 DEUCHLER,Florens, appointed Curator of The Cloisters and Chairman of the Department of Medieval Art, note, T. P. F. Hoving, 157-158 DONORS, list of (1967-1968),

133-141

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

THE

METROPOLITAN

DRAWINGS

American FortunateYear,exhibition,J. Bean and J. J. McKendry, 312-322

European EuropeanDrawingsfrom the BareissCollection,exhibition,J. Bean, 437-44I FortunateYear,exhibition,J. Bean and J. J. McKendry, 3I2-322

MUSEUM

OF ART

Baroque Art from American Collections, exhibition note, H. Hibbard, 396 FOLDS, Thomas M. Art History for Pre-College Students: A Museum Seminar, 237-238 FORGOTTEN Record of Turkish Exotica, A. St. Clair, 411-423 FORTUNATE Year, exhibition, J. Bean and J. J. McKenFLORENTINE

dry, 312-322 FRERE, Elizabeth.

Like It Was with Like It Is, 2 11-220

Gideon Saint, M. H. Heckscher, 299-311 EDUCATION

Art History for Pre-College Students: A Museum Seminar,T. M. Folds, 237-238 In Searchof HumanContact, H. S. ParkerIII, 205210

Like It Was with LikeIt Is, E. Frere and R. Jones, 211-220

Minitour-An Hour in the Museum with a Young Child, S. Whittemore, 221-224 Old Masters-New Apprentices,B. Bohnen,230-236 Shooting The Museum Hero, R. Maran, 225-229 Teaching the Teacher, L. Condit, 239-240 TrainingYoung Curators,J. Walsh, Jr., 442-444

EUROPEAN Drawingsfrom the BareissCollection,exhibition, J. Bean, 437-44I at Dinkha Tepe, I966, 0. W. Muscarella, EXCAVATIONS

I87-I96 EXHIBITIONS

Art of Oceania,Africa,and the Americas,R. Goldwater,J. Jones,and D. Newton, 397-410 EuropeanDrawingsfrom the BareissCollection, J. Bean, 437-441 FlorentineBaroqueArt from AmericanCollections, note, H. Hibbard,396 Fortunate Year, J. Bean and J. J. McKendry, 312-322

Greek Vases from the Collection of Mr. and Mrs. WalterBareiss,D. von Bothmer,425-436 "Harlemon My Mind," note, T. P. F. Hoving, 243244 List of (I967-I968), 130-I32 PresentingStefanodella Bella, P. D. Massar,159-176 Sculptureof JulesOlitski,K. Moffett, 366-371;note, H. Geldzahler,365 A Selectionfromthe Museum's Thirty Photographers: Collections,333-364 WesternIslamicArt, D. Aanavi,197-203 FAREasternart. Accessionsfrom the FloranceWaterbury Collection,exhibitionnote, F. Chow, 424

GELDZAHLER, Henry. The Sculpture of Jules Olitski,

exhibition note, 365 GILLIAM,Sam, Jr. The Black Artist in America: A Symposium, 245-26 GOLDWATER,Robert. Art of Oceania, Africa, and the

Americas, exhibition, 397-398; 403-406 GRACE and Favor, C. Le Corbeiller, 289-298 GREEK and Roman art. Aspects of a Collection, exhi-

bition, D. von Bothmer, 425-436 HACKENBROCH,Yvonne. Some Portraits of Charles V,

323-332 HARLEM, A Cultural History: Selected Bibliography,

J. B. Hutson. 280-288 "HARLEMon My Mind," exhibition

Black Artist in America: A Symposium, R. Bearden, S. Gilliam, Jr., R. Hunt, J. Lawrence, T. Lloyd, W. Williams, and H. Woodruff, 245-26I Burch, An Interview with Wilson, J. Schwarz, 273-279 Harlem, A Cultural History: Selected Bibliography, J. B. Hutson, 280-288 Metropolitan Museum of Art: Cultural Power in a Time of Crisis, B. N. Schwartz, 262-264 Note, T. P. F. Hoving, 243-244 Poor Peoples' Plan, P. Tucker, 265-269 Salvation Art, F. Conroy, 270-272 HECKSCHER,Morrison H. Gideon Saint, 299-31 I HIBBARD, Howard. Florentine Baroque Art from Amer-

ican Collections, exhibition note, 396 HOUGHTON,Arthur A., Jr. Report of the Chairman and

the President (i967-i968), 49-53 HOVING, Thomas P. F.

Announcement of publication of Metropolitan Museum Journal and appointment of Florens Deuchler, I57-I58

"Harlem on My Mind," exhibition note, 243-244 Report of the Director (i967-i968), 55-69 HUNT, Richard. The Black Artist in America: A Symposium, 245-261

INDEX

TO THE

HUTSON, Jean Blackwell. Harlem, A Cultural History:

Selected Bibliography, 280-288

BULLETIN

MASSAR,Phyllis D. Presenting Stefano della Bella, exhibition, 159-I76 METALWORK

IMPRESSIONISM.

Windows

Open

M.

to Nature,

M.

Salinger, 1-48 IN SEARCHof Human Contact, H. S. Parker III, 205-2IO INTERVIEWwith Wilson Burch, J. Schwarz, 273-279

art. Western Islamic Art, exhibition, D. Aanavi, ISLAMIC 197-203

Ancient Near Eastern Tepe Nush-i Jan: A Mound in Media, D. Stronach, 177- 86 European Grace and Favor, C. Le Corbeiller, 289-298 Some Portraits of Charles V, Y. Hackenbroch, 323332 METROPOLITANMuseum Journal, publication note, T.

JANOTApocalypse. A Little French Book, A. P. Chalmers, 445-460 JONES,

Julie. The Americas, exhibition,

JONES,

Robin. Like It Was with Like It Is,

407-410 211-220

LADYwith the Primroses, J. G. Phillips, 385-395 LAWRENCE,Jacob. The Black Artist in America: A Symposium, 245-26 LE CORBEILLER, Clare. Grace and Favor, 289-298

LEHMAN,Robert. Report of the Chairman and the President (I967-I968), 49-53 LENDERS, list of (1967-1968),

142

LEONARDO da Vinci. The Lady with the Primroses, J. G. Phillips, 385-395 LES FIGURES de l'Apocalipse

de Saint Ian. A Little

French Book, A. P. Chalmers, 445-460 LIKE It Was with Like It Is, E. Frere and R. Jones, 211-220

LITTLEFrench Book, A. P. Chalmers, 445-460 LLOYD,Tom. The Black Artist in America: A Symposium, 245-26 I

LOANS,institutions and organizations receiving (I967I968), I43 LORICHS, Melchior. A Forgotten Record of Turkish Exotica, A. St. Clair, 411 -423 LOUGHRY, J. Kenneth. Report of the Treasurer for the year ended 30 June I968, I5 I- 56 MCKENDRY,

John J.

Time of Crisis, B. N. Schwartz, 262-264 MINITOUR-An Hour in the Museum with a Young Child, S. Whittemore, 221-224 MOFFET,Kenworth. The Sculpture of Jules Olitski, exhibition, 366-37I Oscar White. Excavations at Dinkha MUSCARELLA, Tepe, 1966, I87-196

NEAR Eastern art, see Ancient Near Eastern art and Islamic art NEWTON,Douglas. Oceania, exhibition, 399-403 and Easter Time, B. Chandler and C. VinNIGHTTIME cent, 372-384

OLD Masters-New Apprentices, B. Bohnen, 230-236 OLITSKI, The Sculpture of Jules, K. Moffett, 366-371; exhibition note, H. Geldzahler, 365

PAINTINGS

European Florentine Baroque Art from American Collections, exhibition note, H. Hibbard, 396 Windows Open to Nature, M. M. Salinger, 1-48 PARKER,Harry S., III. In Search of Human Contact, 205-2IO

Fortunate Year, exhibition, 312-322 Photographs in the Metropolitan, exhibition note, 333 MANUSCRIPTS

European Forgotten Record of Turkish Exotica, A. St. Clair, 41 I-423

Little French Book, A. P. Chalmers, 445-460 MARAN, Rita. Shooting

P. F. Hoving, 157-158 METROPOLITANMuseum of Art: Cultural Power in a

The Museum Hero,

225-229

PHILLIPS, John Goldsmith. The Lady with the Prim-

roses, 385-395 the Metropolitan, 333-364 POORPeoples' Plan, P. Tucker, 265-269 PRESENTING Stefano della Bella, exhibition, P. D. Massar, I59-176 PRIMITIVEART. Art of Oceania, Africa, and the Americas, exhibition, R. Goldwater, J. Jones, and D. Newton, 397-410 PHOTOGRAPHS in

THE

METROPOLITAN

PRINTS

American Fortunate Year, exhibition, J. Bean and J. J. McKendry, 3 I2-322

European Forgotten Record of Turkish Exotica, A. St. Clair, 41I -423

Fortunate Year, exhibition, J. Bean and J. J. McKendry, 312-322

Gideon Saint, M. H. Heckscher, 299-311 Little French Book, A. P. Chalmers, 445-460 Presenting Stefano della Bella, exhibition, P. D. Massar, 159-176 PUBLICATIONS

Metropolitan Museum Journal, note, T. P. F. Hoving, 157-158

Republication of the Bulletin, Old Series, note, L. Wilson, 204

of the Chairman and the President (I967i968), R. Lehman and A. A. Houghton, Jr., 49-53 T. P. F. Hoving, REPORT of the Director (I967-I968),

REPORT

MUSEUM

OF ART

European Lady with the Primroses, J. G. Phillips, 385-395 SCULPTURE of Jules Olitski, K. Moffett, 366-37I; exhibition note, H. Geldzahler, 365 SHOOTING The Museum Hero, R. Maran, 225-229 SOME Portraits of Charles V, Y. Hackenbroch, 323-332 STIEGLITZ, Alfred. Thirty Photographers, exhibition, 333-364 STRONACH,

David. Tepe Nush-i Jan: A Mound in

Media, 177-i86

TEACHING the Teacher, L. Condit, 239-240 TEPE Nush-i Jan: A Mound in Media, D. Stronach, 177I86 THIRTY Photographers: A Selection from the Museum's

Collections, exhibition, 333-364 TIME-reckoning instruments. Nighttime and Easter Time, B. Chandler and C. Vincent, 372-384 TRAINING Young Curators, J. Walsh, Jr., 442-444 TUCKER, Priscilla. Poor Peoples' Plan, 265-269 TURKISH Exotica, A Forgotten Record of, A. St. Clair, 411-423

55-69 REPORT of the Treasurer for the year ended 30 June

I968, J. K. Loughry, 15 -I56 REPORTSof the departments (1967-I968), 70-I29 REPUBLICATION of the Bulletin, Old Series, note, L. Wilson, 204 ROETTIERS, Jacques-Nicolas. Grace and Favor, C. Le

Corbeiller, 289-298

VERROCCHIO,workshop of. The Lady with the Prim-

roses, J. G. Phillips, 385-395 Clare. Nighttime and Easter Time, 372-384

VINCENT,

WALSH, John, Jr. Training Young Curators, 442-444 WATERBURY Collection, Accessions from the Florance, exhibition note, F. Chow, 424 WESTERNEuropean arts

SAINT, Gideon, M. H. Heckscher, 299-311 ST. CLAIR, Alexandrine. A Forgotten Record of Turkish Exotica, 4 I1-423 SALINGER,

Margaretta M. Windows Open to Nature,

I -48 SALVATIONArt, F. Conroy, 270-272 SANCHEZ,Alfonso, Jr. Shooting The Museum Hero, R. Maran, 225-229

Barry N. The Metropolitan Museum of Art: Cultural Power in a Time of Crisis, 262-264

SCHWARTZ,

SCHWARZ, Jane. An Interview with Wilson Burch. 273-

279 SCULPTURE

American Sculpture of Jules Olitski, K. Moffett, 366-371; exhibition note, H. Geldzahler, 365

Grace and Favor, C. Le Corbeiller, 289-298 Lady with the Primroses, J. G. Phillips, 385-395 Nighttime and Easter Time, B. Chandler and C. Vincent, 372-384

Some Portraits of Charles V, Y. Hackenbroch, 323332 WESTERN Islamic Art, exhibition, D. Aanavi, I97-203 Hour in the WHITTEMORE, Sarah. A Minitour-An Museum with a Young Child, 22I-224 WILLIAMS,

William. The Black Artist in America: A

Symposium, 245-26I WILSON, Leon. Republication of the Bulletin, Old Series, note, 204 WINDOWS Open to Nature, M. M. Salinger, 1-48 WOODRUFF,Hale. The Black Artist in America: A Sym-

posium, 245-26

THE METROPOLITAN

MUSEUM

OF ART

BOARD OF TRUSTEES Robert Lehman, Chairman Arthur A. Houghton, Jr., President Walter C. Baker, Vice-President C. Douglas Dillon, Vice-President J. RichardsonDilworth, Vice-President

Ex Officio

Elective Richard M. Paget Mrs. CharlesS. Payson Robert M. Pennoyer Richard S. Perkins FrancisT. P. Plimpton Roland L. Redmond FrancisDay Rogers Arthur O. Sulzberger Irwin Untermyer Arthur K. Watson Mrs. Sheldon Whitehouse Arnold Whitridge CharlesB. Wrightsman

Malcolm P. Aldrich Mrs. Vincent Astor John R. H. Blum R. Manning Brown, Jr. Mrs. McGeorge Bundy Terence CardinalCooke Daniel P. Davison Mrs. JamesW. Fosburgh Peter H. B. Frelinghuysen Roswell L. Gilpatric JamesM. Hester Devereux C. Josephs Andre Meyer Henry S. Morgan

Honorary

John V. Lindsay, Mayorof the Cityof New York Mario A. Procaccino, Comptroller of the Cityof New York August Heckscher, AdministratorforParks,Recreation, and CulturalAffairs Alfred Easton Poor, Presidentof theNationalAcademy of Design

Mrs. Harold L. Bache Henry Ittleson, Jr. AlastairBradley Martin Millard Meiss Roy R. Neuberger C. Michael Paul Nelson A. Rockefeller Craig Hugh Smyth R. Thornton Wilson

Emeritus Henry C. Alexander Cleo Frank Craig Mrs. Ogden Reid

STAFF Thomas P. F. Hoving, Director Joseph V. Noble, Vice-Directorfor Administration

George Trescher, Secretaryof the tooth AnniversaryConmmitiee

Dudley T. Easby, Jr., Secretary

Theodore Rousseau, Vice-Director, Curator in Chief

Arthur Rosenblatt,

Ashton Hawkins,

Robert A. Pierson, Assistant Treasurer

John E. Buchanan,Archivist

George M. Benda, Auditor

Sally Mason, Administrative Assistant Mildred S. McGill, Assistant for Loans Susan Copello, Assistant for ConmLmnityRelations

Ann Marie Bustillo, Administrative Assistant Alfred B. Cartier, Jr., alanagerof Personnel Jessie L. MNorrow,Placement Mlanager

James O. Grimes, City Liaison

Fong Chow, Associate Curator in Charge. Jean K. Schmitt,

Assistant Curator

Charge AMERICAN WING:

Berry B. Tracy, Curator. Mary C. Glaze, Associate Curator

Vaughn E. Crawford, Curator. Prudence Oliver Harper, Associate Curator. Oscar White Muscarella, Assistant Curator ANCIENT NEAR EASTERN ART:

ARMS AND ARMOR: CONTEMlPORARY

Helmut Nickel, Curator. Harvey Murton, Armorer

ARTS:

Ilenry Geldzahler,Curator

Polaire Weissman, Executive Director. Stella Blum and Mavis Dalton, Assistant Curators

DRAWINGS:

GREEK AND ROMAN ART:

Dictrich von Bothmer, Curator. Andrew Oliver, Jr.,

Assistant Curator ISLANMICART:

Richard Ettinghausen,

Consultative Chairman

Florens Deuchler, Chairman. William H. Forsyth, Curator of Medieval Art. Vera K. Ostoia and Carmen Gomez-Moreno, Associate Curators. Thomas Pelham Miller, Executive Assistant at The Cloisters.

Bonnie Young, Senior Lecturer, The Cloisters MEDIEVAL ART AND THE CLOISTERS:

THIE COSTUME INSTITUTE:

Jacob Bean, Curator. Merritt Safford, Conservator of Drawings

and Prints

MUSICAL INSTRUMENTS:

Emanuel Winternitz, Curator

John J. McKendry, Curator. Janet S. Byrne, Associate Curator.

Caroline Karpinski and Mary L. Mycrs, Assistant Curators PRINTS:

EGYPTIAN ART: Henry G. Fischer, Curator. Nora Scott, Associate Curator.

Virginia Burton, Assistant Curator

Claus Virch, Curator. Margaretta M. Salinger, Elizabeth E. Gardner, and Guy-Philippe de Montebello, Associate Curators.

Hubert F. von Sonnenburg, Conservator of Paintings EUROPEAN PAINTINGS:

AUDITORIUM EVENTS:

Hilde Limondjian, Manager

CONSERVATION:

Kate C. Lefferts, Conservator

Dorothy

Weinberger, Manager. Suzanne Gauthier, Assistant

Manager PIIOTOGRAPH AND SLIDE LIBRARY: Margaret P. Nolan, Chief Librarian. Emma N. Papert and Evanthia Saporiti, Senior Librarians

Katherine Warwick, Senior Writer in Charge. Ryna A. Segal, Writer. Joan Stack, Manager, Information Service PUBLIC RELATIONS:

Harry S. Parker III, Chairman. Thomas M. Folds, Dean. Louise Condit, Associate in Charge of the Jtnior Museum. John Walsh, Associatefor Highcr Education. Angela B. Watson and Roberta Paine, Senior Lecturers.

Merrill A. Lake, Assistant to the Dean EDUCATION:

Elizabeth

John Goldsmith Phillips, Chairman. Carl Christian Dauterman, James Parker, and Olga Raggio, Curators. Edith A. Standen and Jean Nalailey, Associate Curators, Textiles. Yvonnle Hackenbroch, Senior Research Fellow. Jessie McNab Dennis and Clare Vincent, Assistant Curators W'ESTERN EUROPEAN ARTS:

MEMBERSHIP:

Bradford D. Kellclhcr, Sales Manager.

Margaret S. Kelly, General Supervisor, Art and Book Shop. Daniel S. Berger, Assistant to the Sales Manager

BOOK SHOP AND REPRODUCTIONS:

LIBRARY:

FAR EASTERN ART:

Operating Administrator

Robert Chapman, Building Superintendent George A. McKenna, Captain of Attendants Stuart Silver, Manager, Exhibition Design Theodore Ward, Purchasing Agent William F. Pons, Manager, Photograph Studio Betsy Mason, Manager of Office Service

Maurice K. Viertel, Controller

John K. Howat, Associate Curator in

Richard R. Morsches,

Assistant Secretary

Administratorfor Architecture and Planning

Barbara Vona, Administrative Assistant Carolyn L. Richardson, Administrative Assistant Arthur Klein, Supervisor of Plans and Construction

AMERICAN PAINTINGS AND SCULPTURE:

Daniel K. Herrick, Vice-Directorfor Finance and Treasurer

R. Usher, Chief Librarian. Victoria S. Galba4n, Senior

Librarian

PUBLICATIONS: Leon Wilson, Editor. Jean Leonard, Anne Preuss, and Katharine H. B. Stoddert, Associate Editors. Allan J. Brodsky, Joan K. Foley, and Susan Goldsmith, Assistant Editors REGISTRAR AND CATALOGUE: William D. Wilkinson, Registrar. Hugh G. O'Neill, Assistant Registrar. Hanni Mandel, Computer Systems

Information THEMAINBUILDING:Open weekdays, except Tuesdays, 10-5; Tuesdays Io-Io; Sundays and holidays 1-5. Telephone information: 736-221 i. The Restaurant is open weekdays II:30-2:30; Tuesday evenings 5-9; Saturdays 11:30-3:45; Sundays 12:00-3:45; closed holidays.

Open weekdays, except Mondays, 10-5; Sundays and holidays 1-5 (May-September, Sundays 1-6). Telephone: WAdsworth 3-3700.

THE CLOISTERS:

MEMBERSHIP:

Informationwill be mailed on request.

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org