The metropolitan museum of art bulletin v 30 #4 february march 1972 by alfonse K

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theAmbassador towelcomeattheMuseum fewweeksagoI wasprivileged of Chinato theUnitedNationsandhisdelegation. of thePeople'sRepublic Introduction spititof camand,bytheendof thisvisit,a gratifying 53 Wetouredthegalleries Hoving Thomas again,I was Once us. between sparked andmutualinteresthadbeen araderie Timekeepers Magnificent language thepowerthatgreatarthas,asakindofuniversal todiscover 54 amazed ClareVincent vastly of people between goodwillandunderstanding of stimulating capable ThreeFledglingMuseums guestsconfirmed withmyChinese Thatafternoon experiences. cultural different SusanBadder is to responsibilities mostsignificant mybeliefthatoneof theMuseum's MedievalMonumentsat bymeansof splendid aboutitselfto thewidestpossibleaudience 0 communicate The Cloisters thatthemessage exhibitions imaginative 6 worksof art;andsurelyit is through RomanView AnEighteenth-Century to policydesigned wehavedefinedanexhibition Recently canbemosteffective. LindaBoyerGillies alike- andourstafftocomeincloser andlayman enablethepublic- scholar Exhibitions four thaneverbefore.Thepolicyincludes 185 contactwithmoreof thecollections Worksby SargentandHomer thatI wouldliketodesctibe. of exhibitions 87 categories Portraitof the Artist of is theinclusion planforoursecondcentury partof themaster Anessential EuropeanDrawingsRecently suite ineverydepartment's exhibitions 190 onetoomtobedevotedto smallchanging Acquired,1969-1971 American and paintings forEuropean Twosuchgalleries, galleries. 91 °f permanent UntailoredGarments thisissue. in discussed are and up set been havealready andsculpture, 2 paintings Behindthe GreatWall waysandcan ininnovative canpresentaspectsof theircollections Herecurators A SuspiciousSpinet freedom them giving pieces, familiar with material rarelyexhibited 96 combine EdwinM. Ripin ideas.Andby withallkindsof exhibition to perfecttheirskillsandtoexperiment A Child'sWorldat theMetropolitan 203 involving Museum the program, this in andtheirstudents professors university OutstandingRecentAccessions community. withtheacademic itsassociation 206 hopesto strengthen toillusobjectsfromallovertheMuseum showswilljuxtapose "Omnibus" Frontcover the arthistory.Bycuttingthrough throughout andcrosscurrents tratecurrents An outstandingexample of a French pendulumclock dating between 1745 and 1749, discussed in the article beginl withourunderstandthatinterfere boundaties stylisticorchronological arbitrary on page 154, seen against a Gobelins tapestry. The clo ng was lent by WinthropEdey, L 1971.30.6. The tapestry willemphasize shows these motifs, or of styles,themes, ingof thedevelopment with the armsof Franceand Navarre, is known as Far e (Portiere des renommes); it is after a design by Charl of ourcollections. ofworksof artaswellastherichness vitalinterrelationships Le Brun and urasprobablywoven by Jean Le Suet, ab t 1693-1700.Gift of Mrs. Lionel F. Strauss, in memory topeopleinall resources efforttoextendtheMetropolitan's Inanintensive Lionel F. Strauss,53.57. Photograph:Malcolm Varon[ willcontinueto work Programs of Community theDepartment Frontispiece fiveboroughs, l The splendid movement of gilt brass and polished stee A delightful exhibitions. traveling leadersincreating andcultural withcurators from the mantel clock illustrated as Figure 11 on page Lent by WinthropEdey, L 1971.30.7. Photograph: of theArts. openedatTheBronxMuseum show,Games! ! ! ;Juegos!,recently Bullaty-Lomeo ProTraining Summer 1971 intheMuseum's Backcover bycollegestudents It wasarranged i A watercolorby the eighteenth-centuryartist Giovann Instituteof FineArts. atNewYorkUniversity's students Paolo Panini of one of Rome's most impressive monulments gramandbygraduate the "Spanish Steps," discussed in the article beginnin theeraofgreat reportsandidlespeculation, on page 176. Rogers Fund, 1971.63.1 tonewspaper contrary Finally, will museums several Instead, ended. not has loanexhibitions international loanshow The Metropolitan Museum of Art Bulletin sothatthe"one-sided" exhibitions important inarranging collaborate h1 February/Marc Volume XXX, Number 4 exchange Thisyearwewill to allparticipants. beneficial anexchange becomes Published bimonthly. Copyright (P)1972 by The Metropolitan Museumof Art, Fifth Avenue and 82 Street, New fewyearstheSovietUnion next the within and museums, Japanese with treasures N.Y. 10028. Second class postage paid at New York YN°rY Subscriptions$7.50 a year. Single copies $1.50. Sent andotherSoviet offineartsfromtheHermitage exhibition g°e will sendamajor Museum members. Four weeks' notice required for frheae of address. Back issues available on microfilm from U inRussia. exhibition for show a organize will Metropolitan the turn, In museums. sity Microfilms, 313 N. First Street, Ann Arbor, MicJhnilgaen. Volumes I-XXXVII (1905-1942) available as a cloth unified a as it we areundertaking Althoughthispolicyis many-faceted, reprint set or as individual yearlyvolumes from Arno'bP°rUesnsd 330 Madison Avenue, New York, N.Y. 10017, or fra inthe asenseof realism andmaintains collections ourown thatstresses program Museum, Box 255, Gracie Station, New York, N.Y. 'lmoot2hse Photographs, unless otherwise noted, by the Metro; institutions. allcultural nowaffecting hardships faceof financial Museum's PhotographStudio. Editor of the Bulletin: Katharine H. B. Stoddert; Assistant Editor: Susan Gold Hoving,Director Thomas Art Director: Stuart Siilver; Designer: Joseph del G A

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Magnifieenl Timekeepers An Exhibition of Northern NewYork Collections

European

Clocks

ClareVincent AssociateCuratorof WesternEuropean Arts

Theexterior formoftheEuropeagn domestic clockisags vagrious ags thetagste ofthe country ofitsoriginagnd itsplagce inthehistoryofdesignagnd ornagment cagn magAe it. It is onlybyexamining theseclocksbothinsideagnd out,however,thagt a coherent pattern ofthedevelopment ofclockmaking emerges. A selection from thepresentexhibition ofnorthern Europeagn domestic clocksagt TheMetropolitanMuseum ofArtcanbeusedtoillustrate thisprogression.

1. Oppositeandabove:Pendulumclock discussedon page161. Movementby Baltazar Martinot.About 1675. Height24 inches. Lent by WinthropEdey,L 1971.30.15. Photograph:Bullaty-Lomeo

| hetimeorplaceof theinvention of thefirstmechanical clockremains unknown.Turretclocks,akindof open,iron-framed, publictimekeeper drivenby fallingweights,wereinuseinmostEuropean countries bythemid-fourteenth cent-ury. Similarly conceived clocksforthehousehold, although rareandlimited tothefewwhocouldaffordthem,alsoappeatinthefourteenth century; for example, theinventory of thepossessions of Charles V of France( 1337-1380) records theexistence of twoweight-driven chamber clocks. Butit is onlywhenworksdrivenbya spring,ratherthanbyfallingweights, wereusedthatportable tableclockscouldbeconstructed. Spring-driven clocks became practical when,asearlyas1480,adevicecalledafuseewasemployed to eventheforceof thespringasit unwound. Boththeweight-driven andspring-driven clockdepended onanother invention,theescapement, adevicethatregulated thereleaseof thesourceofpower. Bythebeginning of thesixteenth century, oneof themorereliableandlong-lived escapements, thebalance wheelandbalance stafforverge,wasincommon use. Thespringandfuseewiththevergeandbalance-wheel escapement areall incorporated intheearliestclockintheexhibition (Figure2 ), withitselegant movement ofgildedbrassandpolishedsteel.Stylistically it standsontheborder betweenmedieval andRenaissance clockmaking. EightGothiccolonettes supportaframedividedsothattheupperlevelcontains thesystemthatincludes the sourceofpower,escapement, andgeatingforthehandsof theclock,calledthe goingtrain.Thelowerlevelcontains twosimilatsystemscalledthestriking trains,oneforstriking thehoursonthebellandtheotherforthealarm. Thesmallbutexquisite exterior caseis typically sixteenth century, being 55

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2. Tableclock,with andwithoutits case. Movementby Pierrede Fobis.Height51/8 inches.Lentanonymously

quitearchitectural innatureandembellished withembossed designsthatrival theworkof thegoldsmiths of theday.But,unliketheinterior, it is entirely Renaissance inornament: itscandelabra-like motifis Italianate, andthepierced technique ofitsdomeandfriezehasnumerous parallels insixteenth-century French work.Thecaseis typicalof asmallnumber of surviving examples known tohavebeenmadeinAix-en-Provence. TheinitialsI.M.thatappeatoneachside areprobably thoseof theowner.Themakerof themovement, PierredeFobis ( about1507-1575), is knowntohavemovedtoLyonsasearlyas1535.Since thecasesof hisLyonsclocksaredecidedly unlikethoseof Aix,thisclockwas probably madebetween1550and1555. \ nothermethodof theconstruction of themovement wasonethathoused thespring,fusee,andgeatingbetweenapaitof horizontal plates.ThedrumshapedclockinFigure5 showstheadvantages of suchacompact structure, which,inspiteof itsrelatively smalldiameter, wascapable ofregistering alarge anddiverseamount ofinformation. Thedialonthetopis composed of concentric circles.Sevenhandspassthrough vatiousslotsbetweenthesecircles.Theouter 56

3. Two viewsof an astronomicalclock. Height33/8inches.Lent by PeterD. Guggenheim,L 1971.93.19

4. Automatonclock.About 1570-1580. Height 151/2inches.Lentby Ruthand LeopoldBlumka,L 1971.88.1

system,ortwelve to outmodern thehoutof thedayaccording circlerecords canbe equalhourstwiceaday.Thesmallknobnexttoeachof thehournumerals usedtotellthetimeatnightbytouch,fortheknobatXII is slightlyhigherthan to solatorsundial therest.Thenextcircleshowsthehoutof thedayaccording tothe slightlyinlengthaccording time,ortwelvehourstwiceaday,butvarying decoratimeofyear.Onthenexttwocirclestheshorthandswiththesunburst tionsrecordthetimeof therisingandsettingof thesuneachday,aswellasthe ofequal number daylight intoavarying hours,asystemofdividing Nuremberg tothetimeofyear.Thenextpaitof hands,withthecrescent hoursaccording of moons,showthetimeoftherisingandsettingof themoonandthenumber hoursit is eithershiningordark.Finally,thethreeinnercirclesrecordtheplace relativeto eachother,the of thesunandthemooninthezodiac,theirpositions andahalfdays, cycleoftoughlytwenty-nine ageof themoonwithinitsmonthly orb,itsphases. bicolored and,ontherevolving brass,aswellas stampforAugsburg Onthebase,theclockbearsthepine-cone buttheinterlaced Theclockisundated, maker. of anunidentified themonogram to maybecompared foliatedecorations withflat-chased combined strapwork VirgilSolis( 1514-1562), indicatmaster designsbytheNuremberg engraved notmademuchlaterthan1560to 1570. ingthattheclockwasprobably of a setinmotionbythestriking clockitself,theautomaton Like thedomestic were whentobotEgures century, clockgoesbackatleastasfatasthefourteenth automdomestic thewonderofthepublicturretclocks.Twosixteenth-century One(Figure4) is acockmadeof intheexhibition. atonclocksareincluded itswingson motionsandflapped gildedandpaintedcopperthatmadecrowing thehour. highqualityof is of anextraordinatily Themetalbaseof thisautomaton assnakes,lizards, motifs such natural mixture of It is acurious craftsmanship. inItaly.InGermany withtherusticstylethatoriginated andsnails,associated of Nuremberg WenzelJamnitzer withthegoldsmith thestyleis associated strapwork withup-to-date (1508-1585). Thesenaturalmotifsarecombined (1528-1598). de Bry Theodore of the engravings designsthatcloselyresemble r ^

clock.The theEuropean changed radically of thependulum headoption whetherthe theescapement, forcontrolling of thependulum greatadvantage deis that,unlikeearliercontrolling orweight-driven, clockbespring-driven periodofitsown.Thatis to hasadefinite pendulum vices,thefreelyswinging both willswinganequaldistance thependulum saythatunderidealconditions, providing of time, amount totherightandto theleftof agivenpointinanequal of ofbyallbutthemostingenious undreamed formerly adegreeof accuracy clockmakers. domestic of timekeeping forthepurpose of thependulum Theclaimsfortheinvention clockmaking, of European purposes havelongbeenindispute.Forthepractical beginswiththegreatDutchphysiofthependulum thedevelopment however, 159

5. Hagueclockandits pendulummovement. Movementby BenjaminLisle.Probably about1678-1685.Height 141/2inches.Lent by WinthropEdey,L 1971.30.19

Stst Huygens(1629-1695). Huygens's Christiaan cistandmathematician inDecember 1656.A yeatlaterSalomon wasinvented versionof thependulum Huygens's patentrightsformaking exclusive CosterofTheHagueobtained immefamilyof Londonclockmakers clocksinHolland.A prominent pendulum tobeapprenticed toCoster.TheFromandiatelysenta son,JohnFromanteel, intheLondonMercuriusPoliticus of October27, teelswereabletoadvertise of Clocksthatgoexact 1658,that"Thereis latelyawayfoundoutformaking timethananymadewithoutthisregulator...." andkeepequaller table pendulum adapted tofitaspring-driven of theHuygens A fineexample inFigure5. Theclockis theworkof theRotterdam ormantelclockappears woodencasesurmounted Benjamin Lisle.It is housedinarectangulat resident typethatcametobeknownasaHague anarchitectural byabrokenpediment, andblackebony caseof redtortoise-shell clock.Lisle'sclock,withitsvaticolored withAntwerp, theconnections of thesouthDutchcasemakers veneer,reflects thetwomaterials. whospecialized incombining thenthecenterof cabinetmakers itsDutchratherthanFlemishorigins. however, bespeaks Itselegantseverity, touseintheirclocksalmostimmealsoputthependulum 1t nglishclockmakers of making asturdycasetohousethedelicate,elongated diately.Theproblem of andbulkyweightswassolvedduringthecourseof theevolution pendulum clock. or,morepopularly, thegrandfather thelongcase Englishsolution: butmuch-prized of oneshort-lived Figure6 is araresurvival East longcase clock.It wasmadeabout1670-1672byEdward theminiature of Clockmakers Company wardenof theWorshipful ( 1602-1697), acharter craftsofEnethoughrestrained formedinLondonin 1631.TheEnglishtradition Thefaceis ofgildedbrass,thecenter,matte canbeseenthroughout. manship is of silveredbrass;thehands andthechapter ringbeatingthenumerals Snished, andfretwork columns areof cutandbluedsteel.English,too,arethebaroque veneering andgeometrical onthehoodand,aboveall,therare"oyster-cut" case. onthesubtlyproportioned parquetry r

6. Above:Miniaturelongsaseclock.Movementby EdwardEast.Height5 feet 5 inches. Lentby WinthropEdey,L 1971.30.11. Photograph:Bullaty-Lomeo 7. Opposite:Longsaseclock.Movementby ThomasTompion.Height 7 feet 7 inches. Lentby PeterD. Guggenheim,L 1971.93.13. Photograph:Taylor& Dull, Inc.

a heEnglishperfectedthelongcaseclock.Fortherewereanumberofprob-

timekeeper it wastobecome thependulum thetrulyaccurate lemsinmaking hadtobe century. First, the pendulum the course of tlle eighteenth during hadto A newescapement andthearcof theswingtobeshortened. lengthened eflect of well as to diminish the retarding to help shorten the arc as befound of frictioncaused Next,theproblem onthependulum. theoldvergeescapement hadtobelessenedasmuchaspossible,andfinallytheeGectof byaitresistance hadto andcontraction of thependulum intemperature ontheexpansion changes Tompion clock(Figure7 ) byThomas ThemagniScent longcase beovercome. practical, andenduring solutionsto allbut precise, ( 1639-1713) incorporates themostfamousandinventiveLondon is probably thelastof these.Tompion theillustrious familiesof theFromanteels, inthegroupthatincluded clockmaker 160

thecase East.TypicalofEnglishrestraint, theKnibbs,andJamesandEdward walof theburlmulberry, clockreliesforitseffectontherichness ofTompion's Herethebasewas andonitssuperbproportions. veneering nut,andkingwood East'sclockinorder forEdward madetallerandwiderthanhadbeennecessary aswellastheweights.Thehood pendulum thethitty-nine-inch toaccommodate of base.Themovement, theheavier withahightoptobalance hasbeenprovided ustodatetheclockabout1697. 223,permitting isnumbered duration, amonth's wasleadingtheSeldin thelatterpartof thesevenWhile Englishtechnology ofPatiswerealsoprotheclockmakers centuries, teenthandearlyeighteenth Thetrulymagnificent clockorpendule. of thependulum vidingfineexamples oftheperiodgavePatisclocks orcasemakers bytheebenistes provided cabinetry insplendor. theadvantage The religieuses. clocksarecalledpendules Theearliestof thesependulum XIV. Louis of reign the during 1690, to 1670 about from itsheight stylereached example(Figure1) wasmadebyBaltazat beautiful Anearlyandespecially manyof tothekingsofFrance, ofclockmakers line long of a amember Martinot, of theLouvre.AEne tenantsof thetoyalworkshops whomwerealsoprivileged tortoiseshell, ebony, with veneered is the clock sobriety, and color of balance fruitandfoliatedesigns.Itsarchirealistic withrelatively andpewterengraved by surmounted ivorycolumns baroque the by emphasized is character tectural of ebonyandgildedbronze. anentablature whichsupport gildedbronzecapitals, toofinshape,is mansard a like rather top, at the bell the for Theenclosure thefaceis of urnsofgildedbronze.Incontrast, witheightflaming decorated ringofhours,exbrasschapter blackvelvetwithasimple,butclearlymarked, cutbrasshands,andagildedbronzereliefof FatherTime,whois seated quisitely ring. thechapter andsupports nameplate onthemaker's rr

andebeniste ofclockmaker collaboration X henextclock,a tour-de-/orce Here,how(Figure8 ), is,liketheoneabove,signedonlybytheclockmaker. theidentityof the of theperiodareof greathelpinindicating ever,documents artistsinvolved. arebothsignedI. Thuret,foreither of themovement Thedialandbackplate intheLouvre thetwelfthlogement or workshop IsaacThuret,whooccupied Thuret(working1694-1738), whosucceeded from1686until1694,orJacques for to theking(thecharacter andtitleasclockmaker tohisfathet'sworkshop duringtheperiod) . I andJ beinginterchangeable Boulle,whogavehisname thedesignofAndre-Charles Thecaseis certainly pieceattributed of an onthisclock.A drawing identical tothetypeofveneering in of theMuseedesArtsDecoratifs inthecollection toBoullehimselfsurvives editionof Boulle's thedesigninanengraved Patis,andlaterMatiettepublished work. alogement attheLouvrefrom1672until1725; occupied Boulle'sworkshop 161

8. Opposite(left): Clockanddetailof its centerpiece, FatherTimeCarrying ODA Truth. Caseattributed to Andre-Charles Boulle, movement signedI. Thuret.Thebaseof thisclockincorporates a barometer dial of tortoiseshellandbrass.About1690-1695. Height45Y2inches.LentbyWinthrop Edey,L 1971.30.13.Photograph: BullatyLomeo 9. Opposite(right):Clockwithcalendar, alsoillustrated onthecover.CasebyJeanPierreLatz,movement byJeanCharost. Height7 feet5 inches.LentbyWinthrop Edey,L 1971.30.6.Photograph: BullatyLomeo

inaddition, hewasrelatedtotheThurets bymarriage. Certainly, theextremely highqualityof craftsmanship thatwentintotheexecution of thiscase,aswell astwoothersurviving clockslikeit, supports thelikelihood thatallthreeare products of themasterebeniste's workshop. BoulleislistedintheFrench Archives Nationales (Arch.I, 222) asacabinetmaker, makerof marquetry, andgilderandchaserofbronzes(acombination not usuallypermitted byPatisguildrulestoguildmembers outsidetheprecincts of theLouvreworkshops ) . Hewas,therefore, quitecapable of executing theextraordinary reliefof FatherTimeCarrying OffTruth,thecenterpiece of theclock. Compatison of thereliefwiththerestof themountsontheclock,however, arguesthatit is theproduct of afatmoreoriginal mindthantherest,andit is tempting to supposethatthedesignforthereliefmighthavebeenprovided by Charles LeBrun( 1619-1690), courtpaintertoKingLouisXIV.LeBrun,who asdirector of theRoyalManufactory atGobelinsoftenprovided designsforthe furniture andtapestries madethere,is knownto haveprovided designsalsofor theartistsof theLouvre, amongthemBoulle'sneighbor, thesculptor FranSois Gitardon. French clockswithlongpendulums andweights,calledregulateurs, were rarelyamongthegreater aesthetic successes of theFrenchebenistes. Figure9 is oneof theoutstanding exceptions. It wasmadebyJean-Pierre Latz(about 1691-1754), aGerman bybirth.Thecaseis notablenotonlyforitsgraceful outlines,butalsoforitssplendid kingwood veneering anditsgildedbronze mounts,eachstamped withthecrowned Crequired forbronzes castinPatis duringtheshortperiodfrom1745until1749.Latzhaddifficulties withtherival guildofbronzefounders astheresultof hissurreptitious useof hisownbronze castings, andrecords showthataquantity ofhismountswereseizedin 1749for thisreason.Herethefinebalance betweentherelatively restrained, butexquisitelyfinished, tococomountsandthecharming butequallysedatetendrilpatternsinthewoodenmarquetry wouldindicate thatthesensibility of thesame superbcraftsman hadindeedbeenresponsible forboth. Themovement, signedonthedialandbackplate byJeanCharost ( master clockmaker in 1737,recorded working fortheKingof Spainin 1771), isunusuallycomplex andsignalstherevivalof French interestintechnical innovations. boutthemiddleof thecentury, themaking ofcasesformantelclocksbegan topassoutof theprovince of theebenisteandintothehandsof thebronze founder, porcelain maker, andmarble cutter.Caseswereoftencloselyrelatedto thesculpture andsmalldecorative objectsof theperiod.Thefashioncontinued intothereignof LouisXVI ( 1774-1792), whenthecurvedforms,asymmetrical arrangements, andCscrollsthatarethesignature of thetococodesigner were superseded bythestraight linesandmoreformalstructure preferred bytheneoclassical artist. 63 A

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10. Oppositeandabove:Mantelclockand detail.Statuettesprobablyaftermodelsb : yte AugustinPajou,movementby Jean-Bapti Lepautethe younger.Height37 inches. Gift of J. PierpontMorgan,17.190.2126

11. Below:Mantelclock,also illustratedaIS thefrontispiece.CasebyXavierHinderme Xyer, Breguet. movementbyAbraham-Louis Height231/2inches.Lentby WinthropEzi,ey, L 1971.30.7.Photograph:Bullaty-Lomeo

betweenthetwostyles,being thetransition TheclockinFigure10represents thanthetococo,andmoreplayful andclearlystructured bothmoremonumental baseof white design.Itsrectangular thanthetrueneoclassical andasymmetrical withareliefdepicting ornamented apedestal andgildedbronzesupports marble incensebeforethealtatof theinfantgodEros.The amotherandchildburning withgilded theclockdial,acopperspherescattered inturn,supports pedestal, houtandminuteringsof enamel revolving bronzestarsanddividedbyseparately andgiltbronze. in bronzestatuette Erosontheleft,arespectable TheEgureoftheyouthful itself,pointswithhisarrowto thehour.Aboveis achetubholdingawreathof AttherightsitsFather heldanhourglass. grapesandafloralswagthatoriginally matchAugustin Thesethreebronzes statuette. reallyStst-class Time,another in 1775foraclockforthe ofpartof agrouphemodeled Pajou'sowndesctiption BillarddeBeliClaude the architect by provided PrincedeCondefromdesigns of Love theTriumph theyrepresent sard(working1722-1790), andtogether is verycloseinstyleto thereliefEgureof Apolloof overTime.Eros,especially, commissioned carvedandgildedwoodinthefoyerof theOperaatVersailles, in 1770. fromthesculptor the is evidently aPatis"onthedial,theclockmovement Signed"Lepaute totheking,andbrother clockmaker theyounger, Lepaute workof Jean-Baptiste Jeanbooksonclockmaking, French of theauthorofoneof themoreinfluential of 1775, in 1760.InSeptember Ststappeared Andre,whoseTraited'Horlogerie attheLouvreand workshop movedintohisretiredelderbrother's Jean-Baptiste of the Pajou.Onceagain,asintheexample of thesculptor theneighbor became indecorative thattheveryhigheststandard earlierThuretclock,it appears artiststo thecrown. clockswasindeedsetbytheappointed French rr

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theendof thereignof LouisXV ( 1723-1774), aSwissof French | oaTard becameanapprentice Breguet namedAbraham-Louis extraction Huguenot to theking, hewasnevermadeclockmaker Although atVersailles. watchmaker to LouisXVIand commissions ofhisfirmshowthathesupplied therecords themtobecomethemostfamousclockboth.Hesurvived MatieAntoinette period. makerof theNapoleonic Hebothinventedandadapted wasinprecision. greatachievement Breguet's intheexhibidecheminee heneeded.A mantelclockorregulateur themethods Therectan30,1822. August on Breguet from tion(Figure11) waspurchased andglasscase,statedinthebilltobetheworkof the gularmahogany-veneer is simplyavitrineforthe XavierHindermeyer, Patise'be'niste German-born visible andpolishedsteel.Clearly ) ofgilt-brass (Frontispiece movement splendid weights. and arbors, pinions, wheels, is aforestof eitherthefrontandsidesof the canbeseenthrough Allofthesemechanisms mantel.The onamirrored placed clock is the back, when vitrineorfromthe portionof theclock,asit was againhasbecomethemostfascinating movement Stst madeintheMiddleAges. were clocks turret mechanical open-framed when 165

Ata timewheneveryone speaksof thecrisisfacingthearts,whenmoneyis tight andculture"itrelevant," it'sheartening tonotetheemergence of severalvigorousnewcommunity museums inNewYorkCity.Withinthepastyear,E1Museo delBarrio,theBronxMuseum of theArts,andtheStorefront Museum have openedtheirdoorsasgrass-roots institutions, bridging thegapbetween"culture" andeveryday life. Theirsuccessis animportant conSrmation of theMetropolitan's positionthat SusanBadder theimpetusforacommunity museum mustcomefromthepeoplethemselves. wefeel,foranylargecultural Associatein Charge It wouldbearrogant, powerto setupitsown of Community Programs branchmuseums, carboncopiesof itself,regardless of theneedsof thecommu66

Three Fledgling Museums

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nity.Insteadof invadinganareawithpreconceived ideasandprojects,the Metropolitan helpedthefounders of eachof thesenewneighbothood centersto givesubstance to theirownaims;weofferedsuggestions andadvice,notcut-anddriedformulas. Andweshared notonlyworksof artbut,moreimportant, the know-how of ourstaff.Whether helpingtodraftjointfund-raising proposals, lendingcasesandotherexhibition materials, orproviding exhibitinsurance, the Metropolitan putits experience andexpertiseon thelinein behalfof these younger cultural institutions. Thereis muchmoretobedone,however. Manystumbling blockshavetobe clearedaway.Forexample, amongprofessional museum organizations thereis arestrictive legaldefinition of amuseum asaninstitution possessing andutilizing acollection: thiscontradicts thepurpose of thesecommunity centers,which placemostemphasis ontheflexibility ofpresenting changing exhibitions, not acquiting permanent collections. And,beforeallocating funds,manyfederal agencies demand thatanapplicant haveastaff,aconcrete program, andstrong financial support-exactlythethingsthatthesemuseums needmoneyfor!Then, beforeobjectsof anyvaluecanbeborrowed, themuseum mustbeinsured, but it'sverydifficult toobtaininsurance policiesinso-called high-risk areas. It is theresponsibility of established museums tohelptheityounger colleagues overcome suchobstacles. Thesecenterscontinue toneedtremendous support if theyaretosurvive.Butthissupport mustnotbedogmatic orrestrictive: the museum mustbecreated byitscommunity andshapedbyitsinterests. Theyneed ourhelpinshowingthemhowtoaccomplish thegoalstheychooseforthemselves . El Museo del lBarrio

Inarenovated brownstone at206East116StreetinManhattan, E1Museodel Barrio is thecity'sfirstmuseum ofPuertoRicanhistoryandculture.Thechildof Community SchoolBoardDistrict4, undertheStateUrbanEducation Fund, E1Museo'sprogram willencompass atraveling collection of slides,photographs, andoriginal worksbyPuertoRicanartists,aseriesof artist-in-residence workshops,aswellaschanging specialexhibitions. Energetically directed byMartha Vega,aformerpublicschoolteacher, E1Museohassetaboutmaking Puerto Ricanchildren awareof theitowncultural heritage, andthereby opento the cross-fertilization ofcultural experience. Sinceopeningatitspermanent home inJuly1971,E1Museohaspresented severalspecialexhibitions, including Homenajea NuestrosPintores( "HomagetoOutPainters" ) andTaino( aculturalstudyof theTainoIndian,nativeof PuertoRico) . TheMetropolitan Museum hasbeenabletohelpMrs.Vegainobtaining insurance forherexhibitions,whileproviding continued technical assistance fromtheDesignDepartment,andtheDepartment of Community Programs andtheothereducation departments. TheMuseum willcontinue toworkcloselywithMrs.Vegaand thestaffof E1Museoastheydevelopprograms, educational kits,andexhibitions relatedto thePuertoRicanexperience. 167

The Bronx Museum of the Arts

TheBronxMuseum of theArtswasinaugurated onMay12,1971,withanexhibitionofpaintings fromtheMetropolitan intheRotunda of theBronxCounty Courthouse, at 161StreetandTheGrandConcourse. Thiscrystallized morethan fouryearsof hardworkonthepartof IrmaFleck,Executive Director of the BronxCouncil ontheArts(BCA) andcountless others.Theshowhadbeen selectedbytheBronxCouncil ontheArtsandinstalled bytheMetropolitan; it wasopento thepublicfreeof charge,sevendaysa week.Museum-trained volunteerguidessupplemented theSpanish-English catalogue forthemorethan 15,000peoplewhovisitedtheexhibitduringthemonth.A grantfromtheNew YorkStateCouncilon theArtsenabledtheBCAto hireWilliamMiller,a Cooper Uniongraduate andMetropolitan Museum trainee,to directthenew museum's program. Thepanelsandlightfixtures designed bytheMuseum's DesignDepartment areadaptable toagreatvatietyof exhibition situations, and havealready beenrearranged toaccommodate showsfromHUD,theSouth BronxCommunity ActionTheater, theBronxHistorical Society,andmost recentlytheexhibition Games! ! ! ;Juegos!, withobjectsselectedfromthe Metropolitan's collection. Thinking intermsof amultifaceted, multicenter approach to theartsinthe Bronx,theBCAviewstheRotunda anditsschedule of changing exhibitions as onlyPhaseOneof theirprogram. Plansdesctibeachainofmanymuseums - workshopsintheperforming andappliedartsaswellasexhibition space- throughout theborough, connected byavancirculating materials, exhibits,andpersonnel. 168

Storefront

Photographs:Cheryl Rossum

Museum

AnoasisinSouthJamaica inQueens,TomLloyd'sStorefront Museum, at 162-02Liberty Avenue,wasestablished thispastsummer inresponse to the resultsof acommunity cultural survey.Believing thattheartscanbeameansof "instilling prideandidentity," Mr.Lloydhassecured a{ive-dollar-a-yeat lease onaformertire-dealer's garage, andencouraged community participation inthis museum devotedtoblackhistoryandculture.Through suchethnically relevant exhibitions asAfricanImagesandGeographicSceneAfrica- costumes, jewelty, andartifacts fromtheTribalArtsGallery-Storefront hassoughttodevelopa cultural orientation inthepeopleofitsneighbothood. Anartisthimself,Mr. Lloydis awareof theimportance of galleryspaceforcommunity artistsand schedules programs accordingly. TheStorefront is openeveryday,without charge. Specialtoursarearranged forschoolgroups,youthorganizations, and seniorcitizens.In averyshorttime,theStorefront hasbecomethecultural center of thecommunity, servingasafotumfortheexchange ofideasandexperiences fromthedrugscenetothefinerpointsofphotographic technique, andfrom African ceremonial costumes to theexpression of BlackSolidatity Day.

Books

Medieval Monuments at The Cloisters AsTheyWere and AsTheyAre

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Manyof the mostimportantarchitectural elementsat The Cloistersarediscussedand illustratedin a new, enlargededitionof MedievalMonumentsat The Cloisters:As TheyWereandAs TheyAre,whichshows how theylookedin theiroriginallocations andas theyarepresentlyinstalled.This book, firstpublishedin 1941,was writtenby JamesJ. Rorimer,formerdirectorof the MetropolitanMuseum,muchof whoseearly careerwas devotedto makingThe Cloisters a masterlypresentationof the artandarchitectureof the MiddleAges.Handsomely revised,the bookhasbeenbroughtup to dateby Mr.Rorimer'swidow, Katherine SerrellRorimer.The followingchapters indicatethe scopeof its contents.81 pages, 103 illustrations.81/2x 11 inches.Paperbound,$4.95; clothbound,$6.50.

1, 2. Opposite,above:Fragmentsfromthe cloisterof the Benedictineabbeyof Saintin Verniere'sgardenat Guilhem-le-De'sert Aniane(before1906) 3. Opposite,below:The Saint-Guilhem columnsinstalledat the BarnardCloisters (1925)

4. Above:The Saint-Guilhemarcadesand gardencourtat The Cloisters.25.210 5. Right:The monasteryof SanPedrode Arlanzain 1930

The Saint-GuilhemCloister The Benedictineabbeyof Saint-Guilhem-leDesertnearMontpellierin southernFrance was foundedin 804 by Guilhem,countof Toulouseanddukeof Aquitaine,one of paladins.Guilhem'scolorful Charlemagne's deedspriorto 806, when he becamea monk andtookup residenceat the monastery, madehim a heroof manychansonsde geste, andhe was eventuallycanonized.The abbey was animportantstopon the pilgrimage routeto Santiagode Compostelaby the early twelfthcenturyandoverthe yearsgrewin wealthandinfluence.Accordingto a cartularyof the monastery,"newcloisters"were builtbefore1206, andtwo plansdated 1656 indicatethatthe "newcloisters"consistedof an entireuppergalleryandtwo sidesof the earliercloisteron the groundfloorlevel. It is probablethatthe stonework now at The Cloisters fromSaint-Guilhem camefromeitherthe upperor lower arcades of the "newcloisters." The subsequenthistoryof the monastery follows the frequentpattern.The French Revolutionbroughtaboutits abandonment andresultedin its sale.It becamea cotton mill andthen a tannery.When theseundertakingswerenot successful,the cloisterfell into the handsof a stonemason,who exploitedit as a quarryfor manyyears.Parts of the lowercloisterarestill standing adjacentto the abbeychurch,but the Calvinists, who took possessionin 1568,wrought havocto suchanextent thatthereis no

wayof determiningthe originallocationof the elementsnow at The Cloisters.Mostof the carvedfragmentsfromthe uppercloister weregatheredtogetherin the nineteenth centuryby PierreYon Verniereat Aniane. Althoughhe placedthemas decorations in his garden( Figures1, 2 ), usingmanyof the Snestcolumnsto supporta grapearbor, goodconditheyremainedin extraordinarily tion. This materialwas acquiredby George GreyBarnardandplacedin a picturesque settingin his New Yorkbuilding( Figure3 ) . In the FortTryonParkbuildingthe Saint-Guilhemcolumnsarearrangedin an setting ( Figure4 ) suggestedby architectural at Arles, the cloistersof Saint-Trophime Montmajour,andSaint-Paulde Mausoleat The highwall abovethe arcades, Saint-Remy. piercedby slits, madepossiblethe use of a skylightthatis not conspicuousfromthe walksandpermitsthe effectof an uncovered cloistercourt.

The FrescoesfromSanPedrode Arlanza Thesetwo fine survivors( Figures7, 8 ) from a noble seriesof frescoescomefromthe monasteryof SanPedrode Arlanzain the provinceof Burgosin Spain.The monastery was foundedpossiblyby the Visigothicking Wallia,but moreprobablyby the greatcount of Castile,FernanGonzalez,who bestowed favorsuponit earlyin the tenthcentury.The churchwas begunin the eleventhcentury,

6. Opposite,above:The lion in the chapter houseat Arlanza(before 1930) 7. Opposite,below:The lion fromthe chapterhouseof SanPedrode Arlanzaat The Cloisters.31.38.1 8. Right:The dragonfromthe chapterhouse of SanPedrode Arlanzaat The Cloisters. 31.38.2

andbuildingcontinuedin subsequent centuries.It is now in ruins( Figure5 ) . The chapterhouse,southeastof the apse, musthavebeenbuilt in the earlyyearsof the thirteenthcentury,whenit was covered fromfloorto ceilingwith frescoes.The room, originallyaboutthitty-foutfeet squareand twelvefeet high,was completelyremodeled in 1774,or pethapssomewhatearlier,to permitthe buildingof a grandstaircase adjoiningthe largecloistercompletedin 1617. All the frescoesthatwerenot demolishedweretoughenedby pickmarksso thatthe new layerof plasterwith whichthey werethencoveredwouldadhereproperly. The monasteryat Arlanzawas nationalized whenchurchandconventualpropertyin Spainwas sequesteredin 1836 and 1837, and practicallyall the buildingsweresoldby nationaldecreein 1845 to a privatecitizen. Underthe consequentneglectthe toof of the chapterhousecollapsedandthe plaster, whichfor yearshadprotectedthe walls, beganto ctumbleaway.Littleby little the paintingswereexposedto the elements ( Figure6 ) . Whateversurvivedthe actionof rainandwind was removedto safetysometimebefore1929; othetwiseverylittle would remainof theseimportantfrescoes. Originallythe lion was one of a pait that

guardedthe entranceto the monastery's chapterhouse.At The Cloistersit hasbeen placedto the left of the doorto the Cuxa Cloisterto suggestits originallocation,anda dragonsubstitutesfor the missing counterpart. The Virginfromthe ChoirScreen of StrasbourgCathedral The greatchoirscreenthatwas completedby 1252for the cathedralof Strasbourgwas a workof majorimportancein the Gothic world.Althoughthe screenwas demolished in 1682 to createthe spacerequiredfor changesin the ceremonyintroducedin the timeof LouisXIV, we haveknowledge of its appearance. A nineteenth-century woodcutmadeafteranengravingof 1630 by IsaacBrunnshowsit in place ( Figure11 ); anda drawingof about1660 now in the Landesbibliothek, Stuttgart,whichwas to havebeen usedin an illustratedhistoryof the cathedral,presentsthe choit screenas seenfromthe navewith the eightlarge Eguresthatembellishedthis side ( Figure 12 ). In a detaildrawnabovethe screen,the Egurefourthfromthe left is repeatedand identiSedas the VirginandChild. Manyof the Eguressurvivedthe destruc-

tion of the screen,andseveralmet with disaster.The cathedralarchitectat the time of the demolitionput certainsculptures fromthe choirscreenin nichesof the north tower.Somepartswereusedfor S11under the floorof the choit andremainedthere until the mid-nineteenthcentury.Ten of the Sguresandseveralfragmentscannow be seenin the Museede l'OeuvreNotre-Dame behindthe cathedral.We canonly guess whathappenedto the Virgin ( Figures9, 10 ) . All we arecertainof is that she appearedin the Londonsaleof the J. H. Fitzhentycollection in November1913 as a Efteenth-century Madonna.The sculpturewas purchasedby AlphonseKannandcameonto the market againfollowinghis death.Out investigationsin the neighbothoodof Strasbourg turnedup the informationthat the person who hadsold the Virginto Fitzhenry hadpurchasedit froma merchantof lighting Sxturesin Sarrebourg. The fact thatthe palaceof the bishopof Strasbourgwas in Sarrebourg permitsthe interestingconjecturethat the bishoptook the sculptureto his residencewhen the screenwas destroyed. The identiScationof the statueof the Virginat The Cloistersas the Egurein the seventeenth-century sketchdramatizesthe Endingof a masterpiecelong consideredlost.

9. Opposite:Detail of the headof the StrasbourgVirginat The Cloisters.47.101.11 1Q.Nearright:The StrasbourgVirginat The Cloisters 11. Farright:A woodcutmadein the nineteenthcenturyfroman engravingof 1630 showingthe snteriorof the cathedralof Strasbourgwith the choirscreenin place 12. Below:A sketchof the choirscreenmade abo?t 1660 In the drawingthe Christchildis shown seatednext to the Virginon a rosebushand holdinga roundobjecton whicha birdis perched.The Childis now missing,as arethe Virgin'sforearmsandthe angelsthatsupportedherveil, but the Cloistersstatueis beyonddoubtthe one in the drawing.It compareswith ten survivorsin Strasbourgin style, size,material,andpolychromyand hasthe samekindof ironattachmentusedfor securingit to the screen. The layersof overpaintwith whichthe statuewas coatedat the timeof its purchase both concealedits identityandprotected the originalpolychromybeneath,bequeathing it to the modernworldin a pristine conditionrarelyexperiencedin these times.

An EighteenthCentury Rolnan View Panini's Scalinata della Trinita dei Monti LindaBoyer Gillies Assistant Curator ofDrawings

OneneednothavebeentoRometorecognize thesubjectof Giovanni Paolo Panini's beautiful watercolor, recently acquired bytheMetropolitan Museum (Figure1) . The"Spanish Steps,"or,moreproperly, theScalinata dellaTrinita deiMonti,hasbeenrecorded ininnumerable drawings andphotographs by thousands of touristssinceitscompletion in 1725(Figure2 ) . Infact,onemight thinkof theMuseum's Paniniintermsof aneighteenth-century colorsnapshot, fortheartisthascaptured thescenewithphotographic accuracy. Hehasmeticulouslynotedthearchitectural detailsof thestait:thecomplex patternof the balustrades, thesubtlerelationships of theanglesandplanes,andthedetailsof thefountain belowandthesurrounding buildings. Butthedrawing is morethan anexactrecordofoneofRome'smostimpressive monuments justafterits completion - it alsoprovides aspontaneous glimpseof Romanlife.Figures rushingupthestaironanerrand, ladiesandgentlemen stopping tochat,youngboys playing - themoodis busyandgay.Shadows areindicated withsuchcarethatit is possibletodetermine thatthesunwasintheeastandit wasmorning. Thecleric withhisentourage atthefootof theScalinata canbeidentiSed asEnglishor French byhisblacksuitandfallingbands.Hemayhavecommissioned thesheet fromPaniniinabout1730,asa souvenir of histriptoRome. Accurate cityviewsthatcaptured therealityof themoment werearelatively newartformineighteenth-century Rome.Italianartiststhereatthetime,such

Thelsill,atthesummitof whichstandsthemonastery of theFrench orderof Minims, iscovered witth a whitemarble cloakthatformswhatis withoutadoubtthelongest andwideststaircase inall Europe. Charlesde Brosses, Lettreshistoriqueset critiquessurl'Italie(1799)

1. Opposite:In this watercolor- a charming glimpseinto 18th-centuryRomanlifeGiovanniPaoloPanini( 1691 /92-1765) depictsthe famousScalinatadellaTrinita dei Monti,knownas the "SpanishSteps." 13 11/16 x 11 9/16 inches.RogersFund, 1971.63.1 2. Right:Whilethe cameraratherthanthe

artist'sbrushor pencilis now usuallythe mediumfor recordingimpressionsof Rome, the Scalinata,bustlingwith activity,remains a favoritesubject.Photograph.ENIT, from the ItalianStateTouristOf ice

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3. DutchartistGasparvanWittel, called Vanvitelli(1653-1736), wasone of the fiErst foreignview paintersto receiverecognition in Rome.Thisscenewasexecutedbeforethe Scalinatawas built,but it showsthe church at the top of the PincianHill to whichthe stairwouldlatergive access.Temperaon parchment,9 x 171/8inches.GalleriaNazionale,Rome.Photograph:GabinettoFotoNazionale,Rome grafiico

onhistorypainting LutiandPompeoBatoni,tendedtoconcentrate asBenedetto tobe purelandscape style;theyconsidered andworkedina solemn,classical leftto been had painting View merit. artistic great andwithout ratherfrivolous century foreignartistslivingandworkinginRome,andduringtheseventeenth inthe early came who Artists there. asmallDutchschoolhadbeguntoflourish forexample Breenbergh, andBartolomeus vanPeolenbergh century-Cornelis scenesin the idealized Lortainandoften byClaude influenced - werestrongly andhisfollowers, Rome.WhilePietervanLaer,calledBamboccio, andaround ontoRomanlife, window" thoughtof theitworkas"anopen theBamboccianti, views.Johannes thaninarchitectural moreingentesubjects theyspecialized precise,if rather WilhelmBaut,amongothers,hadacertainsuccessincreating hadagrowing thesenortherners dry,viewsforthetouristtrade.Although nonewereadand peers, fromtheitRoman recognition public,noneachieved of St.Luke,Rome'soldestandmostdistinguished mittedtotheAcademy of art. academy foreignpainter wastheStstsuccessful GaspatvanWittel,knownasVanvitelli, toRome came He Panini. on influence views,andhehadanimportant ofRoman Meyer, forCornelis fromHollandin 1674or1675andworkedasatopographer from drawings many did Wittel Van Amsterdam. from engineer ahydraulic styleofhisown.Asaresultof adistinctive nature,andby1680haddeveloped andgaietyof Romanlife, bustle the in choiceofviewsites,interest hisoriginal gainedhimthereputation oflightandshadow,hispaintings andsubtletreatment of to theAcademy elected was he 1711 In Rome." modern of "thepainterof 78

St.Luke,atributeindicating thathislandscapes wereconsidered tobeartistically validandsalable.Canaletto is thoughttohaveseenandadmired VanWittel's workwhenhevisitedRomefromVenicein 1719. TheyoungPaninimusthave studiedthepaintings ofVanvitelli withsomecare,forseveralof hisviewsare almostidentical toexamples bytheolderartist.Whilethereis noknownrepresentation byVanWittelof theScalinata seenfrombelow(it wascompleted at theendofhiscareer), hediddoviewsfromuponthePincianhillin 1681, 1683 (Figure3), and1714, andthesemayhavebeenknownbyPanini. Giovanni PaoloPaniniarrived inRomein 1711 atabouttheageof twenty, havingcollaborated forthreeyearsinhisnativePiacenza withthearchitect and decorative painterFerdinando Bibiena. HestudiedwithBenedetto Lutiuntil 1718, whenhereceived acommission todecorate severaltoomsinthevillaof Cardinal Giovanni Patrizi.Panini's reputation wasthusestablished, andhewas electedto theAcademy of St.Lukein 1718-1719. Throughout hislongand successful careerPaninididmanyimaginary classical landscapes andmythologicalscenesforhisRoman patrons, andtheyfatoutnumber hisviewsof Rome. Nevertheless, severalcanvases of speciScviewscommissioned byRomans do survive,including TheLotteryinPiazzadiMontecitorio, forwhichtheMuseum possesses alarge,vivacious study. Themajority of Panini's Romanviews,someofhisgreatest works,werecommissioned byrepresentatives of foreigngovernments. Forexample, theSpanish ambassador toRomein 1727 ordered acanvasrepresenting thefestivitiesin thePiazzadiSpagna ontheoccasion of thebirthof theInfanta.Theartist'sconnectionwithFrance wasparticularly strong,forPanini's brother-in-law, the genrepainter NicolasVleugels,wasdirector of theFrenchAcademy inRome from1724 to 1737; in 1732 Paniniwasmadeamember of thatAcademy. Asa result,agreatmanyofhisofWicial commissions camefromFrenchdiplomats and ecclesiastics. Theyoungartistcaughttheattention of Cardinal Melchior de Polignac, charge d'aSaires inRomefrom1724 to 1732 ( Figure5 ) . A powerful Sgureandoneof thekeyofEcials intheplanning andconstruction of theScalinata,hewasdescribedby acontemporary as"amanof meritandwit,witha nobleandaSablemanner." In 1729hecommissioned Paninitodoalargepaintingof Polignac himselfdirecting preparations inthePiazzaNavonaforthe festivities celebrating thebitthof theDauphin. Thecardinal waspleasedwith thepictureandlaterthesameyeatordered acanvasdepicting hisvisitto St. Peter's.Inaddition to severalmorefromPolignac, Paninireceived commissions fromsuchotherFrench patronsastheCardinal deCanillac, aminister atthe embassy inRome,andtheCardinal delaRochefoucauld. Inthelate1750sPanini didfourcanvases fortheDucdeChoiseul, atonetimeambassador toRome. InviewofhistieswithFrance, it is notsurprising thatPaninishouldhave chosentorepresent theScalinata, forthemonumental architectural complex of thechurch, theTrinitadeiMonti,atthesummitof thehill,thesteps,andthe buildings thatflankit atthebottomwerecommissioned andpaidforbythe French overaperiodof almostthreecenturies. Onlythefountain atthebaseof thestepswasISnanced bytheRomans. Untiltheseventeenth century theentire 179

4. Thisgroupof hgures,a detailfroman oil paintingby Panininow in the Louvre,bears a strongresemblance- particularlyin the stancesof the menandtheirrelationshipto eachother- to the one at the foot of the Scalinatain the Museum'swatercolor.Photograph:MuseesNationaux

thesquareatthe century, areawascalledPiazzadellaTrinita.Intheeighteenth Monalthe Palazzo di Spagna because wasnamedPiazza bottomof theScalinata The foritsembassy. government deschitherehadbeenboughtbytheSpanish of its as a result Steps" misnomer "Spanish theEnglish acquired Scalinata to thePiazzadiSpagna. proximity landonthe VIIIof France(reigned1470-1498) hadpurchased Charles aconventfortheFrenchorderof SanFrancesco hillinordertoconstruct Pincian Laterhegavefurther diPaola(calledtheMinims), whichhehadfounded. of TrinitadeiMonti.PopeAlessandro of thechurch fundsfortheconstruction theptojectin 1495 andworkbeganin 1502, withstonebrought VI approved is Gothicinstyle,andthe Theinteriorof thechurch inFrance. fromNarbonne But andStrasbourg. of Chartres similat to those plancalledfortowers original werenotbuiltuntil1580-1587, authorship, thefacadeandtowers,ofuncertain They whentheGothicstylewasnolongerpopular. reflectamixtureofinfluences: Europe,whilethegreat innorthern ofchurches is reminiscent thecampanile Roman. dooris characteristically forandthesymbolism aboutthearchitect Therehasbeenmuchspeculation Barcaccia, or"oldtub." Scalinata, the foot of the at the charming fountain of the wasgrowingatsucharatethattwonewaqueducts By1600 Rome'spopulation and oneof thecity'soldest,wasrepaired werebuiltandtheAcquaVergine, wasbuiltbetween1627 anewoutletforthisaqueduct, TheBarcaccia, modiSed. PietroBernini( 1562pope,UrbanVIII.Because and 1629 bytheBarberini 1629) hadbeenthepope'sArchitettodell'AcquaVerginesince1623, thedesign however,tends tohim.Recentscholarship, hasbeenattributed of thefountain ( 1598-1680) . son,Gianlorenzo celebrated toBernini's togivetheBarcaccia ofUrban hadalsocomeunderthepatronage Bythattimetheyoungarchitect theexecuprojects to him,including severalimportant VIII.Thepopeentrusted inSt.Peter'sandthedesignof thepope's baldacchino tionof themonumental the shouldhavebeenawarded owntomb.It seemslogicalthatGianlorenzo Pietrowasneatingtheendof hislifeand Furthermore, designof theBarcaccia. of hispostthanwithdefunctions morewiththeadministrative wasconcerned thatfatherandsonwere Ontheotherhand,it canbeargued signingnewprojects. verycloselyatthetime,andthatpethapsit wasajointundertaking. working thefunctionof apublicfounhewasabletocombine Whoever thearchitect, Waterspoutsfromtwo scheme. symbolic complicated tainwithadeceptively prowsof avessel,andbucketscouldeasilybeheldbelowthembythosewho wishedtousethefountain(it is nowbelowstreetlevel,asthePiazzadiSpagna theshiphadcome vatiousassociations severaltimes) . Through hasbeenrepaved the thedeluge,represented TheArk,whichsurvived theChurch. to symbolize themitacleof theSeaof Galilee,whenChristcalmedthetempestand Church; The meaning. savedtheApostles,servedfurthertogivethevesselareligious reprethisconceptof theshipwithsymbols integrated hasingeniously architect Undertheprowsarethearmsof familyandthepapacy. sentingtheBarberini family,liesonthefaceof UrbanVIII,whilealargesun,symbolof theBarberini power notonlythereligious hasbeensaidto represent eachprow.TheBarcaccia 180

5. CardinalMelchiorde Polignacwas one of Panini'smostimportantFrenchpatrons. Thisportraitof him was engravedby JeanBaptisteGrateloup(1735-1817), after HyacintheRigaud.41/8x 2H8inches.Anonymousgift, 24.80.128

andthemilitary Reformation of thepope,butalsothespititof theCounter in Spain, troopswerevictorious forces.Atthetime,Catholic prowessof Catholic that"thewaterspoutEurope.Onecouldconclude France, andpartsofnorthern of thispapalshipinitsquest ingfromitsprowsmayshowthewarlikepurpose forEnalvictoryofTruthoverHeresy." negoaftertheBarcaccia, wasnotbuiltuntilacentury theScalinata Although dating anddrawings hadbegunlongbefore.Records tiationsforitsconstruction inbuildinga XIIIwasinterested fromthe1580sindicatethatPopeGregory of to thechurch approach hillasadramatic downthePincian staitextending and in 1587.Fundswerenotavailable TrinitadeiMonti,whichwascompleted until1660,when20,000scudi- alargesum- was wentnofurther theproject whohadbeeninRome aFrenchdiplomat byEtienneGueffier, lefttothechurch of thatthebequestwastobeusedforconstruction since1626.Hiswillspecified anItalianby Mazatin, andstatesman LouisXIV'sgreatcardinal theScalinata. tookchargeofplansforthestait inRome,enthusiastically bitthandeducated to to assignthebestarchitects hisagentinRome,ElpidioBenedetti, andordered thereis somequestionastowhich workonit. Asinthecaseof theBarcaccia, but century, bothatthistimeandintheeighteenth participated, architects bythen Bernini, enlistedthetalentsof Gianlorenzo almostcertainly Benedetti survives thatmaywellbe A drawing andsculptor. architect Rome'sforemost byBernini(Figure6) . Theequestrian afteralostscheme acopybyBenedetti was in themiddleof thisdrawing prominently statueof LouisXIVthatEgures whichsymbolized to theBarcaccia, it is thought, tobeacounterpart intended, VII thata statueof a PopeAlessandro theItalianpope.Whenwordreached furor however,aninternational FrenchkingwastobeplacedontheScalinata, plansforsucha statuewererevivedafterthepope'sdeath ensued.Nevertheless, projecthadbeenallbutabandoned. in 1667,butbythattimetheScalinata and byanephew,whodemanded willhadbeencontested EtienneGueffier's haddiedin 1661,leavingnoone andMazatin received onehalfof theprincipal, It wouldbe planning. andarchitectural transactions thediplomatic to supervise another sixtyyearsbeforeEnalplansforthestairweredrawnup.( In themeanbutit of Colbert, statueonthecommission executed theequestrian time,Bernini Curtius Egurebythe intoaMarcus thekingandwastransformed displeased ) andplacedinafatcornerof thegardenatVersailles. Gitardon Frenchsculptor in wasaperiodof civilconstruction century TheStsthalfof theeighteenth of SanGiovanni Colonna, thefacades Rome:theViadelCorso,thePalazzo then.In 1717Pope werecompleted andSantaMatiaMaggiore Laterano astohowmuchinteresthadaccumuaninvestigation XI Albaniordered Clement bequest,and,whenthesumwasfound halfof Gueffier's latedfromtheremaining fortheScalinata. tosubmitdrawings wereengaged architects tobesufficient, weremadebyAlessandro havethoughtthattheEnaldrawings Scholars Specchi, andplansbyhimsurvivethatarenotfatfromthestairasit wasbuilt byFrancesco aredrawings project, however, (Figure7) . Closestto thecompleted architect aboutwhomlittleis known,exceptthathewasthepreferred deSanctis, scheme is Whatis thoughttobehisdeEnitive inthecompetition. of theFrench 181

6. Below (left): ThisdrawingbyElpidio Benedetti(1601-1690), who wasinvolvedin the planningof the Scalinata,maybe a copy of a lost designby GianlorenzoBernini. BibliotecaApostolicaVaticana,Rome. ReproducedfromPiaz%a di Spagnaby Luigi Salerno(Naples,1967) 7. Below (right): In 1717 a competitionwas heldfor the designof the Scalinata,and until recentlyscholarsthoughtthatit hadbeen won byAlessandroSpecchi(1668-1729). His pen andink projectshownhereis in the Bibliotecadell'IstitutoNazionaledi Archeologiae Storiadell'Arte,Rome

of theMinistere desAffaires Etrangeres inPatis.Moreover, nowin thecollection by DeSanctis's drawing wasengraved in 1726,afterthestairwascompleted, to LouisXVwasincluded(Figure8 ) . Girolamo Rossi,andalongdedication thatDe engraving wasmadeis analmostsureindication Thatsuchanelaborate Sanctis's wastheplanaccepted. a seriesof diplomatic negotiations tookplacebeDuringtheconstruction, and andFrenchofficials, principally Cardinal dePolignac tweentheVatican were d'aflaires attheFrenchembassy. Compromises Cardinal deTencin,charge wouldbeproperly represented inthearchitectural madesothateachcountry TencinwroteinMayof 1724:"Workonthe detailsof thestait.Forinstance, apace....Fleurs-de-lis arealready beginning to appeatinabunstaircontinues

8. Opposite:Francescode Sanctiswasthe architectfavoredby the Frenchin the competition,andthe similarityof his designto the completedstairindicatesthat his wasthe one actuallyused.ThisengravingafterDe Sanctis'sdrawingwasmadein 1726 by GirolamoRossi.ReproducedfromPiazzadi Spagnaby LuigiSalerno

thefleurs-de-lis werethearmsof PopeInnocent dance...."Counterbalancing XIII,aneagleandcrown,placedonthestonepostsatthefootof theScalinata. forthe anumber of French historical flguresassubjects Tencinalsoproposed by onthebalustrades inDeSanctis's drawing, tobeexecuted statuesindicated Academy suchasBouchardon andAdam,butthese sculptors fromtheFrench wereneverrealized. for wascompleted in 1725,it becameanattraction AssoonastheScalinata Romans andtouristsalikeandafavoritesubjectforforeignandItalianartists writersweredelighted: JosephLalande inhisVoyaged'un (Figure9 ) . French it as"themostbeautiful thingof itskind franfais en Italie ( 1769) desctibed deBrossesnotedthatthecondithathaseverbeenbuilt."BothheandCharles 82

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10. Paninim?,lsthavebeenpleasedwith his view of the Scalinatabecausehe inclsdedit, changingonlyminordetails,in this painting (shownaboveandin detailat right) and two otherversions.Oil on canvas,673M x 913Minches.GwynneM. AndrewsF>nd, 52.63.2

Note Forfurtherbiographicalinformationabout Paninianda catalogueraisonneof his paintings,see FerdinandoArisi'smonographGian PaoloPanini ( Piacenza,1961). LuigiSalerno exploresin detailmanyaspectsof the Scalinataandthe buildingsandmonumentsthat surroundit in Piazzadi Spagna( Naples, 1967). An exhaustivestudyof the history andiconographyof the Barcacciahasbeen madeby HowardHibbardandIrmaJaffe: "Bernini'sBarcaccia" in The Burlington Magazine106 (1964), pp. 159-170( quotein the text of this articlefromp.166) .

tionof thestairwaspoor;infact,renovations hadtobemadelaterinthecentury. TheScalinata appears todaymoreorlessasit doesinPanini'sdrawing. The obelisknowatthetopof thestairdatesfromthethirdcentury andwasinstalled therein 1789,havingbeenfoundinavineyard outsideRome,andtheHassler hotelhasreplaced thelowbuildings to therightof theTrinitadeiMonti.The buildings flanking thelowerpartof theScalinata wereconstructed bytheFrench intheeighteenth century, withtheintention of rentingoutthegroundfloorsas stores.Theupperfloorsof thebuilding ontherightbecame aboarding house, whereKeats,whospentthreemonthsthereasaninvalid,diedonFebruary 23, 1821.Further upthestairontherightis apalacebuiltbythesixteenth-century artistFederico Zuccaro, whoturnedpartof it intoahostelforyoungartists. Since1912it hashousedtheBiblioteca Hertziana, anart-history library. TheMetropolitan's watercolor seemstohavebeenintended asanartisticend initself,sinceit is notastudyforaknownpainting. Paninididusethecomposition,however, inaseriesof pairsofpaintings executedbetween 1756and1758, representing picturegalleries crowded withmanyviewsof eitherancientor modern Rome.Inthe"RomaModerna"of thefirstpait,whichwascommissionedbytheDucdeChoiseul andis nowintheMuseum of FineArts,Boston, theScalinata is seenfromthesameperspective asintheMetropolitan drawing. Thesecondpait,whichis intheMetropolitan Museum, alsoincludes the Scalinata (Figure10); it is onthefloorto theleftof theduke,justasit is inthe Bostonpainting. Inthethirdset,commissioned byCanillac andnowinthe Louvre, theScalinata ishighonthewallto theright. Inmanyof Panini's worksonefindsfiguressimilatto thosethatanimate the sceneintheMuseum's drawing. Infact,oneof thegroupsverycloselyresembles adetailinaPaninipainting of thesameperiod.Thewayinwhichthefigures surround theforeignvisitoratthefootof thestairis almostidentical tothe groupsaidtorepresent GeorgeIII of England andhisadmirers inPreparations inthePiazzaNavonaof 1729(Figure4) . Theartistapparently hadarepertory ofcharacters thathecoulddrawupon,inmuchthesamemanner thattheVenetiansFrancesco GuardiandCanaletto didlaterinthecentury. Theprovenance of thedrawing canbetracedbackto theeighteenth century, forthestamped "L"ina triangle indicates thatthesheetbelonged to theMarquis deLagoy,adistinguished collector of drawings andcoins.Anofficer of Louis XVI,Lagoybecame arecluseaftertheRevolution andconcentrated onamassing worksof art.Hemadeamanusctipt inventory of whatheconsidered tobehis finestdrawings andincluded theMetropolitan's Panini,inthecompany of Raphaels andVeroneses. Lagoynotedthatthesheethadbelonged to theBaillide Breteuil, aneighteenth-century collector, andthentoJ.-B.-P.Lebrun, agente painterandartdealer.WhenBreteuil's collection wassoldatauctionin 1786, Lebrun prepared thecatalogue inwhichhewrote:"It is wellknownthatPanini's drawings arebothveryrareandverybeautiful. Thosedesctibed herehavebeen chosenasmuchfortheelegance of theirexecutionasfortheinterestof the monuments theyrepresent, andwe arecertainthatcollectors willbeeagerto acquirethem."Whatbettertributeto thissplendidartistandhis work? 84

Exhibitions

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Homerexhibition 22 opensFebruary A modest-sizedchangingexhibitiongallery is one of a curator'sbest andmostwelcome with the muvehiclesfor communicating seum-goingpublic.Therehe candisplay recentacquisitionsbeforethey arehungwith the permanentcollections,as well as less importantworksof interestthatarenot regularlyshown,or those,suchaswatercolors,whoseconditionis too delicatefor continuousdisplay.He mayoftenborrow fromotherMuseumdepartmentsto createa well-roundedpresentationof anindividual artist,movement,or themein a small,easily exhibition.Flexibilityand comprehended simplicityof installationarethe keysto using this typeof galleryspace.It is a delightand

a challengeto the curatorto sharethe broad rangeof his collectionswith visitors,to exploreideasthatdo not callfor a full-scale exhibitionin effect,to treatthe gallery as a researchlaboratoryor, on occasion,as a curatorialgymnasium.The publicbenefits by seeinglittle-knownworksof artas well as old favoritesin a new light, andby having availablea vatiationfromthe permanent installations.Becausethe valueof such changingexhibitiontoomsis so clearcut,it is Museumpolicyto provideone in each seriesof galleriesto be renovatedunderthe planfor out secondcentury. architectural The rst showin the changingexhibition toom of the recentlyopenedAmerican PaintingsandSculptureGallerieswas devoted to a selectionof out mostbeautiful watercolorsanddrawingsof the eighteenth throughthe earlytwentiethcenturies.The secondexhibitionfeaturedforty-threewatercolorsanddrawingsby JohnSingerSargent. Formostmuseumgoers,Sargent'sname bringsto mindhis splendidEdwardianportraits but this displayshowedthe artist's attachmentto otherless imposingsubjects andhis fluencyas a watercoloristand Rangingfrombrilliantlanddraughtsman.

scapesto sketchesmadeon WorldWat I battlefields,theseworksprovidenew insights into Sargentthe artistandSargentthe man, especiallysincetheyincludeeightof the ten watercolorsthathe personallyselected for acquisitionby the MetropolitanMuseum. The next exhibition,WinslowHomer: A Selectionof Watercolors,Drawings,and Printsfromthe Metropolitan,allowsfor the samekindof in-depthexaminationof an outstandingAmericanartist.Like the Sargent show,it includespiecesjudgedby Homer himselfto be his best work.Executedin Bermudaandthe Bahamasbetween1898 and 1903, theseareamongthe watercolor seascapesfor whichthe artistis best known. But the show alsocontainsthe printson whichHomer'searlyfamerested:published between1858 and 1875 in suchperiodicals as Harper'sWeeklyandAppleton'sJournal, theydemonstratehis abilityin gente andas a reporterduringthe CivilWar.This show is a revealingsupplementto his paintings thathangin the adjoininggalleries:together all thesepicturesgive testimonyto his greatness. JohnK. Howat Curatorof AmericanPaintingsandSculpture AlthoughSargentworkedin watercolor throughouthis life, it did not becomea favoritemediumuntil after1900,when he was becomingincreasinglydissatisEedwith the portraiturefor whichhe was best known. Watercolorpaintingprovidedhim a form of relaxationandfreedomfromthe restrictionsimposedby commissionedportraits. One of ten watercolorsselectedby the artistfromhis best worksandpurchasedby the Museumin 1915, In the Generalifewas paintedabout1912 in Granada,Spain.Three Sguresin the foreground- Janede Glehn, wife of Sargent'sfriendandfellow artist,his sisterEmilySargentat the easel,anda SpanishwomanidentiSedonly asDoloresprovideaninterestingcontrastas portrait andcharacterstudies.A brilliantlight source fromthe upperrightreducesEmilySargent's featuresto barelysuggestedplanes,illuminatesthe pensiveandabsorbedfaceof the fashionableMrs. de Glehn, and leaves In the Generalife,by JohnSingerSargent (1856-1925), American.Watercolor,143,4nc 17Asinches.Purchase,JosephPulitzer Bequest,15.142.8

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Dolores,the most sharplydeEnedandpenetratingcharacterstudyof the group,in completeshadow.DemonstratingSargent's preoccupation with light effects,his economicaluse of brushstrokesin the creation of form,andhis skillfulstructuringof a composition,In the Generalifeexhibitsthe technicalbrilliancetypicalof the artist's bestwatercolors.

In 1881Homermadehis secondtripabroad, settlingin EnglandneatTynemouth,not fat fromNewcastle.His oils andwatercolors of this periodcapturedthe dramaprovided by the hazardousdailylife of NorthSea Eshermenandtheirfamilies.Insidethe Bar, Tynemouth,althoughexecutedafterthe artist'sreturnto America( it is dated1883), is basedon suchmaterial.Homer'smonumentalandidealizedconceptionof Tynemouthwomenis a characteristic featureof his Englishstudies,addinga melodramatic note abandonedin his latermarinepaintings. One appearshereas the focalpointof a studiedcomposition,silhouettedagainsta turbulentsea andloweringsky.Her billowing apronEndsa curiousechoin the sailof the boat at the left. Workingin blue, brown, and graywashes, the artistrecordsthe changingclimaticconditionsof the North Seacoast,anticipatingthe powerfulmatine paintingsof his lateryears. NatalieSpassky

Inside the Bar,Tynemo?,lth, by Winslow Homer(1836-1910), American.Dated 1883. Penciland watercolor,153SS x 281/2inches. Gift of Lo?,lise RyalsArkell,in memoryof herh?,lsband, BartlettArkell,54.183

Exhibitions

Portrait Artist of the ClosesMarch7

Moreandmore,the MetropolitanMuseum is exploringthe potentialof its own collectionsfor populareducationandpleasure.The curatorsof the EuropeanPaintingsDepartment,like others,areturningto the galleries andstoreroomswith aneye for new combinations,rediscoveredconnections,andjuxtapositionsthatmakeyou see familiarworksin freshways.We havereservedone of the newlyinstalledEuropeanPaintingsGalleries to give ourselvesandthe Departmentof TwentiethCenturyArt a chanceto mount Eveor six smallexhibitionsa year.The Departmentof PublicEducationis closely involved,andseesto the productionof the inexpensiveillustratedcatalogues.This fall ThePainter'sLightbeganthe series;Portrait of the Artistcontinuesit, andthereis a long list of showsfor the future,includingGerard David ( a "one-manshow"for the Bruges painter, to open on March 14), Titian's VenusCleaned,The DecisiveLine,Frames, Meaningsin Landscape,andmanyothers. JohnWalsh,Jr. AssociateCuratorof EuropeanPaintings Two Artists In 1879EdouardManetstoodbeforea mirrorandpainteda portraitof himself( Figure 1). It wouldhavebeen simplerto eliminatethe paletteandthe hand- it is notoriouslydificult to paintyout own painting hand,andManethadtroublewith it - but he wantedto be seen unmistakablyas an artist.The look he focuseson us is not simply the self-consciousexpressionassumedby a portraitsitter,but the recordof Manet'sown ef3ort to see himselfclearlyandto set the imagedownon canvas.Whathe choseto weat is revealing:not studioclothes,but the bowlerhat, the jacket,the tie andstickpin boulevardierwe know of the well-turned-out

he was. "Therewas somethingin his appearanceandhis mannerof speakingthatoften suggestedan Englishman,"wroteGeorge Moore.' Pethapsit was his dress,his cleancut clothesandEgure." Manet'scravingfor acceptanceby the conservativeartestablishmentof his timewas obviousto everyone.To the mystiScationand annoyanceof the otherimpressionistshe went on sendingpicturesto the Salons,even thoughtheywererejectedregularly.When Degasexpressedcontemptof the Salonjuries, Manetsaid,"All thatcontempt,myboy, is nonsense.... Everythingthat singlesyou out ... is one step ahead.... In thisbeastly

life of ours,whichis wholly struggle,one is nevertoo well armed.I haven'tbeen decorated?But it is not my fault,andI assureyou that I shallbe if I can,andthatI shalldo everythingnecessaryto thatend."Degas repliedangrily,"I've alwaysknown how muchof a bourgeoisyou are."The selfportraitis a strangeand af3ectingpicture partlybecauseit reflectsthe paradoxof Manet'slife, his anxietyto be embracedby whose artisticstandthe veryacademicians ardshe was busysubverting.Thereis somethingclear-sightedandfaintlymelancholicin Manet'sexpressionthat suggeststhe paradox occupiedhis own thoughts.

187

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ThomasEakins,fourteenyearsyounger thanManet,wasportrayedsittingcrosslegged on the floorin a mostunconventionalstatuette by one of his students,SamuelMurray ( Figure2 ) . Eakinswas anothersubversive who led almosthis whole life undera cloud of publicdisapproval.It was not the wayhe paintedthatoffendedPhiladelphians- Manet wouldhavecalledEakins'sstyleextremely conservative- but ratherhis insistencethat his pupils,maleandfemale,studyfromnude modelsof both sexes.Repeatedcollisions with ptudishcitizensandanunfavorable pressearnedhim the reputationof a crankor worse.Eakinscouldpaintportraitsof a richnessandprofundityno otherAmerican portraitpaintercouldmatch,but his unsavoryreputationconspiredwith the disturbing seriousnessof his paintingsto discourage almostall his potentialclients. "His generalappearance was toughanda little formidable.... His tound,massive headwas coveredwith close-cropped, dis-

orderlyiron-greyhait, andhis sparsemousL tacheandbeardweregrizzled.... His dark eyeswerehis mosteloquentfeature- penetrating,ironical,intensivelyalive."Eakins was physicallytobust,straightforward in speech,as earthyasManetwas reEned,and as rumpledasManetwas splendid."In a day whenmen'sclotheswere sombre,stiff,and formal,he woresoft coloredwoolen shirts,a suit rarelypressed,baggytrouserswith a belt, andshoeswith no heels,shunninganythingstarchedor tight. In this therewas no studiedBohemianism,but a simplepreferencefor comfortoverstyle." The statuetteis a wonderfulleapof the imaginationon Murray'spart.It maywell be impossibleto Enda portraitanywherethat showsan artistin an attitudeof suchdeliberateunpretentiousness. As Eakins'spupil, collaborator,andclosestfriend,Murraywas constantlyin Eakins'scompanyat this period, and he probablyobservedEakinssitting this way in the studio,for a photographexists of Eakinscrossleggedon the floorwith his palette.To seizeon this pose, andto endow the ruggedfacewith an airof gentleabsorption, was a keenpersonalinsightthat assured Murrayanunforgettableportrait.

Portraitof theArtist,the exhibitionin which these two worksappear,bringstogether paintings,drawings,prints,photographs,and sculpturefromthe MiddleAges until our time in whichartistslook at themselvesor at otherartists.The examplesshow vividly how artistscameto prizetheirindividuality, to strivefor socialstanding,and eventually to standoutsidepolite society.A catalogue is available:22 pages,13 black-and-white illustrations,9 x 7 inches,25Â˘. 1. Oppositepage:EdouardManet'sSelfPortraitwith a Palette,paintedin 1879. Lent by a privatecollector,New YorkCity 2. Above:Portraitof the Philadelphia painterandsculptorThomasEakinsby his pupilSamuelMurray.Bronzestatuette, height9 inches.Purchase,22.155

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fat; theytaketheirshapefromthe form of the bodyandtheirdecorativeimportance fromthe fold, fall, anddrapeof the fabric. Gift of IreneLewisohn,CI 41.167.1a-c. Photograph:EdwardHardin

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Eversincethe timeof MarcoPolo, WesternershavelearnedaboutChinafromo-ther Westerners- travelerswho broughtback stories,descriptions,pictures,and,more recently,photographsof the giantlandthat seemsso far away.An exhibitionof photographsby someof thesetravelersfrom the West hasbeenorganizedby CornellCapa, andis now on view in the FarEastern Galleries.The photographsrangefromthe perceptivescenesby JohnThomson( discussedonthe followingpages) andCharles E. Lucasof the 1860sand 1900s,to the violentpicturestakenduringthe Chinese civilwarin the 1930sby RobertCapa,to the Marc recentworkof Henti Cartier-Bresson, Riboud,andReneBurri.A Efty-minute Elmby Burriwill be shown documentary dailyduringthe exhibition. In answerto the inevitablequestion,What arethe Chinesenow like.2I wouldanswer theyare3,000 yearsold - plus thirteen.I mightalso describethemas "frustrated": the frustrationof all peopleswho tryto tear awaythe tentaclesof thosethousandsof yearsin orderto competein the modern age.... I havefrequentlyfelt that unspokendesire of peopleto see a statementof approvalor disapprovalwhentheylook at myphotographsof CommunistChina.The new China is composedof manyfascinatingingredients. I had As a wandering'streetphotographer' the opportunityto savora greatmanyof themthroughthe lens of mycamera.I present themto you in this booknot as political commentary,but as visualobservationsof a nationof overhalfa billionpeople,onefourthof the world'spopulation,andmultiplyingrapidly,whoarein full evolution, with all the resultingupheavals. fromthe Hen-riCartier-Bresson, prefaceto China(BantamBooks, New York,1964)

Above:Kuomintangsoldiers,by Henri ()pposite:PhysicStreet,Canton,by John (born 1908), French.PhotoCartier-Bresson Thomson(1837-1921), English.Heliotype graph,1948. Lent by the photographer firomIllustrationsofiChinaandIts People (London,1873-1874) . TheElishaWhittelsey Fund,1971.635.1

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Exhibitions

a bookwith photographscalledStreetLife in London,which,even thoughpostdating his picturesof the Chinese,is often cited amongthe earliestpublishedexamples of socialdocumentationin photographs. Thomsonexcelledas a photographer JohnThomsonwas the Stst photographer becausehe was ableto depicteloquentlythe to travelthroughChinawith the express two sidesof China:the varietyof the landintentof methodicallydocumentingthe scape,andthe faceof its people.The origipeopleandlandscapefor publicationand nality,if not sublimity,of this point of view disseminationto the Westernworld.In these canbe illustratedby comparingThomson's two hundredpicturesone clearlyrecognizes workwith thatof FeliceBeatowho was the workof an exceptionallygiftedeye. in Chinaat the sametime.Beatoarrivedin About 1860,whenThomsonarrivedin the summerof 1860 fromIndiawith the exChina,it was extremelydiEcult to travel perienceof havingphotographedthe Crimean with the purposeof takingphotographs, Wara few yearsearlierin the companyof sinceit was necessaryto makethe negatives the morecelebratedRogerFenton.Beatowas on glassplatesthathadto be coatedwith attractedto the sensationalandhasearned light-sensitivewet collodionemulsionjust a positionin historyas a photographerof beforethe exposurewas made.This meant newsworthymomentsof violence;in China thatthe chemicalsfor sensitizinganddevelhe foundmanyas a resultof the warsbeing opingthe plates,as well as the camera, wagedtherejointlyby EnglandandFrance. tripod,andtent or otherportableshelterto Thomson,on the otherhand,focusedon subserveas a darkroomhadto accompanythe jectsmorediEcult to capturebecauseof photographerto everysite he wishedto theirsubtletyandscope,andin so doingcame photograph.It was not until after1865,with awaywith views suggestingthe grandeur the widespreaduse of presensitizeddry of the landscapeandwith veryprobing plates,whichcouldbe developedafterreimagesof livingpeoplethattogetherconvey turningfromthe Seld, thatphotography a full senseof the land. of remoteregionsbecamewidelypracticed. The illustrationsin Thomson'sbook on Thomsonwas amongthe handfulwho perChinaoccupya specialplacein the historyof severed,in spiteof substantialdiEculties,in photographsused to illustratebooks.Before usingphotographyto interpretremotelands. 1868 it was impossibleto reproducephotoIf it werenot for Thomson'sacutevision, graphsexactlyon a printingpress;the availhe mightbe rememberedtodayonly as ablemethodsresultedin picturesresembling anexplorerandmakerof photographsof engravingsor lithographs.If the deSnition record.We arestruck,though,by certain of the photoandtonalrangecharacteristic qualitiesin his imagesthatremovethem graphwere desiredas a book illustration, fromthe categoryof meredocumentation. it was necessaryto insertanoriginalphotoUnlikemanylandscapephotographers, graphinto the volume.The breakthrough Thomsonwas verysensitiveto humanbeings, in producingaccurateprintedreproductions whomhe allowedto projectthemselves of photographscamewith the perfection throughthe photographicimage.We see this of the collotypeprocess,Srst accomplished in the manyportraitsof ordinarypeople by JosephAlbertworkingin Bavaria,but thathe includesbesidethe portraitsof rulers perfectedfor massproductionby Ernest andlandedgentry,andone notices,even Edwardsin London.He gavethis method in panoramiclandscapes,the posedpresence the tradenameHeliotype.The Heliotype of of humanSgures.The photographing processwas usedby a Londonpublishing anonymousindividuals,in the streetsor even Srmin 1872 to producethe Srstbooksin in the studio,was rarelypracticedat that Englishwith facsimilereproductionsof timedue to the expenseof materialsandthe photographs.HenceThomson'sIllustrations time-consuming processof makingthe picofChinaandIts Peoplestandsalongwith ture;portraitsweregenerallymadeonlyfor CharlesDarwin'sExpressionofthe Emotions thosewillingto payfor the privilege.Subin ManandAnimalsas a landmarkin the jectsdrawnfromdailylife wereveryimporhistoryof illustratedbooks. tantto Thomsonandwe Snd himSve years WestonJ. Naef later,uponhis returnto London,publishing AssistantCuratorofPrintsandPhotographs

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Illustrations of CDina and ItsPeople

A Chineseschoolboy,fromThomson'sIllustrationsof ChinaandIts People

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My designin the accompanying workis to presenta seriesof picturesof Chinaandits people,suchas shallconveyan accurateimpressionof the countryI traversedas well as of the arts,usages,andmannerswhich prevailin dif erentprovincesof the Empire. With this intentionI madethe camerathe constantcompanionof my wanderings,and to it I amindebtedfor the faithfulreproduction of the scenesI visited,andof the types of racewith whichI cameinto contact. Thosefamiliarwith the Chineseandtheir deeply-rootedsuperstitionswill readily understandthatthe carryingout of mytask involvedbothdif icultyanddanger.In some placesthereweremanywho hadneveryet set eyesupona pale-facedstranger;andthe literati,or educatedclasses,hadfostered a notionamongstsuchas these,that,while evil spiritsof everykind werecarefullyto be shunned,none oughtto be so strictlyavoided as the "FanQui"or "ForeignDevil,"who

assumedhumanshape,andappearedsolely The Wu-shanGorge,Provinceof Szechuan, for the furtheranceof his own interests, fromThomson'sIllustrationsof Chinaand oftenowingthe successof his undertakings Its People to an ocularpower,whichenabledhim to discoverthe hiddentreasuresof heavenand earth.I thereforefrequentlyenjoyedthe reputationof beinga dangerousgeomancer, andmycamerawas heldto be a darkmysterious instrument,which,combinedwith my naturally,or supernaturally, intensified eyesightgaveme the powerto see through rocksandmountains,to piercethe verysouls of the natives,andto producemiraculous picturesby someblackart,whichat the sametime bereftthe individualdepictedof so muchof the principleof life as to render his deatha certaintywithina veryshort periodof years. JohnThomson,fromthe prefaceto Illustrationsof ChinaandIts People (London, 1873-1874)

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1. Qpposite(above): Thesuspiciousspinet, its naturedisguisedby a nonoriginalpainted case and a false signature,"PaspuinoQuerci fiorentinofece 1615."Length271/ inches. Gift of Bernardus Boekelman,11.176.2 2. Opposite(below): A genuineQuerci spinet.Italian (Florence), 1625. Length 331/ inches.The CrosbyBrownCollection, 89.4.1230

beginning forartandantiques, boomthattookplaceinthemarket Theenormous intheeffortsof forgersandunsctupuincrease aparallel inthe1880s,produced oralteredobjects. counterfeit byproviding lousdealersto meetthenewdemand wasLeopoldo antiques forged of production the activein Onedealerparticularly thathedealtinfurniture, proclaimed whoselettethead of Florence, Franciolini coins,chesspieces,medals,andseals,aswellas bronzes, fabrics,arms,porcelains, thatappeattohavebeenhisspecialmetier. instruments themusical Franciolini's of alltypespassedthrough of instruments number Anenormous legitimate and minor only given or untouched hands.Somewereleftentirely intheformof moreattractive "improvements" othersreceived restoration; still andinsctiptions; signatures fancynewstands,orfraudulent decoration, colleagues, Likehismorelegitimate madefromscratch. otherswereactually the inidentifying whichareof greatassistance issuedcatalogues, Franciolini thatcamefromhisshopbeat manyof theinstruments objectshesold.Moreover, twohighlystereoofhisstyleofwork,including hallmarks allbutunmistakable eventhesimplest copy to inability amazing truly a and decoration typedstylesof Latinphrasecorrectly. listsan"Octavespinet,veryfinepainting catalogues Oneof Franciolini's signed:PasquinoQuerci Poccetti,whitebackground, to Bernardino attributed estoriocumieiunioet bona abilita sua e la fece1615.Lasuapresenza fiorentino 0.32m."Thefirstphraseof theinscription Length0.68m.,breadth elemosina. made[me]1615";thesecond, Querciof Florence "Pasquino maybetranslated andhisskill,"makeslittlesensebyitselfinthiscontext;the "Hisappearance gibberish. thirdis untranslatable possesses Museum theMetropolitan buthappycoincidence, Byasurprising 96

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3. Opposite(above): Thepaintingon the insideot the lid ot the Quercispinet.Tobit} his sightalreadyrestored}is shownseated with his wife standingbesidehim.Betore himstandhis son Tobias(carryingthe fish whosegallcuredTobit'sblindness)andthe angelRafael.BehindTobit'schair,a servant is dividinga massot treasureinto two equal parts,one ot whichwasaboutto be offered to the angelwhenhe revealedhimselfas a heavenlybeing.In the distanceat the right, Rafaelis seen takinghis departure

twospinetsbearing inscriptions approximating thosegiveninFranciolini's catalogue entry.Thefirstof these(Figure1), clearlytheinstrument hewas describing, is oneof agroupof fourkeyboard instruments givento theMuseum in 1911bythepianist,composer, andteacherBernardus Boekelman. Boththebrightly paintedoutercasethathousesthespinetandtheinscription ontheinstrument's nameboard arehighlysuspicious. Thedecoration onthe outercasebearsamarked resemblance to thatonotherinstruments traceable to Franciolini. Similar grotesques, mythological figures, andfancifulcreatures onawhitebackground arefoundonexamples ofhisworkpurporting to dateall thewaybetween1533and1703,eventhoughthisRenaissance styleof decorationwasinfashiononlyinthemid-sixteenth century. Furthermore, thereare twoverticalslotsinthesidesof thespinetitself,whichmustoncehaveheld aremovable frontboard.Sincetheoutercasealsohadafrontboard,whichwould servenopurposeif thespinetalready hadone,theseslotssuggestthatthe instrument didnotoriginally haveanoutercaselikethepresentoneatall.Thus, theentirecase,andnotmerelyitsdecoration, canprobably beattributed to tranclollnl.

If thisconclusion is correct, onemustexplainwhyFranciolini wouldhave feltit necessary toprovideacaseforthisinstrument. Theanswertothisquestion is twofold:first,anoutercasewouldprovideaplaceforthedecoration bymeans of whichhecouldhavehopedtoenhance thesalability of aplaininstrument; second,theItalianspinetswithwhichhewouldhavebeenmostfamiliar usually hadoutercases,sometimes paintedandsometimes covered withstamped leather. Thesecondspinetbearing inscriptions likethosegivenin Franciolini's catalogue ( Figure2 ) is oneof thislattertype,andit stillretainsitsoriginal leather-covered outercase.Thisinstrument, partof theCrosby BrownCollection presented totheMetropolitan Museum intheyears1889-1903,is theworkof aminorFlorentine maker, Pasquino Querci,andthebackof thenameboard (Figure4 ) bearshissignature: pasquino quercif orentino f 1625.Belowthis(in whatseemstobeadifferent thoughcontemporary hand), is theincomplete and nearlyobliterated phrase. . . suapresenza e lasuaabilita.Thisphrasepresumably beganwithsomesuchwordsas"Laudato perla,"whichwouldpermittheline to standbyitselfas"Praised forhisappearance andhisskill." Insidethelidof theoutercasethereis anelliptical painting(Figure3 ) in whichseveraleventsfromChapters 11 and12of theBookof Tobitarecompressedintoasinglescene,belowwhichthereappears themottoBONAEST ORATIOCVMIEIVNIOETELEEMOSINA ( "Prayer is goodwithfasting andalms"). Thismotto,alsodrawnfromtheBookof Tobit,wouldhave expressed theentireallegorical meaning of theepisodesshowninthepainting to thepiousseventeenth-century Italianwhochoseit forhisspinet. Thesignature, theotherwritingonthenameboard, andtheLatinmottohave nologicalconnection withoneanother: theironlyapparent relationship is that theyaretobefoundatvariousplacesonthespinetshowninFigure2. Thus, despitediscrepancies in thedateandin therendering of themotto,thisinstrumentmusthaveprovided themodelfortheinscription thatnowappears on 99

6. Above: A Germanoctavespinet, as depictedin Volume2 (De Organographia) of the Syntagmamusicumby Michael Praetorius(Wolfenbuttel,1619) 7. Opposite(above): The instrumentshown in Figure1, removedfromits outercase. Length255/8inches 8. Opposite (below): A comparableinstrument,the spinetfroma cabinetspinet-organ by LaurentiusHauslaib,German(Nuremburg), 1596. Length26 inches.The Crosby BrownCollection,89.4.1191

thenameboard of thespinetshowninFigure1 Paspuino Quercifiorentino fece1615 Lasuapresenza e la suaabilith BONAESTORTIO CVMIEIVNIOETELEMOSINA Themottois, in fact,untranslatable asit stands,andwhoeverputBONA ESTORTIO onthenameboard cannothaveunderstood Latin.It is unlikelythat suchamistake wouldhavebeenmadeorallowedto standuncorrected inthe seventeenth century, buterrorsof thiskindaresofrequent inFranciolini's work thattheyconstitute analmostcertain indication of hisauthorship. (Note,for example, thatthesewordswerefurthermiscopied asbonaestorioinhiscatalogue entry.) Accordingly, it shouldhardly comeasa surprise thatevenQuerci's first namehasbeencopiedincorrectly. Furthermore, it is apparent thatthisinsctiption overliesotherwriting,and ultraviolet lightrevealsthattheearlierinsctiption is identical to,andwrittenin thesamehandas,theonevisibleinordinary light,butthatit isupsidedown (Figure5 ). Apparently theselineswerecopiedfromthevatiousinsctiptions on thegenuineQuercispinet(presumably atsomepointwhenbothinstruments wereinFranciolini's hands), garbled intheprocess,andputonupsidedownon thefirstattempt! Butwhatof thespinetitself(Figure7 ) thatFranciolini equipped witha spurious outercase,signature, andinsctiptions ? Is it oneof hisfabrications, oris it agenuineexample of seventeenth-century Italianwork?Examination of the instrument suggests thatit is neither.Foronething,itsworkmanship is superbfatfinerthananything tobefoundinFranciolini's ownproducts, whichoften leaveonewiththeimpression thattheynevercouldhavemademusic-and,for another, it hasanumber of non-Italian features. First,it is madeofwalnutrather thanthecypresscharacteristic of Italiankeyboard instruments. Second,as indicated earlier, thisspinetdoesnotappeatoriginally tohavehadanoutercase of thekindoneexpectswithItalianinstruments. Third,keyboards endingon A in thetrebleratherthanCorF arenotfoundonspinetsbuiltsouthof the Alps.Theseandvatiousothercharacteristics, somemerelynon-Italian andothers specifically German, pointtoGermany ratherthanto Italyasitscountry of ortgin. Onehighlyunusual detailontheMuseum's spinetis that,insteadofbeingin onepiece,thebottomoriginally hadaremovable section(nowlost) immediately belowthefrontof thekeys.Thisfeatureis characteristic of aninstrument designed tobepartof aclaviorganum, acombination of achamber organwitha harpsichord orspinet,inwhichthekeysof theorgancouldbeoperated bythose of theharpsichord orspinet.(Theremovable sectionof thebottomwouldhave heldthesmalltodsbymeansofwhichthekeysof thespinetcouldbemadeto depressthoseof theorganwhenthespinetwasbeingplayed.) Infact,analmost identical spinet(Figure8 ) witha similattwo-piece bottom,madeinNuremberg in 1596,formspartof acabinetspinet-organ intheCrosby BrownCollection. Surviving examples of suchinstruments areextremely rare,asindeedareall German keyboard instruments of thesixteenth andearlyseventeenth centuries. 200 .

- whoseemsto havebeenno more thatFranciolini Thusit is notsurprising - did ofhiscustomers thanthemostcredulous aboutinstruments knowledgeable to makeit morelikethose thisspinetforwhatit wasandattempted notrecognize heknew. it withanoutercase byproviding instrument of aGerman TheItalianizing reasons. two quitedifferent interest for isof particulat insctiptions andborrowed cleatexampleof oneof Ontheonehand,it presentsus witha particularly it showsthatthegenuineQuerci moreover, of operation; methods Franciolini's hishands( afactonecouldnothaveguessed spinetmusthavepassedthrough possiblefor ) andthatit wasactually notcopieditsinsctiptions hadFranciolini of the Ontheotherhand,because toleavehisshopunscathed. suchaninstrument thanItalianones,thisinstanceof instruments fatgreaterratityof German effectif notof turninga silkpurse hadthetemporary laborsactually Franciolini's anobjectmadeof puregold.Thus, intoa sow'sear,atleastof silver-plating occasions pleasurable uswithoneof thoserareanddistinctly thisspinetprovides objectleavesusandnottheforger of aquestionable onwhichtheinvestigation withthelastlaugh.

Note As this articlewas goingto press,evidence with confirmingFranciolini'sacquaintance the genuineQuercispinetwas provided me by Otto Rindlisbacherof Zurich,who generouslysent me photocopiesof three Franciolinicataloguesin his possession,two of whichhadpreviouslybeenunknownto me. One of the latterincludesas item 104 an "OctaveSpinet,verySne. The paintingis attributedto AntonioPoccetti.( Signed): PasquinoQuercifiorentinof. 1625. La sua presenzae la suaabilitaBONA- ESTORTIO- CUM- IEIVNIO - ET - ELEMOSINA.Coveredin Leatherornamented with Fleurs-de-lisandFigures."Despitethe superScialsimilarityof this descriptionto the catalogueentryfor the spinetshownin Figure1, the speciScation of a leather coveringmakesit cleat that this entryrefers to the instrumentin Figure2. References A documentedhistoryof musicalinstrumentcollectionsmaybe foundin Emanuel Winternitz,MusicalInstrumentsof the WesternWorld ( New York, 1966 ), and FrankArnau,ThreeThousandYearsof Deceptionin Art andAntiques( London, 202

1961) providesa goodoverallsurveyof art forgerywith a detailedtreatmentof the nineteenthcentury.Listsof the keyboardinstrumentsofferedin two of Franciolini'scatalogueswerepublishedby RaymondRussell (London, andClavichord in TheHarpsichord 1959), which,togetherwith FrankHubbard,

Making of Harpsichord ThreeCenturies ( Cambridge,Mass.,1965) gives a complete surveyof Italianharpsichordandspinet building.The only publicationdealingwith German sixteenth-andseventeenth-century keyboardinstrumentsis JohnHenty van der Meer, "Beitragezum Cembalobauim bis 1700"in Anzeiger deutschenSprachgebiet 1966. Nationalmuseums, desGermanischen The presentwriteris planninga facsimile publicationof the survivingFranciolini cataloguesin the neat future. The kindnessof Prof. Hentik Glahn, Directorof the CarlClaudiusMusikhistorisk Samling,Copenhagen,in placingphotocopies of the Franciolinicataloguesin his archives at my disposalmadeit possiblefor me not only to connectthe spinetshownin Figure1 with Franciolini'sworkshopbut also to realizefor the Stst time the trueextent of Franciolini'sactivities.The generousassistanceof EmanuelWinternitzandOlgaRaggio is alsoherewithgratefullyacknowledged.

A Child'sWorld Metropolitan at the The Junior S/luseum askedagroupofyounglecturer aJuniorMuseum "Isanyonewearing squares?", being hunt- the"treasure" kindof treasure inanunusual stersparticipating inworks squares for look to galleries the Then,beforesendingtheminto squares. shapesinslidesof objectsfrom identifyfour-sided ofart,shehadthechildren inchairsandsarcophagi placed subtly squares collections: theMetropolitan's Seurat,andAlbers. byVermeer, inpaintings aswellasthosemoreeasilydeEned designed activities huntis justoneof agreatvatietyof educational Thetreasure of youngMuseum to awakenthesensesandsensitivities bytheJuniorMuseum art. themhowtolookatandappreciate visitorsbyteaching mostof of eventseveryweekend, oHersafullprogram TheJuniorMuseum to thechildto artintermsfamiliar introduce Stadmembers themfreeof charge. kind this aworkof art.With the"how"behindcreating him,oftenstressing andhis "galleries, "grown-ups' the in comfortable thechildfeels ofbackground Saturdays On ) experience. anentiching(ratherthanawesome visitbecomes andastoryhourforthevery puzzles, games, art-related thereare inthelibrary 203

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ascabinetmaking young;intheauditorium a filmfestivalonsuchdiversesubjects byvisitingexperts;and andChinese shadowplays,andtalksonarchaeology inthestudioone-hout classesinartsandcrafts.Therearealsodemonstrations weaving,andsilkscreening, ofmethods suchasbrushpainting, ceramics, tapestry learnartistictechniques and and"Let'sExplore," aprograna inwhichchildren OnSundays thereare thenstudyexamples of theday'slessoninthegalleries. knightsin armor, gallerytalksonsubjects of particulat interestto children: ancientEgypt,andlifeintheMiddleAges,tonameafew.Andofcourseduring exhibition Museum hourschildren andtheirfamiliescanvisittheJuniorMuseum andtoolsusedinthe TheArtzst's Workstopthatvividlypresents techniques fragment of aGreekdrinkartsfromancientto modern times.Seeanunfinished pot ingcupjuxtaposed withacompleted vaseof thesameperiod;anIranian alongwiththestonefrom andthemoldusedto decorate it; anda lithograph cave( theStstartist's whichit wasprinted. Theshowincludes aprehistoric studio), aRenaissance painter's workshop, talkinglabels(heathowstained-glass windowsaremadeasyoulookatexamples of stainedglass), andotherkinds Inaddition, onweekof audio-visual devicesthatneverfailtodelightchildren. is openforlunchand daysaswellasweekends, theJuniorMuseum restaurant installed there.These snacksandforviewingthefrequently changing exhibitions aredevotedto worksbyNewYorkcommunity groups,whileshowsin thestudio presentpictures bychildren fromallovertheworld,fromNewYorktoTaipei. seeaSlm Onschooldays,elementary andjuniorhighclasses,byappointment, whoadaptshertalk andtourspecific galleries withaJuniorMuseum lecturer, withartifacts of historytotheirstudyprogram. Byconfronting students thesculpted imageof apharaoh oranactualancienttomb- muchthatseemed Forteachers, remoteintheclasstoom suddenly becomes aliveandmeaningful. resources and theMuseum conducts coursesonhowtousetheMetropolitan's andofdailylife. howtomakeartanintegral, relevant partof thecurriculum to Children canalsojoinCentury II, aprogram givingthemanopportunity learnabouttheMuseum anditscollections ina seriesof specialevents.A tourof byacalligtheFatEastern Galleries enlivened withstoriesanddemonstrations craftsmen" at rapher, apotter,adancer, andamusician; avisitwith"medieval theMetropolitan's Curator TheCloisters; andalecturebyEmanuel Winternitz, of MusicalInstruments, followedbya visitto thenewmusicalinstruments II group,along galleries aresomeof theeventsplanned forthisyear.TheCentury pageant, and withmembers' children, areinvitedto attendtheannualchildren's twoafternoons aweektheyarewelcometocreatetheirownworksof artin thestudio,underthesupervision of ateacher. todointheirfreetime TheJuniorMuseum alsoprovides thingsforchildren workshop, Slms,stories, duringsummer vacation. Art-history courses,adrama months. andstudioclassesareoffered duringthesummer eachday.TheJunior Overonethousand children visittheMetropolitan Museum is creating andmaintaining theinterestofyoungvisitorsbymaking andfun. available to themmoreandmoreactivities thatarebotheducational LindaSipress, Sta,& writer 204

Outstanding Recent Accessions

Thisexcellentbronzestatuetteof Hermes ( or Mercury) recallsin its slenderproportionsanidealismthatwas firstformulatedby Lysipposin the fourthcenturyB.C.It was madein the late Hellenisticor earlyRoman period.Thoughthe typeis common,there areno exactreplicas;in draperyandpose this statuetteis closeto the Hermesfoundin the shipwreckoffMahdia( on the coastof NorthAfrica) . Dietrichvon Bothmer GreekorRomanJlate 1st centuryB.C. to late 1st centuryA.D. Height 111/2 inches (29.1 cm.). RogersFund,1971.11.11

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Thisbeautifullycarvedplaque,now on view in the Treasuryat The Cloisters,is amongthe few representativeremainsof the laterMetz schoolof the secondhalf of the ninth century.The intenseandmovinginterplay of the Egures,the senseof toundedbodies beneaththe drapery,the precisionof carving, thedecorativeframe,andthe richnessof detailmakethis pieceone of the most importantin the Museum'sivorycollection.

On the left, Christmeetshis discipleson Partof a casket.Ivory,length91/Sinches. theirwayto Emmaus,andon the rightis The CloistersCollection,1970.324.1 the Supperat Emmaus.The abbreviationfor Emmaus- the carefullyconstructedwalls, gate,andtowers- is not only anoutstanding exampleof a medievalrepresentation of a city, but also a remarkablysuccessfulearly attemptat suggestingthree-dimensional space. FlorensDeuchler

The Coronationof the Virginby Annibale Cartacci( 1560-1609) has a goodclaimto beingthe singlemostimportantItalian baroquepaintingin America.A workof greatbeautyandhistoricalsigniScance,it strengthensthe Museum'scollectionsin an areawheretheyareconspicuouslyweak. The picturewas probablypaintedfor Pope ClementVIII, a memberof the Aldobrandinifamily,andpassedto his relativesin the Pamphiliandlaterthe Borghese families.For centuriesit was high on the list of thingsto see for visitorsto Rome. In the centerof the painting,Christand God the Fathelehold a gold crownof stars 208

abovethe VirginMary'shead,and,together with the white dove,symbolof the Holy Ghost,proclaimherQueenof Heaven.The balancedsymmetryof the compositionand the noble gesturesof the Eguresare typical of Annibale'sclassicalstyle, the antithesisof the boldnaturalismfoundin Caravaggio's worksof the sameperiod. The picturewas probablypaintedabout 1596-1597,at the heightof Cartacci'scareer and soon afterhe had movedfromhis native Bolognato Rome.ComingfromNorthItaly, wherehis stylewas derivedfromCorreggio andTintoretto( amongothers), he was immediatelyimpressedby the grandeutof

ancientRomeandthe classicalperfectionof the worksof RaphaelandMichelangelo. The Coronationof the Virginshowsthe impactof this experience.A largepreparatorydrawingfor the picturerevealsthatthe artistoriginallyintendeda morespacious designin the North Italiantradition.But he alteredthis plandrastically,with the result thatthe structureof the paintingis fat morecompactandsolid. It has the cohesive unity of Raphael'sfrescoes,combinedwith the glowingcolorof the NorthItalians. EverettFahy Oil on carnvars, 461/ x 56 inches.Fundsfrom varrious donors,1971.55

In This Issue

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