Recent acquisitions a selection 1994 1995 the metropolitan museum of art bulletin v,53 #2 fall 1995 by alfonse K

The

Museum Metropolitan

Art

Bulletin

Fall

I995

<a;: a, ,?..4^-v-^

P?,^, -?js^^4^:' .

'.;'5; ::e -1

??;tt:"L f-:_-:e

/ trv'15

(

.,i " I

I ,N

'?; eP,

5-l.i? r,.

:'r

%/p6 ?, :? i :.2? 1 ii I

r%?

"?35

V t I I

- k??;r "' ;.?-? .1 Uk re i.. i.l

.""'

.,'i

:?-i

I) I

s? .1 ?

-: ib?

ld "

,Ip? ??:?',rl 19 ?7i

? ;. . 1 ,

,,,:'-?? ^`,^ <_.'

. ,

1*"-

?::J-'I;x ???-

.-^'^*-*-*-^ F-J

- :

_ _.

:'yF"" t;?"'

?SbB;'

RECENT

AcQuISITIO

THE

SELECTION:

METROPOLITAN

199

4-1995

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 速 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.POSTMASTER: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. MatthewPimm. Production: 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

Director'sNote

5 Contributors 6

AncientWorld

Islam

Medieval Europe

Renaissanceand BaroqueEurope

Europe I700-I900

North America I700-I900

TwentiethCentury

Africa,Oceania,and the Americas

Asia

Director's

Note

It wouldbe temptingthisyearto returnto ourformernameforthispublicationNotableratherthanRecentAcquisitions-so notableindeedarethe additionsto the collection.In fact,giventhisrichharvest,it not to cite every takesmuchself-restraint acquisitionincludedin this Bulletin.So it is that,givenenoughspace,I wouldhaveliked to mentionournew Byzantineobjectsor that rarestof the rare,the exceptionalandravishIslamicmanuscript ing eleventh-century the with Ninety-nineMostBeautifulNames of Allah... but there,now I'vedoneit. The ancientworldis especiallywell representedthisyearwith two royalportraitsfrom Egypt;fabuloussilverandgoldvesselsand jewelryin the GreekandRomandepartment alongwith largeandimposingSouthItalian vases,muchneededto roundout ourcollection;anda spectacular silver-giltSasanian thataddsto the scene a with hunting plate Near EastdepartAncient strengthsof the mentandis surelyone of its mostimportant acquisitionsin years.The splendidenergetic fromfifteenthandheraldiclion aquamanile to also centuryNuremberg plays ourstrengths, to haveoneof theworld's aswe areprivileged richestcollectionsof aquamaniles. is highlightedby the The Renaissance the birth tray,commemorating imposing birthof Lorenzode'Medici,to whichwe havedevotedthe coverof this Bulletin.Our Departmentof Drawingsand rejuvenated Printscontinuesto acquiresplendidworksthe BernardvanOrleyandJanBrueghelthe Elderdrawingsaredeliberateadditionsto

ourrelatively weakNorthernholdings,and is by,amongothers,twomarItaly represented and onebyAgostinoCarracci velousdrawings, theotherby CarloDolci,whichtogetherconstitutea fascinating pictureof womanlyyouth and andage.OnceagainWrightsman in these names that resonate are Annenberg pagesalongsidesomeof the grandestand finestworksof artacquired,whethergiven fromtheirown collections-as with Delacroix'sMadameHenriFranfoisRiesener andCezanne'sMontSainte-Victoire-or purfundsthey chasedthroughthe acquisitions haveplacedat the Museum'sdisposal.It is alsoimportantto note the degreeto which, in recentyears,the LilaAchesonWallace ourabilityto comfundshavetransformed petein the marketplace. Alsodeservingof specialmentionaretwo wonderfulflower-garden paintingsby Childe Hassam, the first from I890, given anonymously, and the second, from I909, given by

DouglasDillon. artdepartment, In the twentieth-century of JeanDubuffet'sfine TheCoffeeGrinder 1945,from the collection of GeorgiaTalmey and Ralph E Colin, adds to our already strong representationof works by this artist. The most notable acquisition in this area, though, is the group of fifty-one works on paperby Anselm Kieferthat forms a miniretrospectiveof the first two decades of this major German artist'scareer.As of this writing, severaldonors have come forwardto add to the LilaAchesonWallacefunds used for this purchase.The firstwas CynthiaHazen Polsky,

a memberof the Museum'sAcquisitionsCommittee;othersincludeDenise andAndrew Saul,Dave H. and RebaW. Williams,and Molly and WalterBareiss. In the Asianfield, the Dillon Fund and the B. Y. Lam Foundationhave made possible the acquisitionof yet another important Chinese painting, the fourteenth-century hanging scroll Peacockand Peoniesby Pien Lu; and our small but growing collection of Koreanart can now boast an exceptional fourteenth-centuryLotus Sutra in gold and silver on indigo-dyed paper,a work of high refinement in remarkablygood condition. The Irving Galleries,especiallythe second floor, devoted to the arts of the later Indian and Himalayankingdoms, continue to be enrichedwith outstanding examples,such as the largeand imposingninth- to tenth-century gilt-copper seated buddha from Tibet, which will add much-needed scale to the works of art in this area. In closing, I wish to draw the reader's attention to the credit lines in this publication, as they tell the story of the many individuals without whose generosityand understandingof the Museum'sbasic mission our collections could never be augmented with the distinction manifest in this Bulletin.Everygift, large or small, is precious to the collecting process, and we are grateful for them all. Philippe de Montebello Director

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

Contributors

American Decorative Arts NorthAmerica1700-1900: Alice Cooney Frelinghuysen(ACF), Curator;MorrisonH. Heckscher (MHH), Curator;Amelia Peck (AP), Associate Curator;FrancesGruber Safford(FGS), Associate Curator;Catherine Hoover Voorsanger(CHV), Assistant Curator. American Paintings and Sculpture NorthAmericaI700-90o0: H. Barbara Weinberg (HBW), Curator;Kevin J. Avery (KJA),Associate Curator;Thayer Tolles (TT), AssistantCurator. Ancient Near Eastern Art Ancient World:PrudenceO. Harper (POH), Curatorin Charge. Arms and Armor Renaissanceand BaroqueEurope:StuartW. Pyhrr (SWP), Curatorin Charge.Asia: Donald J. LaRocca(DJL), Associate Curator. Arts of Africa, Oceania, and the Americas Africa, Oceania,and theAmericas:JulieJones (J), Curatorin Charge;Alisa LaGamma (AL),Jane and MorganWhitney Fellow; Michael Gunn (MG), Associate Curator. Asian Art Asia:JamesC. Y. Watt (JCYW), Brooke RussellAstor Senior Curator;Maxwell K. Hearn (MKH), Curator;Martin Lerner (ML), Curator;BarbaraBrennanFord (BBF), Curator;Steven M. Kossak(SMK), Associate Curator;Joyce Denney (JD), ResearchAssistant. Costume Institute Europe1700-9o00: JenniferA. Loveman (JAL),Senior ResearchAssistant. North AmericaI7oo-I9oo: JenniferA. Loveman

Drawings and Prints Renaissanceand BaroqueEurope:Suzanne Boorsch (SB), Associate Curator;Carmen BambachCappel (CBC), Associate Curator; Carolyn Logan (CL), AssistantCurator; PerrinStein (PS), AssistantCurator.Europe I700-oo00: Colta Ives (CI), Curator. Egyptian Art Ancient World:Dorothea Arnold (DoA), Lila Acheson WallaceCuratorin Charge;Marsha Hill (MH), Associate Curator. European Paintings Renaissanceand BaroqueEurope:Keith Christiansen(KC), JayneWrightsman Curator.EuropeI7oo-I9oo: EverettFahy (EF), John Pope-HennessyChairman;Gary Tinterow (GT), EngelhardCurator. European Sculpture and Decorative Arts Renaissanceand BaroqueEurope:Jessie McNab (JMcN), Associate Curator.Europe 1700-1900: Olga Raggio (OR), Iris and B. Gerald Cantor Chairman;JamesDavid Draper (DD), Curator;Clare LeCorbeiller (CLC), Curator;JessieMcNab (McN). TwentiethCentury:Clare LeCorbeiller (CLC). Greek and Roman Art Ancient World:CarlosA. Pic6n (CAP), Curatorin Charge;Joan R. Mertens (JRM), Curator;Dietrich von Bothmer (DvB), Distinguished ResearchCurator;ElizabethJ. Milleker (EJM),AssociateCurator;Ariel Herrmann(AH), Senior ResearchAssociate.

Medieval Art and The Cloisters MedievalEurope:William D. Wixom (WDW), Michel David-Weill Chairman; Timothy B. Husband (TBH), Curator; KatharineR. Brown (KRB), Senior Research Associate;BarbaraDrake Boehm (BDB), Associate Curator;Helen C. Evans (HCE), Associate Curator. Musical Instruments Europe1700-9o00: LaurenceLibin (LL), FrederickP. Rose Curatorin Charge. North AmericaI700-oo00: LaurenceLibin (LL). Africa, Oceania,and theAmericas:J. Kenneth Moore (KM), Associate Curator.Asia: J. Kenneth Moore (JKM). Photographs Europe1700-900oo Malcolm Daniel (MD), AssistantCurator. TwentiethCentury:Maria MorrisHambourg (MMH), Curatorin Charge;Jeff L. Rosenheim (LR), Curatorial Assistant;Doug Eklund (DE), Research Assistant. Twentieth Century Art TwentiethCentury:William S. Lieberman (WSL), Jacquesand Natasha Gelman Chairman;Sabine Rewald (SR), Associate Curator;LoweryS. Sims (LSS), Curator; Lisa M. Messinger(LMM), Assistant Curator;J. StewartJohnson (SJ), Consultant for Design and Architecture;Nan Rosenthal (NR), Consultant.

Islamic Art Islam:Marie Lukens Swietochowski(MLS), Associate Curator;Stefano Carboni (SC), AssistantCurator.

(JAL).

AOL

are frequentlyrepresentedon the great processionalbarksof the gods, expressingthe respectfulyet dignified role of the king, himself a god, in ensuring the continuing MH worship of the gods.

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

Statuette of Thutmose III Egyptian(Dynastyi8), reignof ThutmoseIII (I479-1425

B. C.)

Blackbronzewith gold inlay H.

in. (3.6 cm), excluding tangs

Purchase, Edith Perry Chapman Fund and Malcolm Hewitt Wiener Foundation Inc. Gift, 1995 1995.21

Beautifullypoised, this small bronzeking offerswine or milk to a god. The fluid athletic modeling of his body and detailsof his costume indicatea date in mid-Dynasty18. In fact, the statuetterepresentsthe greatking Thutmose III, as is revealedby tracesof his prenomen,Menkheperra,on the belt buckle.

This is the earliestknown New Kingdom royal bronze statuette and, with a few Late Middle Kingdom copper and copper-alloy precursors,it initiates the bronze statuarytradition in Egypt. It is a "black"bronze, darkened to heighten the luster of preciousmetal inlays. In this case the left eye rim and the nipples retain their originalgold inlay.The statuettewas cast solid, with separatelycast arms (one is missing) fitted onto dowels. Kneeling bronze kings occur irregularly throughout the New Kingdom and then in greaternumbers during the Third Intermediate and Late Periods.Their appearance at this time is almost certainlyassociated with the growing emphasison the public aspectsof Egyptian religion. Such figurines

Apries is one of the rulersof Late Period Egypt whose personalitieshave been enlivened for us through biblical texts and the writings of the fifth-century-B.c.Greekhistorian 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 soldiers felt betrayedwhen they were shamefully defeated during an attackon Cyrene in Libya.To calm the revolt,Apriessent his generalAmasis to the troops, who respondedby crowning Amasis king. Apries,who had been one of the most prosperouskings of Egypt, lost the ensuing battle againstAmasis and was eventuallystrangled. This over life-size image of the king is of even higher artisticquality than the closely related,famous head of Apries, now in Bologna, Italy.Strong facial features,with a commanding eye and boldly carvedear, are surmounted by the imposing curvatureof a helmetlike headgear(the so-called blue crown of war), on which the twisted body of a royal cobra is partly preserved.Strapsof soft leather underlie the crown at the forehead and behind the ear.The Museum owns only one other, much less impressive,life-size DOA image of a Late Period ruler.

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

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 wellknown Tarentinetype often used in the decoration 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 unfinished, offering an interesting glimpse of how the sculptorwent about his work. One of the outward-springinghelices is partiallypreservedand shows the virtuosoopenworkcarving 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.

Hydria Greek(Archaicperiod), early6th centuryB.C. Bronze H. i7 in. (43.2 cm)

Purchase, David L. Klein Jr. Memorial Foundation Inc., The Joseph Rosen Foundation Inc., and Nicholas Zoullas Gifts, 1995 1995.92

Hydriai were extremely popular in the Greekworld from the late seventh to the second century B.C.They were made not only to contain water but also to be used as awards,for balloting, in burials,or as dedications to the gods. The body was normally raised,but the handles-two horizontalones for lifting and a verticalone for pouring-and feet were cast and attachedwith rivets.The thinnerhammeredbody has in many cases

crumpledor broken, so today complete hydriaiare considerablyrarerthan their sculpturaladjuncts. In the earliestexamplesthe verticalhandle is flush with the rim and has lateralextensions that assurefirm attachment. On this new acquisition the upper part of the vertical handle has lions' heads and the lower, the head and neck of a woman with long hair. The horizontalbar at her eye level has halfspool finials. The flat surfaceof the handle is decoratedwith an engravedgeometric pattern that, with the half spools, is repeatedon the side handles, to which the sculptorhas also added stylized ducks' heads. The finished vessel thus demonstrates harmonybetween shape and decoration, a principle that governedarchaicGreek workmanship.

DVB

Table Support Decorated with Griffins Greek,secondhalf of the5th centuryB.C. Marble H.

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 originally terminatedin an attached slab with a lion's paw secured by two verticalcuts, visible at the bottom. The two broad sides are divided by a horizontal bar.On the upper zone of this betterpreservedside are a griffin and a volute. The placement of the figure and shape of the rising volute are characteristicof this type of Classicalsupport. The other broad side bears the same featuresin reverse,but with a grif8

fin attackingthe hindquartersof an animal, seemingly a deer, the rest of which would have appearedon an adjacentslab. This is doubtless the outer face, because the reverse preservesa squarishcut for a crossbarto con-

nect the two supports.The blank lower zone of the outer face may have been painted, since another Classicalexample (in a Swiss privatecollection) has tracesof polychromy there. Lessthan a dozen Classicalmarbletable

supports-mostly from the end of the fifth century B.C.-have been identified. The style and typology of the griffins and ornament suggest a date in the second half of the CAP century for our example. 9

Shell Greek,secondhalf of the5th centuryB.C. Marble L. 91in. (20.4 cm)

Purchase, Mr. and Mrs. John Moscahlaidis Gift, I995

1995.I9 The carewith which every detail of a real shell has been rendered in this marble object is remarkable,although it is considerably largerthan its model, the Aporrhias Pespelecani,or "Pelican'sFoot," common in the Mediterranean.The conical body consists of two hollow pieces, the so-called body whorl, contiguous to the fan-shapedlip, and the spiral. Both were carvedseparatelyand attached,evidently to facilitatethe scooping IO

out of the marble.The end of the whorl is worked as a narrowtrough, not unlike that on oil lamps. The sculptor has smoothed the marbleto a silken finish. A small hole near the middle of the body whorl suggests that the object was used as a libation vessel. The liquid would have trickledout of the body into the concave lip. Few comparablemarbleshells are known (BritishMuseum, J. Paul Getty Museum, and NationalArchaeologicalMuseum, Athens). Their precisedate, function, and origin have not been firmly established,but they may all stem from the same atelier,possibly the workshop(s)responsiblefor the seriesof elegant marbleperfume containers produced throughout the second half of the fifth centuryB.C.Both an Attic and a Cycladic

origin have been proposed for these luxurious vessels, which were often painted. Our shell CAP also preservestraces of polychromy.

baglike container.While the shape is not found outside Etruria,the rosette decoration and inlaid-enameltongue pattern derive from Greek art. The pair of spirals,which may have served as hair ornaments,are unusuallyelaborate.They consist of three wide bands connected by narrowstrips;each band has an open panel in the center that is filled with a waved-wiredecoration.The cartouche ring, with an intaglio design arranged in three registersof a winged lion, a siren, and a flying scarabbeetle, shows thematic connections with Egypt, Phoenicia, and Greece.

tive ratherthan to serveprimarilyas a signet. Both the subject and rendering are also closely related to the work of contemporary Attic vase painters,who often showed Eros with either Aphrodite or a bride being prepared for her nuptials. The composition of the figures together with the fine details and the impressionof sculpturalweight make this a diminutive masterpieceof the high Classical period.

EJM

Pair of Spirals Etruscan,7th centuryB.C. Gold L. (each) I3

Ring

in. (3. cm)

Purchase, Anne Murray Gift, in memory of Rita C. Murray, 1994

Greek(SouthItalian), late 4th centuryB.C. Gold

I994.446a, b

Earring Etruscan,6th centuryB.C. Goldwith enamel Diam. 34 in. (2 cm)

1994.230.3

Greek,secondhalf of theyth centuryB.C. Gold

The broad oval bezel of this heavy gold ring is engravedwith an intaglio showing the youthful messenger-godHermes balancingon his left leg as he fastensa wing to his raised right foot. The god wearsa short mantle that encircleshis neck and hangs down his back. Winged sandalsor boots are a standard attributeof Hermes, but it is unusual to find the wings attached to the figure'sankles ratherthan to some form of footwear. Since its first publication close to a century ago, this ring has been associatedwith a notable sculpturaltype in monumental Greek sculpture, the Sandal-BinderHermes, traditionallyascribedto the sculptor Lysippos.Echoes of this particularcomposition, showing the god tying or untying his winged sandal, appearin the decorativearts as well, notably on coins of Sybrita,in Crete, dated to the late fourth century B.C. Our ring, however,can be stylistically grouped with a handful of accomplishedlate Classicalgold rings from Magna Graecia, which is in fact the alleged findplace of our CAP piece (Tarentumin southern Italy).

H. (bezel) 7 in. (2.3 cm)

Gift, 1994

Purchase, Classical Purchase Fund and Lila Acheson Wallace Gift, 1994 1994.230.I

Cartouche Finger Ring Etruscan,late 6th-early5th centuryB.C. Goldfoil oversilver L. (bezel) Y5in. (1.7 cm)

Purchase, Mr. and Mrs. Martin Fried Gift, I995 1995.40 Some types of early Etruscanjewelry are not found anywhereoutside central Italy,while other forms and decorativemotifs show the influence of commercialties between Etruria and cities in the easternMediterranean.The earringin this group has a typicallyEtruscan shape, known today as a'baule-from the Italianword for valise or trunk. Formedfrom a rectangularsheet rolled into a semicylinder, with the ends joined by wire, it resemblesa

in. (2.2 cm)

Ring

Purchase, Mr. and Mrs. AlexanderAbraham I994-374

Purchase, Classical Purchase Fund and Lila Acheson Wallace Gift, 1994

The bezel of this ring has an exquisitely detailed intaglio of a woman approachedby Eros. The woman is seated on a stool, one turned leg of which is visible. Her hair is bound up in a netlike sakkos.She wears earrings,a necklace, and, on her right wrist, a double bracelet.A belted chiton coversher upper arms, and a himation is bunched aroundher waist, coveringher legs. The fabric'sfolds are renderedin parallelridges,organized to clarifythe directionof the draperyas well as to revealthe forms of the body. The woman holds a frond in her right hand. Eros flies up toward her face, touching her right shoulderwith one hand and raisinga wreath to her head with the other. Such a scene was fairlycommon on this type of ring, which was made to be decora-

Attributed to the Metope Painter Pair of Loutrophoroi Greek(SouthItalian,Apulian), mid-4th century B.C.

Terracotta H. 3434 in. (88.3 cm); 3234 in. (83.2 cm)

Purchase, The Bernard and Audrey Aronson Charitable Trust Gift, in memory of her beloved husband, Bernard Aronson, '995 I99545.1 ,2

Loutrophoroiare lustralvases that were used in rites of marriageand in the burialof those who died unwed. Attested in an unbroken tradition from the earliestGreek art, the shape of such vessels acquiredparticularsignificance during the Classicalperiod. After the mid-fifth century B.C. in Greece,

loutrophoroibecame currentin marbleas well as pottery, and in the fourth-century ceramicworkshopsof southern Italy they often receivedextraordinarilyelaborate decoration.This remarkablepair each fea-

tures a woman with an attendantwithin a small, elevated funerarystructure.Of special note are the marblelions below the figures and the substructureson which the buildings stand. The upper course of this lower element is decoratedwith alternatingtriglyphs and metopes, and the lower with an elaborate foliate motif. The evidence such images provide for architecturaldetails not preservedin surviving remains,as well as the exceptional quality of execution, account for the signifiJRM cance of these vases.

Pair of Volute-Kraterswith Stands Greek(SouthItalian,Apulian), ca. 350-325 Terracotta H. 383 in. (97.5cm);382 in. (97.8 cm) Classical Purchase Fund, 1995

B.C.

I995.53.1,2

Volute-kraters,named for the distinctive form of the handles, were favoredin Greek art in both bronze and terracotta.Athenian ceramicexamplesof the fifth century B.C. may have figuraldecorationover the neck and body or, like their metal counterparts, may depend for their effect on smooth, lustrous undecoratedsurfacescovered only with

glaze. This pair of examplesof the fourth century B.C. from Apulia is significantfor the preservationof the stands,which enhance their alreadyimposing appearance.In the overallshapes,as in the treatmentof each part, the influence of metal counterpartsis evident. The stem is articulatedwith wide tongues, the body with fine, preciseribs. The painted foliate ornamenton the neck introduces an organic,decorativecomplement to the elegant,hard-edgedsilhouette. JRM

Pair of Earrings Greek,2nd centuryB.C. Goldwith garnets,enamel,and glassinlay Diam. 2 in. (5cm); i34 in. (4.5 cm) Purchase, Classical Purchase Fund and 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 elaboraterepresentationof 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 heads are each adornedwith a garnet crescent topped by a green glass disk between the horns, while a largeround garnet and a small green glass gem drop from the muzzle.The heads areembellishedwith inlaid garnets,enamel, and glass gems. The cult of the Apis bull, which represented the ever-renewingforce of Osiris, was officiallyrecognizedby the Ptolemaickings who ruled Egypt during the Hellenistic period. Indeed, Apis was united with Osiris in a new Greco-Egyptiangod, Sarapis,whose worshipspreadthroughoutthe Mediterraneanworld and, later,the Roman empire. Although numerous representationsof the Apis bull were objects of veneration, many, like the protomes of these earrings,were simply charmingexpressionsof the Egyptomania that prevailedin the ancient world. EJM

Fragment of a Dish with Erotic Scenes Greek(Ptolemaicperiod), ist centuryB.C. Glass L. 28 in. (5.5cm) Gift of Nicolas Koutoulakis, 1995 I9995.86

This highly unusual fragment of a dish, which would have measuredabout four and a half inches in diameter,gives us a fascinating glimpse into the rich repertoireof the late Hellenistic or early Roman erotic luxury arts conceived for the privatedomain. The material is cast-and-polishedopaque white glass. Apparently,the entire dish was decoratedon both sides with numerous erotic scenes in shallow relief. The slightly concave interior side of the fragmentpreservesa central group

of a woman and a man embracing as well as the remainsof a two-line Greek inscription, possibly the artist'ssignature.The raisedrim featuresanother couple making love, presumably one of severalgroups that embellished the circumference.The decoration on the undersideconsists of a crisp meander pattern along the rim and a delicate, continuous floral friezewith birds borderinga central medallion, which featuresa nude squattingwoman. The dish seems to have been intended as a kind of illustratedsex handbook and was presumablya privatecommission, a fact that would help to explain the presenceof an inscription or an artist'ssignature,otherwise unprecedentedin cast- (as opposed to blown-) glass objects.

CAP

Parure (Necklace and Pair of Earrings) Greek(Hellenisticperiod), late 2nd century B. C.

Gold with garnetsand agate L. (necklace)154 in. (38.7cm) Purchase, Classical Purchase Fund and Lila Acheson Wallace Gift, I994 1994.230.4-6

Late Hellenistic jewelry is, surprisingly, ratherrarein comparisonwith materialfrom the rich burialsof the earlypart of the period. The necklace is relatedto a second-centuryB.C.example, also with box-set cabochon garnetsand lynx's-headattachmentswith granulation-cappedagatecollars,from Artjukhov'sbarrow,Taman,on the Sea of Azov. The flamboyantearringsare ratherdifferent in feeling from the necklace, but their use of similarcabochon garnetsin hinged

box settings as well as similarthick corded chains shows that the necklace and earrings were made as a set. The earrings'chain loops, which may have been made to pass over the ear, are a Late Hellenistic feature.The parure has traditionallybeen associatedwith a group of small ornaments,including rings, earrings, and diminutive pelta-shapedgold appliques. A ring set with a glass cameo of Augustus suggests that the objects were assembledover AH a considerabletime span.

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 chasing. On both cups a gnarledtree near each handle divides the narrativein two. On the better-preservedskyphos six winged erotes i6

paradearound the circumference.One holds a lantern, two play the kitharaand double flutes, and the others, including the central dancer,hold flaming torches upside down. The same family of erotes resurfaceson the

second cup, but there are also a tipsy putto and a remarkablewingless child riding a pantheress.There is a strong element of funerary symbolism, indicated most clearlyby the torches held both up and down and by the

Finger Ring with Intaglio Portrait of Tiberius Roman, A.D. 14-37

Goldand carnelian W (intaglio) is6 in. (2.7 cm)

Purchase, Classical Purchase Fund and Lila Acheson Wallace Gift, I994 1994.23o.7

The carnelianintaglio is a courtly production of an icy purity and elegancefrom the greatest 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 construction. The shape of the setting, with inward-slopingshouldersand a flat borderon the bezel around the intaglio, has parallels AH from the Vesuviancities. Intaglio in Gold Setting Roman,late 2nd-early3rd centuryA.D. Redjasper,gold,pearls,and glass H. i3i6 in. (3 cm) Purchase, Classical Purchase Fund and Lila Acheson Wallace Gift, 1994 1994.230.2

Ancient pieces of jewelry in their originalsettings are rare.This particularlyfine work consists of a red jasperintaglio mounted in an oval gold box, to which are attachedcloisons holding inlays of pearlsand glass. Two hooks on the reverseof the setting suggest i8

that it served as a clasp, possibly for a necklace or for a diadem. The intaglio depicts a hunter on horsebackthrusting his spearat the snout of a boar,shown with bristlinghide and corkscrewtail. The intervalbetween quarryand hunter is filled by a galvanized dog. The materialof the gem as well as its subject indicate a date in the late second or earlythird centuryA.D. An excellent contemporaryparallelfor the intagliois the Museum's impressivesilver handle (acc. no. o6.iio6) in which a horseman,dog, and their quarry-a lioness-are treated with similarprecision and vigor.

JRM

Plate with a Hunting Scene Silver-gilt Allegedlyfrom Iran (Sasanianperiod), 5th or 6th centuryA.D. Diam. 77 in. (20.I cm)

Inscribed:Tahmag-dadand a weightnotation Purchase, Lila Acheson Wallace Gift, 1994 1994.402

The great Iranianepic, the Shahndma,or Book of Kings, as recordedby Firdausiin the late tenth to early eleventh century,includes a tale concerning the Sasanianking Bahram V (r.A.D. 420-38), who, when he was crown prince, went hunting accompaniedby his favoritelyre player,a woman named Azada. Challenged by the woman, Bahram"Gur" (Wild Ass) shot an arrowthat removed the horns of a male gazelle, transformingit in appearanceinto a female, and shot two arrowsinto the head of a female gazelle, giving her the appearanceof a male. This story became a favoritetheme in the arts of Islam, but before the appearanceof

this silver-giltplate it was unknown on works of Sasaniandate (A.D. 226-651). The identity of the hunter on the Museum'svessel (formerly in the Guennol collection) is not assuredbecause the crown seen here is not shown on the coins of BahramV. This image may be Bahrambefore his coronation or, alternatively,the hunter in the Sasanianstory may not have been a contemporaryking or prince but some legendaryor heroic figure of the past. Beautifullyexecuted in a complex but characteristicSasaniantechnique, the silver plate is a unique illustrationof a theme from POH epic literature. i9

Manuscript in a Horizontal Scroll Format with the Ninety-nine Most Beautiful Names ofAllah (detail) EasternIran orAfghanistan,secondhalf of the iith century Ink, colors,and gold onpaper Overall 52 x 288 in. (14 x 731.5 cm)

Purchase, Lila Acheson Wallace Gift, 1995 1995.08 This extraordinarymanuscriptis the only known intact example of a horizontalscroll from the early Islamicperiod. Although there is no colophon, the style and a comparative analysisof its writing leave no doubt that the scroll was copied in the second half of the eleventh century.The manuscriptis made of ratherthick, slightly polished creamypaper. The main text, which lists the ninety-nine "Most BeautifulNames" (al-asma'al-husnd) of Allah, each one separatedby an illuminated rosette,was copied in black ink in the easternKuficcalligraphicstyle. The meditative recitationof the Names of Allah, preferably by heart but otherwisewith the help of manuscriptslike this one, has a special place in a Muslim'slife. According to a tradition

relatedto the Prophet Muhammad, "those who know the Names will enter paradise." The scroll is greatlyenriched by a frontispiece, illustratedhere with the first four Names, and an endpiece that contain the manuscript'stitle and eulogies to Allah and Muhammad. Both are illuminatedwith a profusion of gold, lapis lazuli, white, red, and green pigments. In addition, Qur'anic verses copied in gold in a quasi-architecturalplaited Kufic style run atop the scroll. sc

Laila and Majnun at School A folio of Lailau Majnun, byNizamm Eastern Iran (Timuridperiod), A.H. 835/A.D. 1432

Ink, colors,and gold onpaper,lacquerbinding 9 in. (3.5 x 22.9 cm); I2'28 in. (29.2 x I8.2 cm) II/x 738 painting: Purchase, Lila Acheson Wallace Gift, 1994 Manuscript:

1994.232

This splendid copy of the story of Lailaand Majnun by the twelfth-century Persianpoet Nizami was commissionedby one of the most discerningof patrons, the Timurid prince Baisunghur.The colophon states that it was made in Herat (the Timurid capital, now in Afghanistan)in [A.H.] 835 (A.D. 1432) and copied by Ja' far,a celebratedcalligrapherin chargeof the royal atelier.The manuscript contains one magnificent miniature (two others are in a privatecollection and one is missing) of Laila and Majnun at School.The painting, which spreadsfrom the usual confines of the text into the margin, shows a domed building with a minaret-a madrassa, or religiousschool, where the star-crossed lovers,children of Arab tribalchiefs, first meet. The salmon-coloredbricksand the intricatedecoration reflect both the illuminated opening pages of the manuscriptand the brick and tile work of easternIranian buildings.The schoolroom floor is covered with an unusual multiple-nicheprayerrug (sajada).The girls and boys are separated, except for Lailaand Majnun, who sit at the back. The teacherlistens to a pupil in the center of the room, while a latecomertries to MLS slip in unnoticed.

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

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 composed 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 mechanism, the screw became a status symbol in jewelry.

KRB

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

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

Belt Buckle and Tongue Buckle:East German,ca. 5oo;tongue: Byzantine,6th century Rockcrystaland gold L.

I9/6

in. (4 cm)

Purchase, Rogers Fund; Alastair B. Martin, William Kelly Simpson, Scher Chemicals Inc., and Max Falk Gifts; and gifts from various donors, I995 I995 54

The beveled edges of this heart-shapedbuckle give it a distinctive elegance.The form is a naturaloutgrowthof the precedingProvincial Roman period, when heart-shapeddesigns and beveled chip-carvingwere in vogue. The beveled edges of the oval loop in the center serve to heighten the object's threedimensional, tactile quality.The intrinsic value of the masterfullycarved rock crystal makes the buckle a significantemissaryof Migration period art, for the most characteristic aspectsof that art were that it was portableand that the attributesreflectedthe status of the wearer.This buckle was obviously from an importantman's belt. In the LateAntique period rock-crystal bucklesoriginatedin the easternMediterraneanregion, probablyin the wake of the revivalof a glyptic tradition.These elegant buckleswere carriedwestwardby the East Germans.Rock crystalwas used by the barbariansespeciallybecauseof 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 KRB secure the tongue to the buckle.

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 faces representthe Virgin intercedingwith her son on behalf of mankind. One face depicts an austere,majesticbust of Christ encasedin a golden frame,symbolic of heaven. His right hand is raisedin a gestureof benediction,while the other presentsthe gospels, their clasp open, inviting the viewer to open them and read.As indicatedby the Greekinscriptionsin the half-lobesof the frame,abbreviationsfor "JesusChrist, King of Glory,"the image is a miniaturereplicaof Christ as Pantokrator,a populartheme for the centraldome decorationof Middle Byzantine churches.Christ looks to the side as if to recognize his mother, seen on the reverse.The Virgin, identified in Greekabbreviationsas "Motherof God," turnswith her hands raised in prayertowardthe now-damagedhand of Christ/God in the upper corner.The partially lost sky-blueground surroundingher and the vivid green of the half-lobesplace her in the earthlyrealmof the icon's owner,whose prayerswould have sought her assistance. HCE

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

Glazed Bowls with Abstract Sgrafitto Decoration Middle Byzantine,I2th century Firedredearthenware,creamslip, and transparent glaze Diam. 778in. (20 cm);91in. (23.5cm) Rogers Fund, 1994 I994.306

Gift of Professor Maan Z. Madina, in honor of Margaret English Frazer, Curator Emeritus of Medieval Art, 1994 I994.517 These richly decoratedbowls are outstanding additions to the Museum'sgrowing collection of Middle Byzantineceramics.Similar in shape, with wide flaringoutlines rising from delicatelyworked low feet, both are decoratedwith patternsincised into cream slip and coveredwith transparentglaze. As was typical in this period, the decorationis restrictedto the interiorsof the bowls. Bands of varyingwidths, often containing abbrevi-

ated floral patterns,or rinceau,ascend the sides of the vessels from a medallion at the base. The more lavishlydecoratedof the two bowls was given in honor of Curator EmeritusMargaretEnglish Frazer,who loved Byzantineceramics.Its originalcream slip has aged to a beautiful greenishgray.The central medallion is filled with a design of richly embellishedleaves and vine scrolls. The concentric bands include sgrafittopatterns reminiscentof Islamic motifs, suggesting a connection between Islamicand Byzantineceramicsin these centuries.The generous inward curve of its rim contrasts with the straightlines of the more austereof our new acquisitions.The ornamentationof the latter is centered on an eight-lobed medallion and featuresa band at the midpoint of the sides decoratedwith an abstract rinceauand three trilobed arches. HCE

Events from the life of Saint Francisof Assisi appearin the quadrantsof this manuscript leaf. At the upper left the nimbused and tonsured 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 the saint appearsthrough a window, reviving a dead woman so that she may make her last confession.At the lower right he leads a debtor out of prison. This is part of a celebratedmanuscript, alreadydispersedby the seventeenthcentury, now divided principallyamong the Biblioteca ApostolicaVaticana,the Pierpont Morgan Library,and the Hermitage. Its rich gilding, lavish decoration, and profuse illustration indicate a royal commission. The inclusion of scenes from the lives of the Angevin prince and Franciscansaint Louis of Toulouse, the Hungarianking Ladislas,and Stanislaus, sainted bishop of Krakow,suggests that the manuscriptwas painted for Charles II of Hungary and his wife, Elizabeth,a Polish princess.

BDB

T?-

.I)i

,iri .;.i

i-;

ar: I

I r

Ees-sa aauasrr"xra ppa

i:/I iGi ;i;

1S1

...???? .-,: siB'J ;i ?:i.L`

: :hFiFPGL-,-IIT";P?uirr*?

:i::; .4 ;e

!?.?`-,.EE'C;Pi crI;i -?--.?

??-??;i L8

*...FT ??

k B::?

II::iL.? ???i: ???;: I ?E`., :19

-,i

?? 4

Ig?

,.,.. _i

sap:

2-:?9;";-s *"I.I;:'"4R "-;'"gr.;g;,,, rit*

;r*:?

L'?iTWirBB"S'$ieE:'i

bi;?i? :i-.;

xl?::fi

:;e? ?tl:

.? i:I:?;

.ir-

,t,, r-?

;-Jr: .. :

.?":i

r,:

n;?5' -;

5 --

,li

iti

Aquamanile German(Nuremberg),ca. 1400 Lattenalloy H. 138 in. (33.3cm) The Cloisters Collection, 1994 ,

_ .

1994.244

. I

W~ ,i I/

'I .;

\ i i ;\? I?

!II t rjl rrI ;:I

Aquamanile(from the Latin words for water and hand) are vessels that initially were used 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 proud lion. Produced in the imperialcity of Nuremberg, this work is outstanding for its imposing style, masterfulmodeling, superb casting, golden luster,and beautifully textured surfaces.Although the form and details referto naturalfeatures,each element is simplified 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 suspended action of a heraldicstanceand possiblyeven in an interruptedroar.A diminutivedragon, which servesas a handle,seems to shriekin WDW supportiveyet ineffectivedefiance.

ctJ:,

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 moves seamlesslyacrossthe hatched surface, without beginning or end. Along the bottom edge a single creature(not visible in this photograph), abashed by its extravagantverdant world, cowers with its tail between its legs as it encounters a large snarling beast hidden in the foliage behind. The gilded surface, rich and mellow in tone, is excepTBH tionally well preserved.

Christ of the Mystic Winepress SouthNetherlandish,ca. i5oo Tapestryweave;wool, silk, and metallicthreads 2878 X 3o0 in. (73.5x 77.5cm) Gift of Mena Rokhsar, 1994 1994-484

Christ, his right hand raisedin blessing and his left touching an orb, is shown behind a prie-dieu. His head is framedby a cloth of

honor stretched between the screws of a winepress.On the ledge behind him are a book, surely a Bible, with a sheet of paper draped over it, and a glass beakeron which rests an apple. A column rises behind the cloth, and a rose and cup of wine appearin a frame at the top of the hanging. This assortment of objects constitutes a metaphorfor the sacrificeof Christ by his Crucifixion, 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 hair and beard,and the shimmeringqualityof the leavesin the background.Becauseof the extraordinarilyfine weaving, this hanging rivalscontemporarypaintingsin detail and refinement,while the extensiveuse of metallic threadsprovidesthe textureand richnessthat aredistinctivecharacteristicsof this medium. Tapestriesof this type appearin the I555 inventoryofJuana la Loca, queen of Spain, indicatingSpanishroyaltaste for fine artworks from its Netherlandishterritories. BDB

A S S

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 I449

Tempera,silver,and gold on wood Diam. (painted surface) 2458 in. (62.5 cm)

Purchase in memory of Sir John PopeHennessy: Rogers Fund, The Annenberg Foundation, Drue Heinz Foundation, Annette de la Renta, Mr. and Mrs. Frank

E. Richardson, and The Vincent Astor Foundation Gifts, Wrightsman and Gwynne Andrews Funds, special funds, and Gift of the children of Mrs. Harry Payne Whitney, Gift of Mr. and Mrs. Joshua Logan, and other gifts and bequests, by exchange, 1995 I99. 7

This imposing commemorativebirth tray (descodaparto)was commissionedto celebrate the birth of Lorenzo de' Medici (1449-1492), the most celebratedruler of his day as well as an important poet and patron of the arts;his name is synonymous with the Renaissance. The auspiciousimagery is taken from Boccaccio'sLAmorosavisioneand Petrarch's

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

__~~~~~~~~~~

Trionfi.Knights extend their hands in allegiance to an allegoricalfigure of Fame,who holds a swordand a cupid (symbolsof victory through arms and love) and stands on a perforatedglobe with winged trumpets. The ostrich feathersin three colors around the rim are a heraldic device of Lorenzo'sfather, Piero;the reverseside is decoratedwith the

Medici diamond ring and the motto SEMPER (forever)and the Medici and Tornabuoni coats of arms. Paintedby the younger brotherof Masaccio,this is an object of unique historical importance.Lorenzokept it in his quartersin the Medici palace,and it was acquiredin the earlyyearsof the nineteenth century by

Artaud de Montor, one of the earliestcollectors of Italian"primitives."It laterbelonged to Thomas JeffersonBryan,the first New Yorkerto collect early Italianart. KC

Bernard van Orley Flemish, ca. 1488-1541

Otto, Count of Nassau, and His Wife, Adelheid van Vianden Pen and brownink, coloredwashes,white gouache,and blackchalk,on off-whitelaid paper 14 x I9 in. (35.7x 48.2 cm)

Purchase, Lila Acheson Wallace Gift, I995 1995.I2

Virtuallyunknown until recently,this drawing is a design for one of eight tapestries commissionedabout 1528-30 by Count Henry III of Nassau to glorify his ancestors of the royalhouse of Orange-Nassau.It exemplifiesthe work of van Orley,who, under the influence of Raphael,contributed to the transformationof Flemishtapestry design in the first half of the sixteenth century.(Raphael'scartoonsfor the Acts of the Apostles were woven in Brusselsfrom 1516on.) Van Orley rejectedthe prevailingtaste for overallsurfacedesign and representedthe

figuresin a monumental manneragainst a deeply recedingspace. Followingthe imperial traditionof equestrianportraiture,he placed Otto astridea rearingsteed and his wife on a horse shown boldly from behind, in poses that create a sense of space and movement. Otto is describedin the cartoucheas "most expert in mattersof war."Van Orley also included countless details of costume and setting that enhance the sense of realism. The drawing survivesbecause it was intended not for the weavers,who worked from full-scale cartoons, but probablyfor the CL patron to judge the design.

Agostino Carracci Italian (b. Bologna;d. Parma),Iy57-1602 Portrait of a Woman;(verso,not illustrated) Study of a Girl Redchalk,overtracesof blackchalk,on tan paper I35 X 9p3 in. (34.7 x 24.8

cm) Purchase, Lila Acheson Wallace Gift, 1994 I994. 43

Among the finest of Agostino'sdrawings, this is also an outstandingexampleof Bolognese naturalisticportraitureat the end of the sixteenth century.Probablydating from the I59os, during the artist'sstay in Rome, the drawingbearsa strikingresemblance to Agostino'spainting of Anna Parolini Guicciardini(Gemildegalerie,Berlin),which is signed and dated 1598.The drawing,however,communicatesthe identity of the sitter with more unsparingveracityand greaterpsychologicalimmediacythan found in any of Agostino'slate painted portraitsof women. Much of its expressiveforce derivesfrom the woman'sintent gaze.Agostino subtly distinguished between her seeing and her blind eye

not only by contrastinganatomicaldetails but also by changing tonal scale, line weight, and hatching direction.Along with his more famousyounger brother,Annibale, and his cousin Lodovico,Agostino sought to reform painting, changing from the artificialityof the late Manneriststyle, by focusing upon this more deliberateapproachto drawing, through attentive,detailed studies afterthe living model. To this purposethey founded the Accademiadegli Incamminati,an art academyfeaturingthe study of design theory and anatomy,in Bologna in I582. Similarportrait drawingsby the Carraccifamily and their circle are in the collections of Windsor CBC Castle and the Albertina(Vienna).

Giorgio Ghisi Italian, 1520-1582

After Giovanni Battista Bertani Italian, 1I16-1576

The Vision of Ezekiel I554 Engraving Sheet 61x 263 in. (41.4 x 67.9 cm) The Elisha Whittelsey Collection, The 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 FACIASVPERVOS SVCCRESCERE CARNEM(I will lay sinews upon you, and

bring up flesh upon you [Ezekiel37:6]) was engravedin the banderoleacrossthe top. The passagesin Ezekiel (37:I-Io) prophesyingthat the dry bones will live were readby Christians as foretellingresurrectionand eternallife. The subjectwas unusual in sixteenth-century art, and Bertanihad no precedentfor his composition. The accuracyof the skeletons suggeststhat he may have looked to recently SB publishedanatomybooks.

Right Knee Defense French(probablyParis), ca. I555-6o Steel,gold, and brass H. 64 in. (I5.9cm) Gift of Prescott R. Andrews Jr., 1994 1994.390

This is the only known fragment from what once must have been a magnificent French

Renaissanceparadearmor.The form of the knee suggeststhat the armorwas probablyof light cavalrytype, without lower leg defenses. Its embossed and gilt decoration,consisting of dense foliate scrollworkand a grotesque mask with ram'shorns at the front of the main plate, recallsthe ornamentalmotifs and workmanshipof the Museum'sarmorof Henry II of France (acc. no. 39.121), which

was probablymade in a Parisianatelierabout I555.Engravedon the plate below the knee is the gilt monogram formed of the Greek letters chi and phi that identifies it as having belonged to the distinguishedcourtier,soldier, and patron of the arts Claude Gouffier (I5IO-I570), grand ecuyer (master of the

horse) of France.The same monogram is found everywherein the decorationof Gouffier'schateau of Oiron and on the numerous bookbindings and manuscriptilluminations commissioned by this ardent bibliophile. It recurson one other piece of armor,a richly etched and gilt Frenchclose helmet of similardate, which by happycoincidence is also in the Metropolitan'scollection (acc. no. I4.25.596).

Jacques Bellange French, active 1595-1616

Religious Scene Ca. i606-8 Pen and brownink, brownwash 778 X I234 in. (20 x 32.3 cm) Purchase, Lila Acheson Wallace Gift, 1994 1994.209

Along with JacquesCallot, Bellangewas one of the leading graphicartistsworking for the ducal court of Lorrainein the earlyseventeenth century. His highly idiosyncratic style combines the elegant artificeof late Mannerismwith an energetic, expressive vitality.These stylistic tendencies are here merged with the nascent tenebrismof the early seventeenth century,which favoredan isolated source of illumination to selectively pull figuresout of a predominantlydark setting.

In this elaboratecomposition, not related to a known painting, Bellangeemphasized the centralfigure through the use of powerful hatching and dramaticlighting. In contrastto this effect of monumentality,the surrounding figuresemerge from largeareasof tonal wash, their emphaticgesturesdelineatedin nervous ink outline. Bellange rarelyadhered strictly to conventional iconography.The present sheet was first published by JacquesThuillier in 1992 as a Lamentation, but it could alternately be read as a Raising of Lazarus. Supporting the latter interpretationare the strong diagonals of the central figure, which suggest upward movement. The women flanking Lazaruswould be his sisters, Mary and Martha, their gazes fixed, not on their brother,but on the figure of Christ, standing in the shadows behind Lazarus.Christ's raised hand is illuminated, calling attention to the miraculous act. PS

swP

Jan Brueghel the Elder

Followingin the footstepsof sixteenth-century Netherlandishartistswho had traveledto Rome and sketchedthe foreignlandscapeand sites, Brueghelmade this drawingof the city of Heidelbergon his journeyeither to or from

verticalpen strokesthat give the impression he made the sketch on the spot. The addition of washesto define the riverbankin the foreground, the grandiosemountains behind, and the windswept clouds above imparta finished qualityto the drawingthat suggestsBrueghel made it in the studio. The enormous sense of space createdby the washes recallsthe or "worldlandscapes," Weltlandschaften, his Pieter Brueghelthe father, pioneeredby Elder,but the use of brown and blue washes is characteristiconly of the son. The great amateurMariettedescribedthis technique and expressedhis admirationfor such drawings by Brueghelin the cataloguehe wrote for the sale of PierreCrozat'scollection of

Italy, where he stayed from 1590 to I596. He

drawings in I74I.

Flemish, I568-1625

View of Heidelberg Pen and brownink, brownand blue washes, heightenedwith white, on off-whitelaidpaper 8x

in. (20.3 x 30.5 cm)

Purchase, David T. Schiff Gift and Harris Brisbane Dick Fund, I995 I995 I5

recordedthe architectureof this center for the Reformationin greatdetail, using short, fine

Carlo Dolci Italian (Florence),16i6-I686 Portrait ofAgata Dolci Redand blackchalk,partly stumped,brush and graywash, on buffpaper;framed by the artistwith a polygonalborderin blackchalk 0oV x 8 in. (25.8x 20.2 cm) Rogers Fund, 1994 1994.383

Dolci excelled as a portraitistand painterof devotionalpieces with half-lengthfiguresand became notorious for his extremelydiligent working habits. EarlyBaroquedraftsmen refined red-and-blackchalk drawingto achieveexquisite,naturalisticeffects in portraitsand figure studies. Dolci was an extraordinarypractitionerof this technique. Our

drawingappearsto date from the last yearsof the artist'slife, when he was housebound and barelypainting afterrepeatedbouts of melancholia.Agatawas the youngest of Dolci's seven daughtersand may have been an artist like her better-knownelder sister,Agnese. Agatawas recordedas a young girl in her

father'sI686 will. Appearingto be approximately ten yearsold here, she is formally dressedand wearsa coral necklace,an apotropaicsymbol. Since Roman times red coralwas believedto have healing powers, and parentsoften hung coral aroundchildren'snecks as protectionagainstthe "evil

eye."Agata is representedat a younger age in two drawings,probablyby Agnese, in a sketchbook dated I670 (FitzwilliamMuseum, Cambridge).Our work was apparentlyowned by the FrenchpainterFrancoisBoucher (I703-1770), himself a virtuoso draftsmanin colored chalks.

CBC

GustavWrangelare describedin an inventory of I65I as Dutch, suggestingthe probableorigin for our hilt. The blade is stampedwith the bishop's-headmarkof the renowned Solingen bladesmithPeterMunich (recorded ca. 161o-50).

SWP

Flower Vase Dutch (Delft, "Greek A"factory),first half of the i8th century Tin-enameledearthenware("delfware) W 12 in. (30.5cm) Purchase, Gift of Irwin Untermyer, by exchange, and Rogers Fund, 1995 I995 43

Rapier ProbablyDutch, ca. i65o Iron and steel;moderngrip of woodand copper L. 36 in. (91.5 cm)

Purchase, Bashford Dean Memorial Collection, Funds from various donors, by exchange, 1995 I995.

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 century. 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 composed 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, ending 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

Although markedwith the monogramAK, the markused from I687 to 1703at the Delft "GreekA" factoryduring the managementof AdrianusKoecks,his widow, and their son, Pieter,this flowervase is probablyan example of a stock product made well into the eighteenth century,a simplifiedversionof a highstyle Baroque-periodmodel of the late

seventeenthcentury.Molds for such shaped ceramicwareswere expensiveto produce and would have remainedin use over an extended period. Here, Chinese blue-on-white decoration has taken the place of the European ornamentseen in earlyexamplesof this form. Originally,the panels had alternatingblue and white grounds,with reservedecoration (white on blue and vice versa)of pictorial scenes such as boys playing in landscapes. The multitieredcover also has been reduced from earlierforms to a single concentrated row of flower holders arounda largercentral one. This exampleexists in interestingcounterpoiseto the earlierand much largervase opposite.

JMCN

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 massive 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 borrowed 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 disparatefeaturesis remarkable,coming from the formallytraineddesigner,and probably indicatesan inspiredyielding to the requirements of the queen. JMcN

Giovanni Giardini Italian, 1666-1721

Holy-Water Stoup Italian (Roman), 1702

Gilt bronze,lapislazuli, and silver

(r. I700-172I). This recently discovered work

H. 234 in. (60.3 cm)

from the collections of the princes of Thurn and Taxiswas undoubtedly conceived for a privatechapel. Recordsindicate that Giardini

Wrightsman Fund, I995 I995. II

was paid for it in I702 and that it was donated

Giardini was the leading silversmithin Rome under the pontificate of Clement XI

by Clement XI to Prince Giovanni Battista Borghese,ambassadorof the king of Spain, Philip V. The energy radiatingfrom the small semioctagonalreceptacleat the bottom to the sharplywrought architecturaldesign of the concave frame and the exquisite painterlyeffects of the repoussesilver relief

with the Ecstasyof Saint Mary of Egypt justify Giardini'sfame as one of the greatest designersand metalworkersof his time. The refined contrast between the strong giltbronze and lapis-lazulimoldings and the silver of the relief (based on a composition by the Roman painter Benedetto Luti) recalls the quality of comparableworks by Giardini now in the Schatzkammer,Vienna, and the OR Residenzmuseum,Munich.

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

Achille-Etna Michallon French, i796-i822

Waterfall at Mont-Dore i8i8

Oil on canvas 6'4 x 2218 in. (41.3 x 56.2 cm)

Signedand dated (lowerleft):MICHALLON/ i8r8 Purchase, Wolfe Fund and Nancy Richardson Gift, 1994 1994.376

BecauseMichallon died at the age of twentysix, his fame as one of the creatorsof the new school of landscapepainting was obscuredby the shadow cast by his long-livedpupil Corot. But when the bulk of Michallon'swork was brought to light in I930, historianswere compelled to change their view. As Rene Huyghe wrote, "Corotremainsa poetic miraclebut he is no longer a historicalmiracle."The source of Corot'svision was suddenly apparentin the work of a young artistwho had taught Corot how to paint and how to see.

Almost all of Michallon'ssurvivingproduction belongs to the Louvre.This jewellike painting is thus exceptionallyrare.It is one of only a handful of finished works that the artistsigned and dated; furthermore,it is in perfect condition. Showing a famous waterfallin Auvergnethat Michallon probably saw on his way to Italy in 1817,it embodies the vigorous naturalistaesthetic that the artistbrought to the tepid Neoclassicism of the first yearsof the nineteenth century. GT

Johann Heinrich Fiissli (Henry Fuseli) Swiss, i74i-I825

Hagen and the Nymphs of the Danube I802

Pen and brownink, watercolor,and gouache overgraphite,on creamwovepaper,watermarked 1794 I24X

31X

4 in. (31.2

33.6 cm)

Purchase, Lila Acheson Wallace Gift, 1994 1994-375

One of the leadersof the Sturmund Drang movement that originatedin Germany, Fuseli contributeda keenly originalintellect and the quirksof a northernEuropean temperamentto the mainstreamsof Neoclassicismand Romanticism.Like many of his contemporaries,he participatedin the revivalof interest in subjectstaken from historicalliterature.Thus his highly finished watercolorillustratesa scene from the thirteenth-centuryNibelungenlied,in which the knight Hagen is warned by Danube River nymphs of the peril that awaits him on the far shore.

Fuseli endowed the legendarywarriorand his steed with the noble grandeurof classical sculpturesrepresentingancient heroic youths (the Dioscuri), which he undoubtedly had encounteredon Rome's Capitoline during his Italiansojournsof I770-78. Although he achieved renown first as a painter,Fuseli focused his vision most sharplyand consistently in a sizable body of studies drawn in graphite,chalk, and ink. Since most of his work has long been held in public collections, largelyin Zurich and London-where he centered his career-a superb example of his draftsmanshipsuch as this one rarely becomes available. cI

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 replacements. The smallerkey's offset placement requiresuse of the right hand in the lower position, standardpracticeby the late eighteenth 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.

Onefrom a Pair of Verrieres English,ca. I775 Sheffieldplate(silver-platedcopper) H. 534in. (14.5 cm)

Gift of Mrs. Sid R. Bass, in honor of Mrs. Charles Wrightsman,

I995

The arms engravedon the rim are those of John Sawbridge,Lord Mayor (I775-76) and four-time member of Parliamentfor the City of London, and his wife, Anne. Because a love knot ratherthan a crest is placed above the shield, these verriereswere probably made for the Lady Mayoress. JMcN

I995.50.

Verriereswere used to cool wineglassesby immersingthem in ice water.The foot of the invertedglass rested outside the notches of the verriere'srim. The low, oval, French form of verrierewas usual in the second half of the eighteenth century.This form evolved from the monteith, the originaldeep, round bowl with notched rim that appearedin Englandin the I68os. Verriereswere often made in porcelain and silver as part of dinner servicesand were more common on the Continent than in England. Our pair in Sheffield plate is particularlyrare.The style is that of Neoclassical,Greek-tastesilverworks of the 1770s and I780s, with rams'heads supporting the ring handles.Although the silverplating is substantialand the pieces arevery well made, they were not markedby the manufacturer, a practiceusuallyfollowed voluntarilyby the makersof Sheffield plate in emulation of the markslegally imposed on gold- and silversmiths.

Castel Italian(?),i8th century Oboe Italian(?),thirdquarterof the i8th century Boxwood,ivory,and silver L. 224 in. (56.5cm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, 1994 I994.364

Possiblymade by a Germanworking in Italy, this handsome oboe with two floral-engraved keys bearsthe stamp "Castel"beneath an indistinct letter and above a rampantlion. Severalextant Baroquewoodwinds are similarly but not identically marked,giving rise to speculation that they representthe work of relatedmakers,one of whom elsewhere signed himself Giuseppe. This oboe closely 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

The painted scene illustratesa combat near the ruined tombs of Baalbekin the mountains of Syria.The scene was adaptedby Le Bel from a drawingby the peripateticLouisFrancoisCassas (I756--I827),whose travels took him fromnorthernEuropeto Istria, Constantinople,AsiaMinor,and Egypt.Cassas spent nearlya month in Baalbekin 1785, and his viewswereetchedand engravedfor his de la Syrie,publishedin I799. Voyage 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.

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 I r~ I I1 other silvertor the tea table, and an unrecordedDresden year letter (B). The dating is suggestedprimarilyon the basis of the sturdy cylindricalform and the unexaggerated CLC graceof the handles.

CLC

Eugene Delacroix French, I798-I863

Madame Henri Franfois Riesener (Felicite Longrois, 1786-1847) I835

Oil on canvas 294XX 234 in. (74.3 x 60.3 cm)

Gift of Mrs. Charles Wrightsman, 1994 1994-430

Unlike Ingres,who executed numerous portraits on commission throughout his long career,Delacroix painted comparativelyfew and almost all are of intimate friends.After the early deaths of Delacroix'sparents,his closest relativeswere his mother'shalf-brother, Henri Riesener,a successfulbut now-forgotten painter,and Riesener'swife, the subject of this arrestingportrait. Despite the dazzling facilitywith which Delacroix describedher lace bonnet and ruff, and despite the coruscating color of her foulard,worn like a cravat

and tucked under her belt at the waist, the portraithas an intimacy that few of Delacroix'sworks possess. It manifeststhe artist'sdeep affection for his aunt, then a fifty-year-oldwidow, and the bold genius of his painterlygifts, temperedwith "asureness and an intelligence as to essentials,and a quality of touch in the renderingof the whole," as he himself wrote of this portrait when he chanced to see it some fifteen years afterhe had painted it. EF

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 inexpensive 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 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 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

a ,

.... ......

Marie-Charles-Isidore Choiselat French, I815-i858

Stanislas Ratel French, 1824-I893

Landscape with Cottage I844 (?)

Daguerreotype Fullplate 68 x 8'2 in.

(I6.3 x 21.7

Louis V. Bell Fund, 1994 1994-4I7

cm)

In the first decade of photographythe overwhelming majorityof daguerreotypeswere portraits,as the complicatedproceduresrequiredto producethese astonishinglydetailed images on silver-platedsheets of copperwere best carriedout under the controlledconditions of the studio.A few adventuroustravelers carrieddaguerreotypeequipmentwith them and broughthome dazzlingrecordsof far-off churches,castles,and classicalruinsor, more rarely,landscapeand vernaculararchitecture. Seldomdid they self-consciouslystrivefor art. This full-platedaguerreotype,the firstimportant Frenchphotographof the I84os to enter the Museum'scollection,is one such rarity. Made during an excursionthrough eastern

Francejust five yearsafterthe daguerreotype's invention, this remarkablepicturedemonstrateshow the camerapromptedartiststo see and representthe world in new ways. Rather than employing pictorialdevicesor perspectival and atmosphericeffects rooted in the traditions of landscapepainting, Choiselatand Ratelemphasizedthe two-dimensionalorganization of the picture'ssurface.The poplars, reflectedin the water,seem to stretch across the plate from top to bottom instead of sitting on the far side of the pond; the cottage (perhapsa rustic pleasurehouse for the chateau beyond) forms, with its reflection, a single geometric solid floating in space. MD

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 luxurious tastes of Second Empire Franceand the American Gilded Age, can be celebrated for originatingthe concept of annual collections and the standardizedsystem of pattern parts as well as for establishingthe designer as stylistic arbiterand activatorof change. Commanding exorbitantprices and presiding despoticallyover an elite maison, Worth dictated fashion to a class of women occupied by society and the clothes for special occasions, such as the as-yet-unidentified fancy-dressball for which this piece was created. 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-tailoredaesthetic 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 further transformedinto fancy dressby the JAL extravagantuse of iridescentcolor.

Edmond Bacot French, I8I4-1875

Saint-Maclou, Rouen 1852-53

Saltedpaperprintfom glassnegative i3 1x

o10 in. (34.4 x 25.6 cm)

Harris Brisbane Dick Fund, 1995 1995.96. 0

FranSois-Joseph-Hubert Ponscarme French, I827-I903

Medal of Napoleon III, Commemorating the Boulevard de Strasbourg 1863 Bronze

In December I852Bacot, a man of independent means living in Caen, traveledto Jersey with resourcesgatheredby the republicansof Caen and Bayeuxfor Victor Hugo and the exile community. He also carriedwith him photographsof the Gothic monuments of Normandy,picturesthat Hugo describedas "marvels"and that prompted him to write to Bacot, "I congratulatethe sun for having a collaboratorsuch as you." In the year that followed, Bacot sent Hugo additionalpho-

tographs,which ultimately were bound by the writer'sson Charles,who had studied photographywith Bacot. The album recently acquiredby the Metropolitan, containing this print and twenty-seven others by Bacot from about I853,all with elaboratelycalligraphedtitles, is thought to be that same volume. By photographing in strong sunlight and with a long lens, Bacot transformedthe flamboyant Gothic facade of the church of Saint-Maclou into patches of deep shadow and patterns of light playing on tracery. Hugo's love of such photographssurely stemmed from a recognition that they articulated a highly romanticizedview of the medieval-a view deeply colored by Hugo's own writings and poetic drawings of Gothic MD architecture.

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 casting faithfullycapturesin an almost impressionistic way the flickeringsurfacesof the wax model that precededit. The deed commemoratedis 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

Claude Monet French, I840-1926

The Garden ofMonet's House at Argenteuil 1876

Oil on canvas 31

X 258 in. (8ix 60 cm)

Signed(lowerright):ClaudeMonet Gift of Mrs. Charles Wrightsman, 1994 1994.43I

After the Franco-PrussianWar,Monet settled at Argenteuil, then a small town on the Seine north of Paris.Three yearslater,becauseof financialdifficulties, he gave up the lease on the house he originallyrented and moved almost next door, to the modest two-story pink building with green shuttersseen in the backgroundof this painting. The simple circulargardenthat the artistlaid out behind the house is featuredin no less than seventeen canvaseshe painted in I875 and I876 (one is in the AnnenbergCollection). All of them are executed in short, choppy brush

strokes,with little oil employed as a vehicle for the pigments. As a result the mass of foliage in the upper half of the picture shimmers with light, and the facade of the house dissolvesin the glare of the sun. Light streamsthrough the leaves of the trees and forms pools of glowing color on the lawn, where an inconspicuous couple rests in the shade. Purchasedin I954 by Mr. and Mrs. Wrightsman,this was the first painting to EF enter their collection.

Paul Cezanne French, i839-I906

Mont Sainte- Victoire

1902-6

Oil on canvas 224

x 3818 in. (56.5 x 96.8 cm)

The Walter H. and Leonore Annenberg Collection, Partial Gift of Walter H. and Leonore Annenberg, 1994.420

1994

Mont Sainte-Victoireis the most durableand prized motif in Cezanne'sart. No other topographicalfeatureheld his attention for so long or inspired such a lengthy processionof extraordinarypictures, fifty-five images extending from his early maturityin the I87os until his death. Cezannewas born and died within sight of its distinctive stony peak, but his involvement was most intense afterI902, when he built a studio at Les Lauvesfrom which he had a commanding view of it. Of all the depictions of the mountain, the Annenbergpainting is unique in its broad vista. The majesticcomposition was obtained

through a procedure,rarefor Cezanne, of making additions to the canvasthat nearly doubled the width and added one-quarterto the height. The artist began with a standardsize canvason which he painted a close-up view that placed the mountain'speak at the center. He then added narrowstrips to the right and at the bottom. Unsatisfied, he added another narrowstrip to the right, followed by a wide strip. Carefullymasking the seams, Cezanne renderedthe panoramawith small, parallelstrokes calibratedto suggest earth, trees, mountain, and sky without GT actuallydescribingthem.

LOt

ALA

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 seventeenthcentury 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 commanding presence.Its massiverearposts taper on the front surfacetowardthe crest and foot, resultingin a back that slants to accommodate 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 carving, 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 Manneristdecoration), 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 FGS designremainselusive.

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

Dressing Table American(Newport,RhodeIsland),1740-50 Mahogany,whitepine, and tulippoplar H. 303o in. (72.2 cm) Gift of Yvette and Thomas Cole, in memory of Louis W. Cole, 1994 1994.449

The Queen Anne style in furniture-the gracefullycurvedcabrioleleg, the scalloped skirt, the scrolledpediment-was introduced to Americain Boston during the earlyI730s. A regionalvariationof the style blossomed during the mid-I74os in Newport, Rhode Island,some seventy miles to the south. An earlyexample,a dressingtable, or lowboy, notable for its supremelysatisfyingproportions and rich brown patina, has recently been added to the Museum'ssmall but select collectionof Newport furniture.Characteristic of Newport work arethe sharpedges of the

legs and the pointed pad feet. The large carvedshell, which is gracefullyintegrated into the skirt design, was a favoriteNewport motif and a precursorof the block-and-shell treatmentof the facadesof Newport case furniture of the I76os to the I79os. The table closely resemblesthe lowboy billed in 1746 to SamuelWard,latera governorof Rhode Island,by Job Townsend, a progenitorof what was to become the most extensive cabinetmakingdynastyin eighteenth-century MHH America.

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 patterned 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 bestknown designersfrom the weaving community 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 contemporaryGeorg 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 markets as comparedwith the sumptuous brocades 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

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 correspond 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 Porcelain H. Io4 in. (26 cm)

Purchase, Solomon Grossman Gift, in memory of Berry B. Tracy, and The Vincent Astor Foundation Gift, 1994

present.The handles and bands of the tureen are enrichedwith burnishedgold. Although it is not known for whom the servicewas made, it was clearlypart of a special commission for a wealthy and importantAmerican client. ACF

1994.4 80.1

During the early i8oos the vogue among fashionableAmericanswas for furnishings and decorationsin the FrenchEmpire taste. This tureen, part of a large dinner servicewith its elegant classicalform, peach-colored border,and grisailledecorationwith delicate highlighting in gold-represents the height of fashion for America'selite in about I800. The service is among the finest known to have been made specificallyfor the American market.In addition to its depictions of classical and allegoricalfiguresand trophies relating to music, art, agriculture,war, and commerce, each plate featuresan American flag with thirteen stars.The cover of the tureen exhibits on one side a detailed rendering of the goddess of liberty holding the Americanflag, with an eagle by her feet, and on the other, a Native Americanprincess. These images at that time were recognized on both sides of the Atlantic as being emblematic of America, representingher "savage"past and her heroic and republican

Alto Clarion American(New England),ca. I820 Maple, brass,and cork L. 23/8 in. (60.5 cm)

Purchase, Clara Mertens Bequest, in memory of Andre Mertens, 1994 I994.365.

In the nineteenth century the term clarion, normallymeaning a type of trumpet, occasionallydesignateda clarinet,or clarionet,an alternativespelling for the familiarwoodwind. This nomenclatureechoed the early use of the instrumentin Baroqueorchestration, in which it could sound like a distant or diminutive trumpet. By the late eighteenth century clarinetshad achieveda prominent, independent place in ensemblemusic. Lowpitched clarinetswere often curvedto bring their finger holes within easy reach,and a group of New Englandmakersproduceddis53

Julius S. Dessoir Activein New York1842-66 Armchairfrom a Three-Piece Suite American(New YorkCity), 1853 Rosewood(replacementupholstery) H. 5 in. (I39.7 cm) Gift of Lily and Victor Chang, in honor of the Museum's I25th Anniversary, x995 I995. 150.2

Although relativelyunknown today,Dessoir was an importantcabinetmakerin New York City at mid-century.No doubt a Frenchor Germanemigre,he firstappearedin New York directoriesin 1842;in I85Ihis shop moved to 543Broadwaybetween Princeand Spring Streets,where it remaineduntil I865or I866.

In the absence of many documented pieces, Dessoir's reputationhas been based on his submissions to the I853"New-York Exhibition of the Industry of All Nations." Some of those submissions, including a chair identical to this one, were published as 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 CHV elements on the sofa in the suite.

Bakewell, Page, and Bakewell American(Pittsburgh),1824-32 Decanter American(Pittsburgh),ca. I826 Cutglassand white clay (sulphide) H.

in. (18.7 cm)

Purchase, The Overbrook Foundation Gift, I995 I995.I3

This decanteris one of a pair made of elaborate 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 incrustation, 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 foreign 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 decoration 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 Gobrecht. Gobrecht engravedthe portrait (aftera likeness by Thomas Sully) for use on a medal that was made for the Franklin Institute in Philadelphiain 1825and awarded to the Bakewellfirm in that year.The decanteris one of the most ambitious and rareforms with such decoration. ACF

Alexander J. Davis (designer) American, 80o3-I892

Probably Burs and Brother (manufacturer) American(New York),active1857-59 Side Chair American(New YorkCity), ca. 1857 Walnut(replacementupholstery) H. 395Yin. (oo. 6 cm) Gift of Jane B. Davies, in memory of Lyn Davies, I995 I995.11

This delicateyet animatedside chair is a masterfulexample of the Gothic Revival style. It has a beautifullycomposed back of open traceryand slender legs that spring from feet that resemblediminutive deer's hooves. Davis, one of the preeminent architects of nineteenth-centuryAmerica, worked in other revivalstyles as well as Gothic.

Sometimes he provided the interiorand the exteriordetails of a house and, unlike most architectsof the period, Davis also occasionally supplied furnituredesigns to select clients. This walnut chair is a version of a design he made about I857forJohn J. Herrick, the owner of a castle by Davis that once stood in Tarrytown,New York.A few chairs have survivedthat can be firmly documented to Herrick'scastle;all of them are of the same design as ours but are made of oak and are slightly heavier in scale. Our chair may have been made for the same house or by the same furnituremaker for another Davis commission. Although its exact origin remains unclear,the chair is one of the Museum's finest examplesof Gothic Revivalfurniture. In addition, it complements the Museum's important archiveof architecturaldrawings AP by Davis. 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-YCastnumber(undersideof base):N? i5. Morris K. Jesup Fund, 1994 I994.50I

William Stanley Haseltine American, i835-90oo

Girgenti (The TempleofJuno Lacinia at Agrigento) i88i and gouacheovergraphiteon blue Watercolor paper i5 x 2I78 in. (38.

x 5. 6 cm)

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 ambitious views in oil of the Greek theaterat Taorminawith Mount Aetna in the distance. In this watercolorhe portraysthe prominent Doric monument crowning the southeasterncornerof the so-calledAcropolis of the ancient Greek colony of Acragas(called Agrigentum by the Romans, Girgenti by Italiansin the nineteenth century). Despite 56

the temple's ruined condition, Haseltine impartsstrength to the building by closely cropping it and silhouetting its form against the radiantevening light. In coordinatingthe taperingclouds and cast shadowswith the oblique perspectiveof the columns advancing toward the viewer, the artistseems further to assertthe authorityof the classical KJA past upon the present.

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. The statuette, DescendingNight, is a reduction after one of the sculptor'smost celebrated efforts, a full-size fountain figure for the I915Panama-PacificInternationalExposition in San Francisco.The popularityof this sculptureand its male pendant, Rising Sun, led Weinman, beginning in 1916,to cast reductionsof them. The majority-including this figure-were produced at the Roman

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 countenance. 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 TT of each cast.

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'sadmiration 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 convincingly conveys the appearanceof a dogwood tree, the branchesand blossoms seen behind a trellis, and a generalizedlandscapein the backgroundof yellow-greenspring grasswith a brilliantblue sky above.

The window incorporatesa rich assemblage of variousspeciallytexturedand shadedglasses perfectedby Tiffany'sstudios, from fractured, or "confetti,"glassto the rippledglass utilized to simulatethe textureof the dog-

wood blossoms. Bicolored,mottled, opalescent glass conveys modeling and shadow.To achievefurtherdepth of color, glassplating occurs on the back, sometimes severallayers thick.

ACF

Childe Hassam American, I859-I95

Celia Thaxter's Garden, Isles of Shoals, Maine 1890

Oil on canvas 2I V in. (45. x 54.6cm) I734 Signedand dated (lowerleft): ChildeHassam I890

Partial and Promised Gift of an Anonymous 1994.567

Donor, 1994

Like other leading AmericanImpressionists, Hassampursued Frenchacademictraining,

working at the Academie Julian in Paris from I886 to 1889.Unlike most of his fellow students, however,he was attractedto the FrenchImpressionists'commitment to outdoor painting and particularlytheir celebrationsof distinctive sites. Hassam settled in New Yorklate in 1889and became the most prolific recorderof city scenes in an Impressionistmode. He usuallyspent summers working in New England artists' colonies, which were especiallymeaningful to a painter descended from old Yankee stock. This is one of the finest picturesof the many that Hassam made during summers

on AppledoreIsland,one of the Isles of Shoals, ten miles east of Portsmouth,New Hampshire.It belongs to a seriesof oils and watercolorsportrayingthe cutting gardencultivatedby Hassam'sfriend, the poet Celia Thaxter.Offering a sumptuous contrastto the island'srugged terrain,the gardenin this lavish canvasis a carpetof vibrantpoppies, accented by gracefulhollyhocks and larkspurs,almost framinga view of sun-bleached Babb'sRock. Createdduring Hassam'sfirst summer back in the United States,the painting suggestshis pleasureat the prospectof nourishinghis Impressioniststyle in a visually exciting and spirituallyredolent locale. HBW

Childe Hassam American,1859-I935 The Water Garden 1909

Oil on canvas 24 x 36 in. (61 x pi.

cm)

Signedand dated (upperleft): ChildeHassam 1909

Inscribed(on reverse):The WaterGarden/ C.H. (in a circle) / p909

Partial and Promised Gift of Douglas Dillon, 1994 1994.450

A glorious naturaltapestry-a maze of flowers saturatedwith sunlight-entices the viewer.A bit of pool, coveredwith waxy water lilies and their deep green foliage, fills the lower right corner.A sunlit path, lined on either side with dense clumps of white, blue, and purpleJapaneseirises, offers an invitation to the viewer and curves away to the right,where it is soon overwhelmedby masses of sword-shapedleaves and a profusion of delicate petals. At the left a narrowbrook meanderstoward a small footbridge and a screen of distant trees. This lush, intimatelandscaperevealsformal disciplinein its strongrhythmiccomposi-

tion, flattenedspace, and vigorousbut orderly stitchesof pigment. It illustratesthe modification of Hassam'sstyle afterthe turn of the century,when he absorbedPostimpressionist influences.Perhapshe intended this Japanesque design to honor visuallythe Japanese irisescontainedwithin it. Hassam may have executed the painting on a friend'sEast Hampton, Long Island, property,which featureda beautifullily pond surroundedby irises.The artistlaterpurchased a home in East Hampton, where he spent long periods during the last sixteen yearsof HBW his life.

was a chief proponent of this style, and in this particularlyelegant example the mouth of the vase is formed of lightly overlapping calla lilies-his preferredflower-emerging CLC from long, pale painted stems.

C. R. W. Nevinson British, 1889-I946

View of Wall Street 1919

Oil on wood i6x I12 in. (40.6x 29.2 cm)

Signed(lowerright):CRWNEVINSON Purchase, Gift of Mr. and Mrs. Arthur Wiesenberger, by exchange, I994 1994.18

During World WarI Nevinson'scareerwas first establishedin Englandwith his Cubistand Futurist-inspiredpaintings that recorded the war effortsat home and at the front. His subsequentreputation,however,restedmainly on his prolificprintmakingactivities.In April I9I9, on the occasion of an exhibition of his war prints, Nevinson stayed for a month in New YorkCity. Impressedwith the magnitude and vitality of this modern metropolis, Nevinson made numeroussketchesthat he laterused in London to createa seriesof at least seventeenprints and fourteen oil paintings. The scene depicted here is the congested financialdistrict in lower Manhattanaround Broadwayand Wall Street.Nevinson'svantage point, from the rooftop or office window of one of New York'searlyskyscrapers,transforms the city into a steamyvision of mass 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

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

blocks of stone, dramaticdiagonallines, and repetitiveangles.Farbelow the towering buildingsis a thin strip of sidewalkdotted LMM with pedestrians.

Fernand Leger French, 881-1955

Woman with a Cat I921

Oil on canvas 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 undefinable, rubberizedstuff. The powerful, large nude woman, painted in grisaille,is composed of spheres,cones, and tubes. She leans againstbillowing pillows, one offwhite, the other of a black-and-yellowdiamond 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 starksimplicity 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 painted variantsof the single-figurecompositions and made a slightly smaller,nearlyidentical versionof Womanwith a Cat (Kunsthalle, Hamburg).

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 surroundings: interiors,with and without posing models, and still lifes, as well as views from his windows and terrace. In this small composition twenty-year-old Henriette Darricarriere,Matisse'sfavorite model at the time, standspensivelyat the window in the artist'sfourth-floorapartment. She turnsher back on the familiarview of the distantbeach of the baie des Anges, dotted with palm trees and tiny figures. In the foreground rise the low stucco houses on the quai des Etats-Unis. Henriette'sgreen blouse with its white trim createsthe sole sparkleof SR color on a gray and melancholy day.

Arthur Dove American, 1880-1946

Fishboat I930

Oil and wax emulsionon compositionboard 7X 23 33 8 in. (60.6x 84.1 cm) Signed(lowerleft):Dove Gift of Carl D. Lobell, 1994 1994.34.2

Dove spent much of his artisticcareeron Long Island,New York,living on a boat in springand summer and near the water in winter. Inspiredby the marineview, Dove here transformsan ordinaryworkboatand the water and sky around it into a lively composition of verticalpoles, horizontalbands,and sweeping arcs.Merging the forms of the boat with those of the landscapeimbues the vessel 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 paintings 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 LMM Weber and William Zorach.

ii`--

.s.

c \ik. -1 Ift

.i-I

N i' :'

-I'

i I..

Gerald Summers (designer) British,I899-I967 Makers of Simple Furniture (manufacturer) Armchair '934 Bentplywood H. 30 in. (76.2 cm)

Purchase, The Cynthia Hazen Polsky Fund and Lita Annenberg Hazen Charitable Trust Gift, 1994 1994-428 Two-Tiered Table 1934 Plywoodand glass H. I6 in. (40.6 cm) Gift of John Shand Kydd, 1995 I99y.225a, b

Summers'sfurniture,which he constructed of plywood, was among the most innovative produced in England during the I930s. The FinnisharchitectAlvarAalto, the first modern designerto exploit the flexibilityof plywood in constructingdomestic furniture, had created, in 1931,an experimentalchair in which the seat and armswere molded from a single cut sheet of plywood and attached to a cantileveredtubularmetal base. Summers may have known this design, since examples of Aalto's furniturewere exhibited in London in I934. However,with this chair he outdid Aalto, cutting his plywood sheet in such a way that it could be bent in a mold into the shape of an entire lounge chair:back, seat, arms, and legs. Summersmanufacturedand sold his own designs through his small firm, Makersof

Simple Furniture.His earliestpieces were painted, since plywood, although it was commonly used for furnitureframesby the I930s, was generallyconsideredtoo plain to be suitable for visible surfaces. In 1932, within a year of founding his firm, Summersdeveloped a new finish of French polish, tinted a creamywhite and buffed to a high gloss, which revealedthe grain of the plywood ratherthan hiding it. Although handsome,this new translucentsurfaceproved to be fragile,and almostall known pieces of Summers'sfurniturehave been stripped. This armchairand its accompanyingtiered round table are remarkablein retaining their jsj original finish.

William Baziotes American, i9i2-i963

The Flesh Eaters

I952

Oil and crayonon canvas in. (152.4 x I83.2 cm) Signed(lowerright):Baziotes Purchase, George A. Hearn Fund, Arthur Hoppock Hearn Fund, and Hearn Funds, Bequest of Charles F Ikl, and Gifts of Mrs. Carroll J. Post and Mrs. George S. 60 x 72

Amory, by exchange, '995 I995.234

Baziotespainted TheFleshEaters,one of his largestand most ambitious compositions, at the height of his career,when he had refined the technique of rubbing layerupon layer of thinned oil onto the canvasto create an opalescent surfacerich with imaginarybiomorphic imagery. At the left of this submarinescene a pale gray form-either an armlessseated figure or an enlargedhead with gaping mouthfloats beforewavy green lines of seaweed. Tendrilsreinforcedwith crayon curve outward from the point of its single eye. Above, at the right, a blue crablikeform-also oneeyed-hovers in a pinkish haze. Below, a

white bust is silhouetted againsta gray-black ground, its pointed headgearjust penetrating the pink zone above. In a paradoxcharacteristic of the artist, franklypretty colors coexist with menacing forms. Like the Surrealistshe admired and like his fellow AbstractExpressionists,Baziotes was fascinatedby the power of myth. Here, his title and imagery suggest the story of the Cyclops, the one-eyed giant who devoured Ulysses'sailorsin Homer's epic. Thus Baziotes proposes a more universalnotion, that humans may prey upon or consume one another.

Lee Friedlander American, born 1934

Nashville 1963

Gelatinsilverprints 958 X

62 in. (24.5 x 16.5 cm); 94 x 62 in.

(23.5 x I6.5 cm)

Purchase, The Horace W. Goldsmith Foundation

Gift, I995

1995. 68.1

Purchase, Harriette and Noel Levine Gift, I995 1995.168.2

In the early I96os Friedlandermade a small seriesof photographsof television sets while he was travelingacrossAmerica on two Guggenheim Foundationfellowshipsand on editorialassignmentfor severalpopular men's magazines.The witty, often ironic pictures provide intuitive commentaryon television as "theplug-in drug,"the revolutionary fixture of twentieth-centurylife that may be the central image of the age. Most of these photographswere made in an appropriately modern, artificialspace-a motel roomwhich is at once bedroom, living room, and theater.They connect Friedlanderto several generationsof artists,and especiallyto

EdwardHopper and Alfred Hitchcock, both of whom were fascinatedby the psychology and alienatingenvironment of the American traveler. Outfitted with Martian-likeantennae,the television sets in the series broadcastscenes from movies, sitcoms, and advertisements but beam their ambiguous images into otherwise empty rooms. Although the advertisement here may be for cold medicine, Friedlander'sphotographsreflect on the fine line between pain and pleasure,tragedyand comedy, the sanitized and the erotic, and are as dense with mixed messagesas a typical JLR evening of television.

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 exceptionalintelligence, 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 performing everydaytasks, and likenessesof friends.He also examinedwith naivewonderment ordinaryappliancessuch as a telephone,

a typewriter,and even a dentist's tool. Dubuffet frequentlywatched his wife as she sat and crankedthe handle of a coffee grindergripped between her knees. The subject, frontallyviewed, became a theme for a lithographand for severaldrawingsand paintings. The final version, however,bears slight resemblanceto Lily,who was darkhaired, angular,and thin. Dubuffet flattened the head and broadenedthe body so that the

hieratic figure completely fills the picture's frame. Dubuffet silhouetted this pale form againsta somber background,actuallya relief built with droppings, lumps, and furrows, combined into a substancethat he describedas "earthfermented by water." Dubuffet finished The CoffeeGrinderon ChristmasDay I945. It is, perhaps,his earliest masterwork.As an artisthe did not seek to please, and he was alwaysunafraid. WSL

Elaine de Kooning American, I918-I989

Self-Portrait I946

Oil and charcoalon canvas 234 x 193 in. (60.3 x 50.2 cm)

George A. Hearn Fund, 1994

I994.4II

In this self-portraitby de Kooning, the artist is seen seated with a book open on her lap. She is dressedin a smock, pants, and stylish shoes. An ashtrayand coffee cup have been placed casuallyon the floor beneath her bentwood-style chair.Her self-consciouspose and practicalattire indicate an assertive,selfawarewoman as artistand intellectual. (De Kooning was also a well-respectedart critic in the I940s and I95os.) Objects in the carefully furnished interior-the Africanraffiapile cloth and the two photographsor reproductionsof what seem to be Africanor Caribbeanlocales on the wall-indicate the

interestin primitivismin Americanart circles of the 1940s. The amorphoussack on the floor behind de Kooning is hard to identify, but the elegant decanteron the shelf is similar to that seen in Willem de Kooning's I940 painting The Glazier(also in the Museum's collection). Although de Kooning's treatment of the human figure is less fragmented than her husband'sat this period, the emphasison the segmented planes of forms and the use of ocher and terracottacolors are also characteristicof Willem de Kooning's LSS figuralworks of the I940s.

Anselm Kiefer German, born 1945

From Oscar WildeforJulia 1974 and gouacheonpaper Watercolor 15 x iir3 in. (39.7 x 29.8 cm)

Inscribed(centerleft):von OskarWilde/fir Julia Promised Gift of Cynthia Hazen Polsky, in memory of her father, Joseph H. Hazen

The Rhine I982

Cut and pastedprintedpapers,mountedon canvas

74 x 1334 in. (188.3x 263.5cm) Inscribed(lowerright):A Purchase, Lila Acheson Wallace Gift, 1995 1995. 4. 44

Faith, Hope, Love 1976

Brushand ink, watercolor, pastel, andpencil onjoinedpaper 36'2x 2458in. (95.3x 62. cm) Inscribed(on treetrunks,vertically):Glaube, Hoffnung,Liebe Promised Gift of Cynthia Hazen Polsky, in memory of her father, Joseph H. Hazen

Kiefer'swork contains a layeredterrainof cultural reference:to myth, political history, literature,architecture,and music. His epic painted landscapesdepict, with sadnessand irony, the same Germanicsagas,heroes, and Neoclassicalbuildings that were glorified by the Third Reich. Thus Kieferhas confronted postwarGermanywith its severaldecades of repressionof Nazi imagery.The artistwants the horrorsof the past acknowledged.He

also wants the richnessof German culture redeemed. Kieferconceives and revisesthe complex subject matter of his huge paintings in more intimate works on paper.The Museum has acquiredfifty-one of these mixed-media drawingsdating from I969 to I985, as well as three monumental collages dating from 1982 to 1987, composed of numerous individual woodcuts. These works on paper,long kept together by the artist, constitute a nuanced overview of the first two decades of his work. It is the largestsuch concentration in any institution. Thirty-threeof these works are predominately watercolor.Among them, FromOscar WildeforJulia demonstratesKiefer'sbravura handling of the medium and fondness for literaryallusion. The title and image referto

Wilde's story TheNightingaleand the Rose, wherein, for the sake of the ideal of love, the songbird impales herself overnight upon the thorn of a white rosebush,so her voice and blood may nourish to rednessa bloom desiredby a fecklesssuitor to present to his greedy amorata.Wilde's bitter ending, in which the prickednightingale sings herselfto death and the girl rejectsthe blood-red rose in favorof jewelry offered by a new suitor, appealedto Kiefer'sidealism and sense of irony. In the largestof the watercolors,Faith, Hope, Love,the three Christianvirtues are inscribedverticallyon the trunks of trees in a darkwood evocativeof the tall timbers of Icelandicsaga. Their roots are embedded in an artist'spalette, an icon that appearsfrequently in Kiefer'sart of the I970s and I98os.

Here, this symbol of creativitystands for the nurturingof decency. The building and frame in Kiefer'scollage TheRhineare made up of differentwoodcuts assembledinto one composition. The building, an example of National Socialist architecture, was designed in about 1939by Wilhelm Kreisfor the Hall of Soldiersin Berlin. The image is framedby the imprints of wood planks that proclaim, by their repetition within the work, the print medium. Here, in largeformat, Kieferagain recallsthe Germanpast, evoking Albrecht Diirer'shuge sectionallyprinted woodcut of I515,the TriumphalArchof EmperorMaximilian I Like the Renaissanceprint, Kiefer'scollage was conceived to be displayedpublicly. NR

.1 David Smith American, I906-I965

Untitled I953 Brushand eggink onpaper i8x 24 in. (45.7x 6i cm) Gift of Candida and Rebecca Smith, 1994 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." This study is one of seven recently acquired from the artist'sestate. As a group, they show the varietyof Smith'stechniques, each one seemingly calculatedto reflect the characteristics of the final three-dimensionalwork. A pioneer of welded sculpturein this country, Smith used both fabricatedand found objects to createhis work. In studies in which he spatteredpigment around cut-out papershapes, the resultingnegative images were more pristine and geometric. Those 70

I made with collagesof flat shapes of paper defined the ultimate proportionsof the sculpture.This study is painted in black ink mixed with egg yolk, a medium Smith often employed. Each stroke representsa single form or element that would be used to compose figuralworks such as his Sentinel series of the late I95os and early I96os and the LSS Voltri seriesof 1962-63.

Andy Warhol American, 1928-I987

Self-Portrait '979 Instantcolorprint 24 x 20 in. (6i x 5o.8 cm) Purchase, The Andy Warhol Foundation for the Visual Arts Gift, Joyce and Robert Menschel Gift, and Rogers Fund, I995 I995.251

One of Warhol'sgreatestcreationswas his own public persona,which combined an almost pathological need for media exposure with the opaque demeanor of the catatonic. By the end of the I96os Warholhad embed-

ded his spectralvisageand blankgaze in the nationalconsciousness.Simultaneouslyeverywhere and nowhere,ubiquitousand invisible, Warhol'scomplete negationof the self allowed his work to function as a kind of mirror,reflectingwith a hallucinatoryclaritythe foibles and vanitiesof our time. Much of Warhol'swork can be read as a meditation on the transienceof life, from his iconic portrayalsof a stoically suffering JacquelineKennedy to his paintings of skulls from the mid-I97os. Eyes closed and with an unearthlypallor,the artistappearsin this late self-portraitas the martyredsaint, suspended between the agonies of the flesh and the blinding white light of the afterlife.Stripped of the guises and camouflagethat characterize many of his other self-portraits,this riveting picture is idiosyncraticin its candorand directness;strangely,it seems both to refer back to the attempt made on his life in 1968 and to chillingly prefigurehis untimely death

Andreas Gursky German,born1955

in 1987.

the I920s.

Schiphol I994 Chromogenic print 73 x 878 in. (185.4 x 22.3 cm)

Purchase, The Howard Gilman Foundation Gift, 1995 I995 91

Born in Leipzig,Gurskywas educatedin the heartof West Germany,firstin Essenand then in Disseldorf, wherehe becamea "masterstudent"of BerndBecherat the Kunstakademie. Becherand his wife, Hilla, professand practice a straightforward style of photography, which catalogueswith clarityand dispassion the unselfconsciousstructurestypicalof a culture.Their classictechniqueand typological method recallthe work of August Sander, who similarlycataloguedGermansociety in

Gursky began by mixing these structural approacheswith the traditions of northern landscapepainting. Initially he made easelsize photographsof vast, softly hued landscapes in which tiny figuresplayed. In the I990s he expanded the scale of his pictures to wall size and the scope of his subjectsto include cityscapesand interiorsshaped by industrial,electronic, and other automated functions of modern life. In Schipholtheartist frames the tall clouds, low horizon, and perfect geometries of a runway in the windows of Amsterdam's airport.Deftly laminating the luminous skies of BaroqueLow-Country painting, the Romantic theme of the windowed view, and the abstractionof de Stijl, Gursky gives us a landscapelayeredwith nostalgia, structured by Modernism, and sealed behind glass-an expansiveyet neatly delimited vista for human transport.

MMH

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 testament 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 literallylies 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 preserved in the durable materialsof the more familiarcast-brassplaques and carvedivory tusks.

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

sages in which the outlines of a bird and turtle are finely etched. Abstractmotifs, such as the broad chevron band (sahohin),the ring of carvedheads (tsanhuen), and the threedimensional elaborationof the base, which takes a traditionalstool form, all referto local insignia of leadership. This object'sfine white-chalkpatina and style of sculpturalembellishmentare reminiscent of other Lagoon artisticpractices,among them the decorationof carvedpillarsin the domestic architecturefor local leadersand the applicationof white kaolin to the bodies of AL drummersduring performance.

Kidimbadimba (One-Key Xylophone) Zaire (Luba-Hembepeople),early20th century Wood,gourd,gum, and cord Diam. 21 in. (5.3 cm) Purchase, Clara Mertens Bequest, in memory of Andre Mertens, 1994 I994.345

Sub-Saharanxylophones appearin many forms, ranging from complex multikey structures to simple wood slabs placed upon the ground.The single-key,gourd-resonatedtype, not previouslyrepresentedin the Museum's collection, is distributedthroughout southcentral ZaYre,Zambia, and southern Malawi and is usually unembellished. The newly acquiredHembe xylophone is extraordinary for its large size and carefullycarved and sculpted key, rigged within a cradle of thin cords and two bowed supports.The unusually thick key (most are slender slabs) is triangular in cross section, thinned in the center for tuning, and distinguishedby a carved,perhaps ancestral,head at one end. Xylophone ensemblesassociatedwith hunters of the Buyangasect may use two or more discretely tuned one-key instruments for ceremonies before and after important hunts. The characteristicbuzzing timbre of the struck key, produced by a vibrating membrane inserted into the gourd's side, may be alteredby putting the left hand inside the opening of the gourd. One-key xylophones may be played while the musician is standing:a cord 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 severaldiverseculturescollectively referredto as Lagoon. Known as pende, or "talkingdrums,"these instrumentsserve as importantvehicles of social and artistic expression.Owned by individualsin positions of leadership,they are used in performances that disseminatenews of momentous developments to the community at large. The overallsurfacedesigns of incised and relief carvingsare subdivided into two distinct fields. Within these boundaries,the instrument'srhythmic tonal quality is translated into contrastingpatterns.The rigidity of this formal composition is softened in pas73

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 geometric pattern is typical of the style recorded from central New Caledonia. The face, with verticallycompressedand broadened features, was carvedin the mannerused in central 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 position. A horizontalaxis, as found on this piece, indicated that the image representeda MG female ancestor.

Eagle Transformation Figure Mexico (Olmec),8th-6th centuryB.C. Jade (albitite) H.

in. (11.4 cm)

Rogers Fund, 1994 I994.380

Olmec transformationfiguresdepict human beings taking on significantaspectsof powerful 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 distinctions 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 without bird features.

The function of Olmec transformation figuresis presentlyunclear.They are customarilycarvedin varietiesof greenstonein small portablesizes, and they may actuallyhave been part of the paraphernaliaof a priest or other ritual specialist. The Olmecs lived along the coast of the Gulf of Mexico in the centuries from about 1200 to about 400 B.C. and were influential throughoutmuch of Mexico and regions jj farthersouth.

Mantle Peru (Inka), late isth-early i6th century Camelidfiber 572 x 60o2 in. (146. x 153.7 cm)

Purchase, Pfeiffer Fund and Arthur M. Bullowa Bequest, 1995 I995.I9

Rectangularin shape, for wear over the shoulders,mantleswere used in Peru throughoutmuch of its Precolumbianhistory.

They were worn as outer cloaks by men, and those belonging to persons of rankwere highly colored and carefullypatterned,such as this example, made during the centuries when the authoritarianInkas dominated the centralAndes. The mantle amply illustrates the coming together of two different design traditions: that of the Andean highland Inka, who were noted for severe, rectilinear design and sober color patterns,and that of 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 come from the southern Pacific coast of Peru. The geometric regularityand horizontality of pattern here speak to Inka taste, as do the darksaturatedcolors. The intricate stylized bird designs in the central units and the diagonal patterning,however,are more consistent with coastal practice.The use of bright white, which sets off the blue, green, and most particularlythe two different reds in a sophisticated manner,also indicates great awarenessof color itself, an experience JJ "foreign"to Inka tradition. 75

A 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 flowerand-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. Flawlesslyexecuted 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 fourteenthcentury 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

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

deity in the guise of a lion, an animal with sacredconnotations in Buddhism and frequently depicted in Tibetan art in the role of a guardian. The hilt is skillfullyconstructedof iron segments joined by brazing.The main features of the decorationare chiseled in relief and highlighted by damasceningin gold and silver.The sides and back of the hilt are also damascenedin silver.Hilts of this shape were made to be fitted with a straight,doubleedge steel blade. The qualityof the hilt's decoration suggeststhat it was originallycarried by an officer or a high-rankingofficial. DJL

Tapestry-WovenPanel Chinese (Ming dynasty [1368-1644]),

i6th century Silk, metallicthread,andfeatherfilaments 345

23 4 in. (88 x 59 cm)

Purchase, Gifts in memory of Jean E. Mailey, 1994 I994.363

This silk tapestry (k'o-ssu)panel is an excellent example of sixteenth-centurytapestry work, which is known for its complex designs and rich color. It featuresa pattern known as "homageto the phoenix." The mythical phoenix, supreme among birds, stands on a rock at the center bottom of the panel, surroundedby eleven different birds. They include a silver pheasant,a paradiseflycatcher,a crane, a goose, a peacock, a golden pheasant,a parrot,a kingfisher,a mandarin duck, and two others that have not been identified. Many of the birds in this textile bear characteristicsthat are not found in nature, and their relativesizes are not to scale. By the time this tapestrywas woven, representations of certain birds had acquiredpatternsof stylization that, as much as their actual physical features,permit their identification here and in later occurrences,such as Ch'ing-dynasty civil rank badges. This textile is a gift in memory of Jean E. Mailey by friends of Miss Mailey, former 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 motifssuggest 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) Chinese(Ming dynasty[1368-1644]) Silk and metallicthread Overall 40'2 x 332 in. (o03 x 85 cm)

Gift of Robert Hatfield Ellsworth, in memory of Jean Mailey, 1994 I994.391

Gauze weaving is one of China'smost highly developed textile techniques. This panel, with a brocadeddesign of animatedgolden rabbitsrunning among clouds, is a fine example. It is similarto a length of brocaded gauze found in the Ming dynastyTing-ling imperialtomb, which contained the remains of the Wan-li emperor (r. I573-I620)

and his

two empresses.However, this textile'sgreater simplicity of design justifies an earlierdate within the Ming dynasty.

Underlying the panel's seemingly simple appearanceare sophisticatedmaterialsand techniques. The metallic thread used in the textile consists of gilded paperwrapped around a core of both yellow and red silk, which enhances the effect of the gold, and the rabbit'seyes areaccentedin white and blacksilk painstakinglywoven into the design. This textilewas given in memoryof JeanE. Mailey,formercuratorof textilesin the Textile JCYW/JD Study Room at the Metropolitan.

Brush Holder Chinese,I7th century Bamboo H. 514 in. (13.3 cm)

Signatureand seal of ChangHsi-huang Purchase, Mr. and Mrs. John A. Wiley Gift, Seymour Fund, Bequest of Dorothy Graham Bennett and Erich O. Grunebaum Bequest, 1994 1994.208

Bamboo carvingis a majorbranch of late Chinese decorativearts. It reachedits highest development in the seventeenth century during the late Ming and early Ch'ing dynasties, when a number of artistsin this medium rose to prominence.Among them was Chang Hsi-huang, who was famous for the liu-ch'ing (reservegreen) technique, seen on this work. The design is cut in relief in the smooth greenishskin of the bamboo and contrasts with the darker,more fibrous ground. The relief areasare finely modeled to give a threedimensional effect. On one side of the brush holder, above

the panoramiclandscape-including buildings and figuresengaged in leisurelyactivities-is inscribed the "Ode to the Pavilion of the InebriatedOld Man," by the scholar-official Ou-yang Hsiu (I007-I072).

The inscription

is executed in minute charactersin running script, a standardfeatureof the work of Chang Hsi-huang. The seated figure in a pavilion on the other side of the brush holder is the poet. In spite of his fame, very little is known of the life of Chang Hsi-huang except that he was said to be a native of Chiang-yin in southern Chiangsu province. JCYW

Anonymous Illustrated Manuscript of the Lotus Sutra Korean (Koryoperiod [918-z392]), ca. I340

Goldand silveron indigo-dyedmulberrypaper in theform of afolding book H. I3 in. (33 cm); io6pages, w. (each) 42 in. (I. 4 cm)

Purchase, Lila Acheson Wallace Gift, 1994 1994.207

Copying Buddhist scriptures,or sutras,by hand is an importantform of Mahayana 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 precious materialsand the effort expended in producing the detailed frontispieceand calligraphyof 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 centuries. By that time the hand-scrollformat had been largelyreplacedby this type of booklet, a continuouslength of paperfolded in narrow accordionpleats and securedbetween coversembellishedin gold and silverwith lotus and "preciousflower"scrollssymbolic of 80

Brush Holder Buddhist teachings. The sutra itself is written in silverin a gracefulvariantof T'angstyle clericalscript and is precededby the pictorialsermon of the elaboratefrontispiece. In fine gold lines within a patternedborderis a scene of the Buddha preachingto an assembly of followers,along with lively illustrations of key parables.

Chinese,i7th century Bamboo H.

638

in. (i6 cm)

Purchase, Florence and Herbert Irving Gift, 1994 I994.381

BBF

The seventeenthcenturywas a period of prosperity in the southeasternprovincesof China and witnessedthe last greatera of artistic

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 bamboo 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 horticulturalistsand landscapearchitects. This brush holder is a representativework of the mid-seventeenthcentury.The highrelief 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 servant-is taken from a contemporarywoodblock 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 ripening 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 contrastingtexturesof plump fruit and brittle leaves are achievedwith carefullymodulated tones of wet and dry ink that also impart a luminosity within the painting redolent of the glow of sunset or moonlight. Although the style of brushwork,contrast-

ing ink tones, and rough weave of the silk indicate its productionby a Koreanartist,this picture follows the traditionof grapevine paintingsby the thirteenth-centuryChinese painterJih-kuan.Inscriptionson his works suggest that this type of painting had several symbolic associations.Besidesits obvious evo-

cation of autumn, the grape, an exotic species from regionswest of China, was a metaphor for Buddhism,which came from India. An inscriptionexpressinga longing for the peace of the Pure Land suggeststhat the grapealso symbolizedthe promiseof rebirthin the 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 syncreticShintoBuddhist 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 protection. 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 Japanesemanifestationsof 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 seated below this primal pair representShinto goddessesfrom other regions, Itsukushima, near Hiroshima, and Tsugaru,in Fukui Prefecture.

BBF

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 sculpture. 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 discovery), 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 symmetricalsamabhangaposture, 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.

IX or!t/

;e ;l/6?i

.I, :.??E. -ljwj-L-5 r?tf:;B;;";??

Seated Buddha Akshobya (? [The Impeturbable Buddha of the East]) Tibetan,pth-ioth century Gilt copper H. 22

in. (58 cm)

Purchase, Rogers Fund and Florence and Herbert Irving Gift, I995 995.io6

The robust body type of this unique early Tibetan Buddha seems to derive from the art of the North Indian post-Gupta period (7th-8th century), while its physiognomy is based on Central Asian prototypesof similar

date. Little art survivesfrom Tibet from around the tenth century,but what does seems to be-like our statue-an eclectic synthesis of elements drawn from the artistic traditionsof CentralAsia, India, Nepal, and China. The identificationof the statue is difficult. The earth-touchinggesture (bhumisparshamudra),a variantof which our Buddha makeswith his right hand, is most frequently associatedwith Shakyamuni,the historic Buddha. It alludes to his victory over the evil demon Mara,who sought to disturb his

meditation and thereforehis enlightenment. The same gesture is also associatedwith Akshobya, one of the five Tathagatas(esoteric Buddhas),who evolved as personificationsof this steadfastvictory.The Tathagataswere central to the iconographyof early Tibetan Buddhism. The postion of our Buddha's other hand, with his thumb and middle finger pressedtogether in an unusual gesture not indicativeof meditation, seems also to support our identification of this statue as Akshobya.

SMK

Chandamaharoshana, a Buddhist Guardian Nepal, rith century Ink, opaquewatercolor,and gold on cloth 32 x 262 in. (8i.3 x 67.3 cm) Gift of Perry J. Lewis, I994 1994.452

The Museum'scollection of Nepalese art includes a superb group of gilt-copper sculptures of the ninth through the fifteenth century and a fine assortmentof painted book coversof the tenth through the fourteenth

century.Until now, the raretradition of larger-scalepainting from Nepal has been representedby only one smallpaubha (painting on cloth). This splendid largepaubha with vibrant palette and kinetic arabesques, typical of late-medievalNepalese art, is a majoraddition to our holdings. The paubha depicts the Buddhist guardiandeity Chandamaharoshana.The meaning of his name may be translatedas "violent"(chanda)and "verywrathful" (maharoshana).He is believed to annihilate all evil with his anger.Framedby flames, he kneels on a raisedthrone and brandishesa sword with his left hand. An elaborate

archwaywith foliate volutes supported by fantasticalcolumns on vase-shapedbases rises above him. He is surroundedby a host of auxiliarydeities. As is usual in Nepalese paubhas,the donors of the painting are shown in one of the lower corners (here the left), and the monk(s) officiating at the offerings are depicted in the other. In Tibet, Chandamaharoshanais known as Achala, the immovable.

SMK

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 workshop. 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 orientation of the ragaplayed on a melodic instrument. 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 Indian, i7Io-i778

Maharaja Balwant Singh ofjasrota Does Homage to Krishna and Radha India (PunjabHills,Jasrota),ca. I750 withgildingonpaper Ink and opaquewatercolor 73 X 638 in. (19.6x I5.4

cm)

Rogers Fund, 1994 I994.377

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 painting late in that century.Nainsukh's oeuvre is centered around an extraordinary group of refined and psychologicallycharged paintings and drawingsdone about I740-63 for MaharajaBalwantSingh, his greatest patron, at the court of Jasrota.This painting portraysBalwantSingh standing at the thresholdof a tented pavilion with his hands raisedin anjalimudra(the gesture of adoration). He gazes toward a raisedgolden dais on which he sees the deity he has chosen for personaldevotion, the Hindu god Krishna, together with the deity's beloved, Radha. The painting is a tour de force of subtle balancesof proportion, color, and, ultimately, psychology.The intersectionof verticalsand 86

horizontalssegregatesthe royal from the divine, mediated by a poignant void: a rectangle of water.Nainsukh uses the cool whites and graysof the prince'sattire and the architectureand the greens of the landscape as foils for the technicolorvision beneath the crimson canopy. One hardlyrealizesthe difference in scale between the maharajaand the gods in the peaceful and coherent world the artisthas created. SMK

Pandharpuri Tambiura India, igth century Gourd,wood,steel,and ivory L. 37 in. (94 cm) Gift of Mr. and Mrs. Sidney Bressler, 1994 1994.498

This tamburaillustratesa tradition of highly decorativeyet idiosyncraticmusical instruments from India. These instruments,which are smaller,more embellishedversionsof professionalmusicians'instruments,were used on special occasions by ladies and children or were made especiallyas gifts for exceptionalmusicians. Little is known about

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 considerableartisticsophistication. 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 (theoreticallythe 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 phallicshaped section exposed to the worshiperis a single face of Shiva. Shiva is depicted in his terrifyingmanifestation,with fangs and a knotted brow. The unusuallysensitive depiction 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 ML crescentmoon in his hair.

Standing Padmapani Lokeshvara Indonesia(Shrivijayastyle),ca. secondhalfof thepth-first halfof the ioth century Bronze H. i24 in. (31.1 cm)

Gift of The Kronos Collections, 1994 I994.528

PadmapaniLokeshvarais the lotus- (padma-) bearingmanifestationof Avalokiteshvara,the bodhisattvaof infinite compassion.After the Buddhashe is MahayanaBuddhism'smost populardeity. The great SoutheastAsian maritime empire of Shrivijayaprobablyhad its capital on Sumatra.Among Shrivijayasvariousart styles, those of Indonesia, particularlyof centralJava,seem to be predominant.Peninsular Thailand, an areawhere the somewhat confusing art history includes its own indigenous

styles, seems to have been one of Shrivijaya's majoroutposts. It is not alwayseasy to tell if Shrivijayastyle bronzesculpturesof the eighth to the tenth centuryfound in peninsularThailand werecreatedlocallyor on one of the Indonesian islands.However,this relativelylargeand imposingsculpture,purportedto have been discoveredin peninsularThailand'sSurat Thani province,is almost definitely of ML Indonesianorigin.

STATEMENT

Publication

OF OWNERSHIP,

MANAGEMENT,

title: THE METROPOLITAN

AND

MUSEUM

CIRCULATION

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 orgeneralbusinessofficeofpublisher:10OOFifthAvenue, Completemailingaddressof headquarters New York,N.Y. Ioo28-oI98 Full namesand addresses ofpublisher,editor,and managingeditor: FifthAvenue,New York,N.Y. 1oo28-oI98 The MetropolitanMuseumof Art, IOOO Publisher: FifthAvenue,New York,N.Y. 10028-oi98 Editor:JoanHolt, IOOO ManagingEditor:None Owner:The MetropolitanMuseumof Art, 1ooo FifthAvenue,New York,N.Y. o0028--198 and othersecurityholdersowningor holdingonepercent Knownbondholders, mortgages, and othersecurities: None or moreof thelocalamountof bonds,mortgages,

Averagenumberof copies duringpreceding12months (Sept.94-Sept. 95) A. Totalcopiesprinted(net pressrun) B. Paidand/orrequestedcirculation 1. Salesthroughdealers,carriers, streetvendors,and countersales 2. Mail subscription(paidand/orrequested) C. Totalpaidand/orrequestedcirculation D.

Free distribution by mail

E. Freedistributionoutsidethe mail F. TotalFreedistribution(sum of E and D) G.

Total distribtion (sum of C and F)

H. Copies not distributed 1. Office use, left over,unaccounted,spoilage 2. Returnsfromnews agents I. Total (sum of G, H1 and H2) J. Percentagepaid/orrequestedcirculation

Singleissuenearest to filingdate (July95)

119,749

12I, 128

None 114,462 114,462

None 117,200 II7,200

1000

700

4087 5087

3050 3750

119,549

200 None 119,749 95.6

I20,950

178 None 121,128

96.7

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 Museum of Art Bulletin (ISSN 0026-I52I)

The Metropolitan Museum of Art IOOOFifth Avenue New York, NY I0028-I098

ReturnPostageGuaranteed

Seco

Pai

at N and