The metropolitan museum of art bulletin v.27 #3 november 1968 by alfonse K

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of thisMuseum hasbeentheacquisition thedrivingconcern and even tirelessresearch, bypurchase, by gift,by bequest;byingenuity,imagination, worksof art.In short,it hasbeena question diplomatic ruse- of greatandimportant representative collection. of forminga first-class Acquisition willalwaysremaina primeconcern,but the timehasripenedfor the scholarship. Althoughthisevolucollections to be usedin theserviceof concentrated purposehasbeengoingon rightfromits essentialeducational tionof the Museum's loveof clean-cut withthe historian's of thisinstitution, beginnings, futurehistorians transitions, maylookbackandpinpointthe changein two eventsthatoccurredthis fall. Museum Journal, of the inaugural issueof the Metropolzzan Oneis the publication andof otherscholars intotheMuseum's of ourcurators whichwillpublishtheresearch it brilliantly by thescholarly community, diverseholdings. To judgefromitsreception of a newandsignificant hopethatit markthe"beginning fulfillstheEditorialBoard's concerned withthehistoryof art." contribution to scholarship to aneminentSwissmedievalist, Theothereventis thearrivalof FlorensDeuchler, of of the Department assumethe post of Curatorof The Cloistersand Chairman reputation Dr. Deuchlerbringswithhimanimpressive MedievalArt.At thirty-seven to theDirectorof theBibliotheca HehasbeenAssistant asa scholar andadministrator. Congress of Secretary of the International Hertziana in Rome,andservedasGeneral andhasbeena Art Historians heldin Bonnin I964. He haspublishedextensively, Toulouse,andToronto. of Cambridge, guestlecturerat the universities whichnosedout the storya month Interviewed in RomelastMayby the Tzmes, hisdeterminaDr. Deuchlerexpressed theappointment, beforewe wereto announce "themostimportant collectionfromthe thatTheCloisters, tion(andthe Museum's) becomethe MiddleAgesin the westernhemisphere-aparadisefor medievalists," pre-eminent centerof medievalstudiesin theUnitedStates. MakingThe Cloisterssucha centerwill embracea spectrumof educationfrom At onelevelwe intendto developanddeepenthenaturaltieswe popularto scholarly. Wewillissuea neweditionof the guideschoolsanduniversities. havewithgraduate program. Wearegoingtoaidinpreandexpandthepublications booktoTheCloisters, bookof paringanindexof medievalartin theUnitedStates.A definitivemonuments The Cloisters back elementsof photographs andtext,tracingthevariousarchitectural FOR

THE PAST CENTURY

Contents Note Director's

I57

StefanodellaBella Presenting PHYLLIS

D. MASSAR

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TepeNush-iJan DAVID

STRONACH

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at Excarations Dintha Tepe,1966 OSCAR

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MUSCARELLA

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WesternIslamicArt DON AANAVI

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of theBulletin, Republication OldSeries LEON WILSON

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ON THE COVER:

ridersfroma carrousel Costumed heldat Modenain s652. From La GaradelleStagione,a sourenir boot withetchingsby Stefano dellaBella(s 6so-s 664), Italian. Enlargeddetails g x s2S incA^es. of anotherplate appearon pages Z60 and Z62. TheElishaWhittelseyFund,67.542.8,9, Zo FRONTISPIECE:

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IIl liZ _1E 3haMof Sil2ver October D _ from exhibzzion Leopold the gilt Pri2vate30, XIV and Blumkato Medie2val s968, Collections, century. translucent

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to theiroriginalsites,is alreadyunderway.Weneeda modern,fullyequippedstudyexhibitionareas.We areplanninga seriesof specialexstorageroomandadditional hibitionsthat will explorethe natureanduniquespiritof medievalart. We should whoseexactingconwithcollectors, encourage a moreintimateworkingrelationship forthe greatsuccessof a shownowon viewat noisseurship in thisfieldis responsible themselves, Collectzons. As for the collections ArtfromPrz'vate The Cloisters, Medzeval andLateAntique broadening theirspanto includeEarlyChristian we areconsidering excavations of ourown. objects,and thismaymeanourconducting andin nowayupsetthe In all thiswe mustproceedwithsensitivityandscholarship, thegreatmuseed'ambz'ance aurathatmakesTheCloisters extraordinary environmental thatit is. THOMAS P. F. HOVING,Dzrector

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Museumof Arf Bullefin TheMefropolitan 3 VOLUME XXVII,NUMBER

I 968 NOVEMBER

Copyright(a)I968 PublishedmonthlyfromOctoberto JuneandquarterlyfromJulyto September. Museumof Art,FifthAvenueand82ndStreet,NewYork,N. Y. I oo28.Second by TheMetropolitan $5.00 a year.Singlecopiesfiftycents.Sentfreeto classpostagepaidat NewYork,N. Y. Subscriptions forchangeof address. Backissuesavailableon microFourweeks'noticerequired Museummembers. VolumesI-XXXVII (I9053I3 N. FirstStreet,AnnArbor,Michigan. filmfromUniversityMicrofilms, Ig42) availableas a clothboundreprintset or as individualyearlyvolumesfromArno Press,330 Madison Avenue,NewYork,N. Y. IOOI7, or fromtheMuseum,Box255,GracieStation,NewYork, H. B. of the Bulletin:Katharine LeonWilson.Editor-in-chief N. Y. Io028.Editorof Publications: Stoddert;Editorsof the Bulletin:JoanK. Foley,AnnePreuss,andLauraTennen;Designer:Peter Oldenburg. I58

Presenting Sr

terano

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PHYLLIS D. MASSAR J. ClawsonMillsFellow, of Prints Department

to thegeneralpublicif thiswerethe Afnartist,perhapsdellaBella Stefano dellaBellawouldneedno introduction himself,drawingin a Frenchpart. centuryratherthanthetwentieth.Seventeenth-century ortheeighteenth seventeenth and Severalsimilarigures turnup in andweeklymagazines, aswe buypostcards citydwellersboughtprintsascasually andwe tnowfrom his otheretchings, collectorscompetitively popular.Eighteenth-century dellaBella'swereparticularly thathe drewmuchout sketchboots dellaBellaetchings,minute of doors.Detail of one of the landwiththe thousand-odd filledvastcabinetsandscrapbooks to large. to theDuc scapeprintsdedicated - dellaBellaprints d'Enghien,by StefanodellaBella century- tasteshadchanged Ratherneglectedin thenineteenth in thefirsthalfof thetwentieth,fortheywere (s6so-s664), Italian.z 643. Etchcatalogues wereseldomlistedin dealer's markethas ing, 4S x soM inches.The Elisha too cheapandplentifulto botherwith.Latelya narrowing considered Fund,60.623.I 8(I) Whittelsey dellaBellaintofocusasanartist.Hisprintsaresoughtafterfortheirvirtuosity brought subjects. andfortheirdiverseandoftenamusing anddelicacyof etchingtechnique asa reflecinterestwhentheyareconsidered DellaBella'sprintsbecomeof broader muchthe needle etching and sketchbook with his worked He and times. tionof hislife witHewasanon-the-spot workstodaywithhiscamera. photographer waya magazine court the lavish century nessto manyexcitingeventsof the turbulentseventeenth and of baroquearchitecture festivalsof the laterMediciat Florence,the explosion Paris as the of paintingin Rome,battlesof theThirtyYears'War,andtheemergence whathe saw. politicalandartisticcapitalof Europe.DellaBellarecorded Afn exhibitionof thewort of Stefano in I6I0. Thepre- dellaBeliawill be on viewin the Florence born in dellaBellawas Stefano To beginat thebeginning: foryoungStefano. PrintsandDrawingsGalleriesfrom anartapprenticeship fathernecessitated maturedeathofhissculptor December30 shop he showedsuchstrikingabilityas a draughtsmanNovembers5 throzÂ˘gh Firsttrainedin a goldsmith's I59

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that he wassent to a painter'sstudioinstead.Baldinucci, contemporary Florentine biographer of artists,describes him then:"Stefano,for his tenderageof aboutthirteen,andfor the eleganceof his bearing,wascalled,as an endearment, by the name of Stefanino." YoungStefaninoundertookto emulateJacquesCallot,whohadenjoyedyearsof Medicipatronage at Florence.DellaBelladiligentlymadependrawings afterCallot's technicallysuperbprints,and wasinstructedin etchingby RemigioCantagallina, Callot'sold master. The youthfulStefanoalsobegana lifelongexerciseof sketchingout of doors,with all Florenceas hissubject.Particularly interesting to himwerethe theatricals, festivals,tournaments? andhuntingparties,allpartof the lifeof the Medicicourt. Oneof hisfirsttriesat a publishable etching,in the Callotmanner,wasa printentitledThe Banquetof the Piacevoli(the Piacevoli,or PleasantOnes,werea clubof huntsmen).It is a grandviewof a largebanqueting hallin the Pitti Palace,full Of cavaliers anddogs,andwiththeMediciarmsshownhungwithgamefortheoccasion. Withpossiblepatronage in mind,the seventeen-year-old artistdedicatedthe printto "HisMostSereneHighnessthe GreatPrinceGianCarloMedici,"whowasthensixteen.The strategyworked,for Stefanobeganto get officialMedicicommissions-a seriesof bookillustrations, andeventhe frontispiece for the lastpublishedworkby Galileo. ButRomewasthemagnetforanambitious youngartistin the I620S and30s.Under the aegisof the Barberini Pope,UrbanVIII,a greatrebuilding wastakingplace,the transformation of theancientcity intoanexuberant, festiveworldcapital.Thearchitectsof the Italianbaroquewereat work.ArtistsfromFranceandthe Netherlands flockedthereto study,to findcommissions, to paint,andto makeprintsforthegreat marketof visitingtravelersand pilgrims.Stefanoat last solicitedfromhis patron, Lorenzode'Medici,brotherof theGrandDuke,permission to go,a monthlystipend, anda billetat the Medicipalacein Rome. Justarrivedin Romein I633, dellaBellamusthavebeenexcitedandinspiredby the formalentryinto Romeof the PolishAmbassador to the HolySee.Theseentries werespectacles forthe populace, lastedforhours,andconsisted of a grandparadeon horseback of costumedridersfrommanycountries. Stefanosketchedmadlyandthen etchedthe procession in six long panels,dedicatingthe wholeto his patron,Don Lorenzo. DellaBella'sRomansojournwasbrokenby journeysbackto Florenceto execute officialcommissions. Therewereportraits to do, andrecords of churchfuneraldecorationsforcommemorative booksvrebuses(FigureI) andmorefrontispieces, andillustrations,and officialarmsand emblems.Moreexcitingwerethe Mediciequestrian balletsand the theatrical spectacles, suchas "LeNozzedegliDei" (Figure2), performedin I637 to celebratethe weddingof Ferdinando II andVittoriadellaRovere. DellaBellaaddedhisowntouchwithbeautifully drawnhorsesanddetailsof fantastic costumes(CoverandpagesI60 andI62). Stefano's excuseforgoingto Romewasto perfecthimselfasanartist.Judgingfrom the evidence- wholesketchbooks exist,andmanysingle-sheet drawings in the Uffizi, I60

- he avoidedstudios the BritishMuseum,andat Windsor the Louvre,the Albertina, andthe studyof otherartists'work,andspentas muehtimeas he eoulddrawingin theForum,andareasof Romewherepalatialgardenvillas theopenair.He frequented aswellassketehruins. wherehe eouldridehorsebaek wererising,andthe Campagna, forhisprints. forfiguresandbaekgrounds He laterminedthesesketehbooks Perhapsthisopen-airdrawingpraetieefreeddellaBellafromthe influeneeof the posingof figures.In anyease,it was tightlytechniealCallotstyle,withits mannerist almostlyrieal, - relaxed, emerged style Bella true della the days that Roman duringhis likehumanbeingsratherthanlikeaetors.Teehwithfiguresthatdisposethemselves smalldetails,andthe rennieallyhe beeamea masterof delieateshading,exquisitely deringof furandfeathers. Rome,finally,wasnot enougheither.Perhapsluredby the ehaneeof greaterperCallot'sevenpostreealling perhaps sonalprofitfromthemanyParisprintpublishers, of a speeial humoussueeessthere,dellaBellawentto Parisin I639 withtheentourage delNero. Alessandro ambassador, Hisworkwasalreadyknownthere.In faet,the busyFreneheteherCollignonhad enjoyedjust demand.Stefanoapparently to supplypopular eopieda setof hismarines, beinga touristforsomemonths,butwhenhefinallyneededmoney,he hadno trouble Langlois(also FranKois findingworkwiththreeof the mostnotableprintpublishers: IsraelHenriet,andPierreMariette.He quieklyreeeivedan offieial ealledCiartres), andwassentby Richelieuhimselfto "eover"the siegeof Arras,making eommission first print.ThiswasStefano's a largetopographieal sketehesfromwhiehhe developed of war. experienee duringhis Parisdeeade,dellaBellareaeheda veritable Pushedby his publishers Etehings,in seriesandsingles,largeandsmall,seemedto of produetion. ereseendo printswere Mostof hisfewreligious pouroutof him,to suitmanytastesandpurposes. donethere,for Mariette.Thereweresetsdevotedto the militaryarts,landseapes, plates(Figure4), frontisoriginalornament marines(Figure3), animals,fantastieally seriesof skeleton a frightening of theaterproduetions, pieees(Figure6), illustrations deaths(Figure5), andmanysetssimplyentitledcaprzcci-little vignettesof various peopleandeountries(Figure7). showingthe crowdedPontNeufanda eomposition Therewasa largefigure-filled viewof the Seineandthe Louvre.Thereweresmallviewsof the newtown-planning the PlaceRoyaleandthe PlaeeDauphine(Figure8). Therewerenudevelopments, howto drawheadsa la dellaBellain of Drawing": meroussalableseriesof "Principles etchingsfor the foursetsof eards twenty-fivelessons.AndtherewereI99 miniature to teaehhistory,geography(Figure9), de Saint-Sorlin devisedby JeanDesmarets LouisXIV. andmythologyto seven-year-old of Italian hissketchbooks As always,dellaBelladrewout of doors,supplementing strollandparks,Parisian of Frenchlandscapes viewsandRomanruinswithdrawings trainingsessions,seaports,and the horsemanship ers,the royalfamilyin a earriage, andgypsieshe meton the roads. beggars in theworkof otherprintBesidesnewsubjectmatter,dellaBellafoundstimulation evidenceexiststhathe boughtfor Documentary Netherlandish. makers,particularly I6I

cashor tradedhis workfor theseprints,includingsomeby Rembrandt. Thereare indeedsomeprintsby dellaBellawhichshowa debtto Rembrandt, suchasa seriesof headsin Orientalheaddress. But moreevidentis the debtto Dutchlandscape prints, notablyto thoseby the painter-etchers HermanvanSwaneveltandJanBoth.Della Bellaadoptedsomeof theirtechniques andin his laterlandscape etchingstriedfor morepainterlyeffects,inventingcontrasting texturesfor trees,large-leaved plants, animalfur,grass,andsky. DellaBellaenjoyedsuchsuccessthat he mighthavestayedin Parisindefinitely. But therewasrisingpopulardiscontentovertaxationandfinancial policies,directed againstthe Italian-born PrimeMinister,Mazarin,Richelieu's successor. The Fronde threatened armedinsurrection andthe youngKingLouisandhismotherwereforced to fleethe city. FeelingranhighagainstItalians. In I650, therefore, dellaBellareturnedto Florence,wherehe liveduntilhisdeath in I664. He madeseveraltripsto Romefwherehe wasfora timedrawingmasterto the youngMediciprinceCosimoIII.He continuedto do officialworkforthe Medici (FigureII), but dependedlargelyon his Parismarket,sendinghisplatesto hispublishersthere. Therewastimein theselateryearsforfurthervariations on hisfavoritethemes.He did a finepainterlyhuntingseries(FigureI0), viewsof the Medicivillaat Pratolino (FigureI2), impressive largelandscapes withRomanruins(FigureI3), a brilliantset of costumedriderstakenfromthegrandcavalryentrieshe hadseen(FigureI4), and somedelightfuletchingsof children.For theselastdellaBellaexperimented with a specialtechniqueto givea washeffect.He brushed areasof theplatewithdiluteacid to producea graytonenot unlikelateraquatint.It is evenreportedthathe painted, butno oil by himsurvives. Therewasalsotime to yarnabouthis adventures andhis Parisdays.Baldinucci reportshearinghim tell of his beingtrappedon a narrowstreetby armedbullies, Mazarinhaters,whowerebenton assassinating himsimplybecausehe wasrecognizablyItalian.A womanwitnessing the attackcriedout: "Whatareyou doing?This youngmanisnotItalian,heisFlorentine !"Thecutthroats weregeographically stopped fora moment,givingourherotimeto say:"Gentlemen, I am Etiennede la Belle." Nothingmoreneededto be said.Theyreleased himandretired,makinggesturesof respect. Wecando no less. NOTE

WorkingwithdellaBellaprintsis muchsimplified becauseof the greatlaborof Alexandre Baudide Vesme,whogivesa biography andan excellentcatalogue in Le Peintre-Graveur Italien,Ourragefaisant suiteau Peintre-Graveur de Bartsch(Milan,I906). Sourcefor the contemporary quotesaboutdellaBella:FilippoBaldinucci,Notizie de'professoridel disegnoda Cimabuein qua (Florence,I676-I678). Fortherelationship betweenRembrandt andthedellaBellariderseriesI amindebtedto JuliusHeld's article"Rembrandt's 'Polish'Rider"in The Art BulletinXXVL (DecemberI944), pp. 246-265. ThequotationabouttheCemeteryof theInnocents is froma prefacewrittenby WilliamM. Ivins,Jr., fora facsimileeditionof the ParisDanceof Death(I946, Rosenwald I490 ed.).

che Migliore Fortuna Chi 1S Ydue ha sun[miglio libbre la eand [ala] re] dormi. di. ewlrd. sapere un'oncia Fortuna ; [sa di 5^s^Fortuna i =gi_ ogni pere].1v;8$tantin jlSf'\wX '8 ^\ l X ,'-t l ^ZDz^u

Thisrebusiscontained withintheformofanecran, a screen withhandle usedtoshieldthe facewhenonesitsnearanopenfire.It ispossible thattheactual printwascutoutandpasted on suchascreen. HereistheItalian oftherebus, linebyline,followed bytheEnglish translation:

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2 In I637 della Bella etched this illustrationfor a souvenirbook of "The Weddingof the Gods,"a theatricalentertainmentstagedto honorFerdinandoII de'Mediciand Vittoriadella Rovere,Duchessof Urbino,on the occasionof theirmarriage.A temporarytheaterwasset up acrossthe grotto end of the Pitti Palacecourtyard.The productionwas choreographedand stagedby AlfonsoParigi,and the performancelastedfour hours. The greatestscenographiceffectswere reservedfor the grandSnale- the reconciliationand happy ending. The painted architecturalpanelsat both sides were removed,painted cloud dropsloweredto cover the supportingcolumns,and the widenedstage becameone vast sky. The ballethad twenty-fourdancersin stagecenter;amorettiprancedon cloudsabove, and were flankedby celestialchoirs.Above, cavalierscavorted,ankledeep in cloud, but actually firmly supportedby the terracetopping the grotto (which the stage obscured).Still higher floatedthe Olympiangods, upheldby stagemachinery.In the side spaces(shadesof our halftime footballshows!)moredancersspelledout so for Ferdinandoand VA for Vittoria. Sixthscenefrom"LeNozzedegliDei." Z637. Etching,8H x I I H inches.Giftof Mrs. William Greenough, 36.89.4 I64

painterlyevocationof 3 Oneof manymarines etchedby dellaBella,thisoneis anespecially forclearlyshownare Thelegendis almostunnecessary, skyandwater,buildings andshipping. typicalDutchhousefronts,Dutchcanalbarges,andflyingstorks.The toweris the "Herringshippingis evidenceof Thedenseanchored packer's Tower,"on the Singel,sincedestroyed. seventeenth-century Dutchseapowerandtrade. adducedasproofthatdella Theprinthasbeenusedasevidenceitself,sinceit is frequently Bellawentto Amsterdam in I647, andthat,whilethere,he certainlymusthavevisitedRemof proof.Someknowledge of but not verysusceptible brandt.It is an attractivehypothesis, Rembrandt's printsis shownin a fewof dellaBella'setchings. 33/2x 5H inches.HarrisBrisbaneDict Fund,23.22.Z(27) Vieuyof Amsterdam. Z647. Etching,

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4 The leopardkitten'stailgrowsinto a friezeof foliageornament, is on the tendersceneof thesmallboy,his butdellaBella'semphasis pet, andits mother. Collec6S x 2% inches.Private An ornament print.Z653.Etching, tion,NewYort

5 Deathon the battlefield, deathby plague,bothmusthavebeenfamiliarto dellaBella. The tragicdeathof childrenis herepersonified by skeletonsclutchingtheirlittle victims. Theyrunshrieking, theirshrouds flying,acrossthe Cemeteryof the Innocents. In the background,right,is its charnelhouse.The site is so correctlyrenderedtopographically thatit canbesurmised thatdellaBellahimselfsketched in thisterrifying place,virtuallythecommon graveof allParisforcenturies. Thegroundwasstrong;bodiesendured in it a year,whereupon only skullsandbonesremained. Thesewereremovedto opencribsover the arcades of the charnelhouse,to makeroomformorecorpses."Thepebblesin thisgroundwereteeth." UsingtheCemetery of theInnocents asbackground fora screaming Deathmayalsoindicate dellaBella'sknowledge ofa famousandmuchreprinted fifteenth-century PariswoodcutDance Death carryinga child. of Deathadaptedfroma frescopaintedearlieronthecharnel-house faJcade. TheskeletonDeath I648. Etching,6 X interfering in humanaiairspersists in printsthroughthesixteenthandseventeenth centuries. 5H inches. The Elisha Of like character to thesedraped,activeskeletonsby dellaBellaarethosesculptured by WhittelseyFund, Berninisomeyearslaterforthe tombsof Alexander VIIandUrbanVIIIin St. Peter's. 59.570.379(2)

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poetryandrealisticcomedies,PaulScarron(I6I06 For the crippledauthorof burlesque deforming plaguedby a progressively Scarron, frontispiece. I660), dellaBelladida burlesqued to establishhimselfas a successful managednotwithstanding diseaseand almostparalyzed, andprotodayas thehusband in Parisin the I640S. He maybe betterremembered dramatist Maintenon. Mmede d'Aubigne, tectorof Francoise In the author'sownwitty spirit,dellaBella,in lieuof a likeness,showsus onlyScarron's a true maintains in hisprefacethatit is nevertheless andhisheels.Scarron hat,hisshoulders, portrait,andlistshisowndeformities. Muses.Beyond thisdwarfedfigurewithninenoisybawds,Scarron's The artistsurrounds anda plumpBacchussoundshis flute. thisgroupa coarsePanis aboutto playhis bagpipes AbovethemPegasusobservesthe scenefromMountHelicon,sacredto theMuses. for Les Oeurresde Scarron.I649. Etching,8h8x 6M8inches.Gift of HarryG. Frontispiece Friedman,64.682.96

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7 To go fromFlorenceto Romeandback,fromFlorenceto Paris,and long centurythismeantspending - in theseventeenth backto Florence periodson the road.DellaBellausedthe timeto sketchthe landscape Thisstarklypoignantbeggarwoman, and the peoplehe encountered. mayhavebeena campfollower,orone by herthreechildren, burdened of theThirtyYears'War, by theravages displaced of themanypeasants or perhapsa gypsy.Hercostumewith the longfringedshawl,andthe suggestthelast;gypsieswerecommon straightblackhairof herchildren thenon the roadsof ItalyandFrance. from DiversiCapricci.Z648. Etching,3h Beggarfamily, Z7.50.I7-2sg Purchase, JosephPulitzerBegZuest,

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is theorderof thesegreatbuildings! Howunusualandbeautiful Geronte: Dorante:Parisseemsto my eyeslikea fancifulcountry. island: ThismorningI believeI sawan enchanted I left it a desert,I foundit inhabited. SomenewAmphion,withoutthe aidof masons, Haschangedits thicketsintoproudpalaces. everyday. Parisseesthesemetamorphoses Geronte: II, v Le Menteur, PierreCorneille,

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the riseof a newParis.Seen 8 DellaBellatoo commemorated of dellaBella'sprintshows fromlapointede la Cite',theforeground the equesa popularParismeetingplace,the squaresurrounding theSrstsuchmonumentrianbronzeof HenriIV.Thissculpture, talmountedSgureto be erectedin a publicplacein France,was GiovanniBolognaandPietro sculptors theworkof theFlorentine Tacca,andwaspresentedby Mariede'Mediciin I6I4. Beyond of thePontNeuf,its wide thisplazais seenthebusythoroughfare by shops. roadwaythe Srstof Parisbridgesto be unencumbered andstonefacades Beyondthe bridgerisesthe elegantpink-brick projof thePlaceDauphine.Secondof HenriIV'stown-planning ects (the Srstwasthe PlaceRoyale),it wascompletedin I6I2. blocksweremadeto conformto the triangular Uniformresidence endof the Ile de la Cite,andthe buildingsencloseda sheltered space. promenade

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againsthimforhisSnanfearfulof laterrepercussions 9 Mazarin, of Franceduringthe minorityof LouisXIV, cialadministration in religionandthe primarily allowedthe youngkinginstruction art of war.Besidesan illustratedreligioustome,the only other

bookpermittedthe seven-year-old monarchwasone containing foursetsof playingcards,etchedby dellaBellaanddevisedliterarilyby JeanDesmarets de Saint-Sorlin. Throughsimplegames withthesecardsets(gamesplayedperhaps like"Authors") Louis did,at least,learna littleaboutmythology(JeudesFables);about famousqueensthroughout history(JeudesReinesRenommees); aboutthe kingsof France,good,bad,and unfortunate (Jeudes Roisde France);and aboutgeography(Jeude la Geographie). Fromthe last-named gamecomesdellaBella'sfancifulfete-costumedpersoniScation of America-SouthAmerica,no doubtcompletewithpony-sized armadillos. Playingcard,AMmerique. s644. Etching,3H x 2X inches.Gift of the Estateof JamesHazenHyde,59.654.I9(28)

0 Thisfleeingostrichwasobviouslystudiedfromlife.Ostriches aredocumented in royalandducalmenageries in FranceandItaly in theseventeenth century,butit isdoubtfulthattheywereplentifulenoughto behunted.So thishuntisimaginary, andthepalm treessproutratherstrangelyfromthe grassyTuscanhills.Della Bella,the fur andfeatherexpert,showshis technicalvirtuosity in the painterlyrendering of fluffed-up plumes. The OstrichHunt. s654. Etching,6H x 8%inches.TheElisha Whittelsey Fund,57.585.6

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2 "A placeforwildnature,surrounded by mountains andfull of woods,"saidFrancesco de'Vieriof theMedicivillaof Pratolinoin I586. DellaBellafoundit the samein I653, when he madea seriesof largeprintsof the villaandits grounds.Terminating the northaxisfrom the villawasa greatbasinanda giganticstatuerepresenting the Apenninemountains. The statuestillexists,thoughthegrottobehindit hastumbleddown,andnomodernvisitormentionstheroomsinsidethecolossus paintedto showmenminingprecious ores.Bernardo Buontalentiwasthe architectof the villaandgardens. Statueof the Apennines.Illustrationusedin BernardoSgrilli'sDescrizionedella regiavilla, fontaneefabrichedi Pratolino(Florence,s742). Z653. Etching,so x s5 inches.HarrisBrisbaneDict Fund,49.sg.2

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13 DellaBellahererecordsthe localcolorof one of seventeenth-century Rome'soutdoor livingrooms,knownfamiliarly as theCampoVaccino,or CowPasture.Ourartistdramatizes the setting,buthe alsogivesus a correcttopographical viewof theForumfromtheCapitol. Miscalled in the title, the foreground buildingis actuallytheTempleof Vespasian. At far rightis theTempleof Saturn,andon theleft is theTempleof Antoninus andFaustina, with theroofof SanLorenzoin Miranda pokingup throughit. Beyondit is thesmallroundchurch of Sts.CosmasandDamian. Betweenthe half-buried templecolumnsin the foreground is the top of the Columnof Phocas.Beyondit is a sliceof thechurchof SantaFrancesca Romanaand,at right,theArch of Titus,stillencasedin themedievalwall. Templeof Concord.s656. Etching,ss31/2x so1M6 inches.Purchase, JosephPulitzerBequest, I7.5o@I7-294

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14 At Romein I633 and againat Parisin I645, dellaBella,like a newsphotographer, andhiscolorfultrainintoa majorEuro"covered"the formalentryof a Polishambassador soldiersfromPoland,Hungary,Turkey,and peancity. The exoticensembleof mercenary of the massed DellaBellamademanydrawings northAfricadazzledRomansandParisians. andlatermined accoutrements, riderswith theirspecialized paradegroups,andof individual forprintsubjects. thesedrawings He wears Froma famousset of elevenroundetchingscomesthisPolishlightcavalryman. boots, high-heeled a joupane(a longcoatwithfurlining),commonto PolesandHungarians, combathe carriesa and a fur-linedcap with an egretplume.For mountedhand-to-hand cavalryswordanda mace. It hasbeenpointedout by JuliusHeldthatthissetof riders,theirposes,andtheirdetailed andusedby himasa source knownto Rembrandt wereveryprobably costumes andweapons forhispaintingThe PolishRider,nowin TheFrickCollection. ThePolishRider,by Rembrandt Harmensz.vanRyn(I 606-I669), Dutch.Oil on canvas,46 x 53h8 TheFrict inches.Copyright Collection,New Yort

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DAVID STRONACH Directorof TheBritishInstituteof PersianStudies,Teheran

Achaemethefar-flung fame of the createdandsustained Given the long-established mplre. Eman to find Medes,it is not a little surprising Severalrelatedfactorsmayhelpto explain thatscarcelyanyMediansiteshavebeenexcavated,and thatwe canstillpointto only why the Medes,with a still longerhistory haveonlyjustbegun to reveal thantheAchaemenians, thatarebeginning threeexpeditions to Asquite to attracta limitednumberof excavators moreorlesscertainMedianremains. the equalof theirIraniancousins-the Per- theirsites.In thefirstplace,it haslongbeen wheretheMediancapitallay, sians-formost of the firsthalfof the first knownprecisely hasalwaysbeenrecognized it secondly, and, were themselves Medes the B.C., millennium - ancientEcsettlement considerable this that distant "the or Medes" mighty "the already wouldbeone Hamadan modern now batana, ninth the of annals Assyrian Medes"in the of rivaling capable Media in sites few the of small no in contributed they centuryB.C.; earlyAch- Participationby The Metropolizan the Pasargadae, either of appeal in the Assyrians the of overthrow the measureto the Great Museumof Art tn the excarations Cyrus by built capital aemenian of last the Astyages, when 6r2B.C.; andeven still later at Nush-iJan was madepossibleby the Persepolis, or B.C.), (559-539 Cyrus by defeated was theMedianroyalline, theGreatin 550B.C., it wasstillthecombined capitalbuilt by Dariusthe Great(522-486 the continuingsupportof H. Dunsthat B.C.). Thuson theonehandthecoreof Hama- combeColt,Jr. strengthof "theMedesandthePersians" I77

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

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danwasa brilliantlurethatthearchaeologistan impressiveseventh-century palacecomhall. couldneverforget,and,on the other-as an plete with a spaciousthirty-columned CA S P I A N partof a growingmoderntown- its Thissamehallnot only recallsthe designof E integral A full-scale excavation alwaysthreatened topro- morenarrow, ninth-century hallsfromHasanhallat videinnumerable problems foranywould-be lu IV (asalsothatof anothercolumned excavator. the eighth/seventh-century Urartiansite of the The firsthint thatcertainotherprospects AltinTepe), but it alreadyforeshadows might be at least as rewarding camewhen broad,rectangular planof theResidential PalC D l A Initself, RobertDysonandVaughnCrawford carried aceofCyrustheGreatat Pasargadae. out the first controlledexcavationsat the therefore, the hallfromGodinTepeis a noseventh-century mountaintop strongholdof tableexample of thefar-reaching culturaland linksthatwillundoubtedly cometo ZiwiyeinKurdistan in I964, for,whileZiwiye historical of furthersitesof canhardlybe saidto lie at the veryheartof light with the excavation Media,its terracedremainsstill produceda Mediandateduringthe nextfewyears. seriesof diagnostic potterytypesthatprom- Manyof ourownhopeshavealsobeenmet ised to act as a reliableguideto othercon- at the neighboring site of TepeNush-iJan, wherethree institutions-theMetropolitan temporary moundsnearHamadan. A seriesof moresoutherly surveysfollowed Museum,the OrientalInstituteof Chicago, soonafterward, andan encouraging number andTheBritishInstituteof PersianStudieswith a firstcamof seventh-century sitesarenowknownfrom haveeachbeenassociated centralMediaitself.Excavations at suchsites paignof sevenweeks'duration. haverevealed whatwouldappearto beeither Achaemenian or Medianstone-footedwalls nearthegreatrockofBisitun;a smallseventh- TheExcavations centuryfortressat BabaJanTepein eastern The moundof Nush-iJan-the present-day 2. 24plan of the CentralBuildzng Luristan;and still moreelaborateseventh- namecanbe takento mean"longlife"- was centurymud-brick structures at bothGodin firstvisitedby Dr. Youngandmyselfearly andtheFortat thecloseof the in the springof I965. Aswe skirtedthe edge I967 season.Dottedlinesindicate TepeandTepeNush-iJan. At GodinTepe alone,T. CuylerYoung, of the Jowkarplain,someforty-threemiles restored (i.e. unexcarated) wall we wereattractedat once Jr.'s,excavations of I967 revealedtheplanof southof Hamadan, faces by thecrumbled mud-brick depositthatcoveredthewholetopof the site,itselfthemost prominent rockoutcropat the centerof the plain(FigureI). The summitof the moundprovedto be smoothandalmostundisturbed, savefora few strangehollowsof unexplained origin.The lattertookon newmeaning,however,when Dr. Youngfoundone suchhollowoccupied by a somnolentmotherpig and two of her young!Muchto thebenefitof whatremained of our composure, the lady and her family retreated first.... Evenon thisfirstvisittheunusualpromise of the moundwasevident.The potterysuggestedanalmost"oneperiod"siteof seventhcenturyor nearseventh-century date,while t ::: 1 the exceptionally steepsidesof the mound seemedto point to the originalpresenceof strongdefenses. -

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Actual excavationsat the site began in August I967, the staffof the expeditionconsistingof myself as Director,Mrs. Stronach, Ali Sarfaraz(Representativeof the Iranian ArchaeologicalService), David Bivar, Oscar White Muscarella,Michael Roaf, Andrew Williamson,IanHerring,andSusanBird.ValuablehelpwasreceivedfromWolframKleiss, SecondDirectorof the GermanArchaeological Institute, as also from GeoffreyHewitt, A.R.I.B.A.

Without specialdumpingproblemsto consider (thanksto steep slopeson all sides)and without a vast area to probe (the flat area of our five-metergrid on the summitof the mound measuredonly ninety by forty-five meters- 295 by I48 feet), our firstimpression was that we might have a relatively short, finite task on our hands.However,we failed to reckonwith two importantfactors:the unusualdepthof the depositand the exceptional force of the winds that started to plague us frommid-Augustonward(Figure3). Asa consequence,neitherof the two principalstructuresthat wereencounteredcan be saidto be fully excavated(Figure2), andprobablymore

thanone futureseasonwill be requiredto completethe exploration of the moundas a whole.

ne Forf Themostcomplete planat themomentcomes froma structure thatmightalsobecalledour EasternBuilding.It consistsof a smallrectangularfort, approaching twenty-oneby twenty-four meters(69 by 79 feet) in size, with regularlybuttressed outerwallsand a singleexternalentrancelessthantwometers wide.Thegroundplanincludesa guardroom besidethe entrance,an adjoiningrampand staircase leadingup to the secondfloor,and fourlongparallel magazines. (Something very similar to thislayoutcanbeseenin theground planof the cornertowersof the late sixthcenturyApadana at Persepolis, andwe areat libertyto wonderif the Achaemenian architectsof Dariuswerenotconsciously following thetraditional planof stillolderredoubts such asours.) Unfortunately theentrance to theForthas sufferedmuchfromsubsequent disturbance, I79

ceilings;strictlymud-brick andthe firstwellpreserved eledetailsappearat ground-floor the southend of the guardroom. Therewe mentsservedinstead.The mainweightwas canstillseeat leastthreesmallwallniches- borneby corbeledbricks,concealed frombepossiblyusedforholdinglamps- andat least lowbylong,parallel mud-brick members each tworaisedhearths wherethesoldiers onguard pitchedat an angleso theymeetat the apex duty must havewarmedthemselvesduring of theceiling.It is difficultto thinkthatsuch the longwintermonths.Passingthroughan slender,sometimesslightlycurvedmembers innerdoor (presumably deliberatelynot in could have addedmuch reinforcement, allinewiththeouterone),we reacha longcor- thoughonehasto remember thatlongmudridorthatis in effecta slopingramp.On the brickstrutshavealsobeenfoundat twoothsouththis flattensout in frontof an open er sitesin Iran-sixth/flfth-century Dahan-i doorwayto the firstof the magazines, while Ghulaman inSeistanandsecond/flrst-century to the north(Figure4) it leadsto an almost Shar-iKomisnearDamghan -where the evisquareroomwitha squarepierat the center. dent utility of such elementsis not to be Thislastfeaturerepresents a familiarformof denied.Thesmaller ground-floor doorsof the staircase alsoknownfromAssyria,as well as Fort,suchas thoseshownin Figure5, were ninth-century Hasanlu. ButatNush-iJanthe not flat-topped either:instead,the standard scaleisunusually generous andthegrandman- bricksthatremainin placeovereachopening nerin whichthe rampitselfis carriedround all appearto have beenpitchedat a slight almostfoursidesof the centralpierbeforeit anglein orderto produceanalmosttriangular TherampinsidetheFortin gives wayto thefirststepsisquiteexceptional. upperframe.Onlylargerdoorsmayhavebeen thecourseof excavation.Note Unfortunately thegrandeur of theconcept suppliedwith woodenlintels,althougheven thedoorfromtheguardroomat may also have been its undoing. At anyrate, herethe evidenceis inconclusive. therightandthecurvedmud-brict parts of the mud-brick vaulting over theramp As faras lightingandventilationareconstrutsexposedbeneaththetumcan be seen to have collapsed, forcing theoc- cerned,threeof thetallmagazines areknown bledbrictsof the corbeledvault cupantsof theFort to builda new,farmore to havehada singleexternal window,situated modeststaircase withinthe widthof one of at thehighestpointof thechamber, overflve the adolnlngmagazlnes. meters(I6 feet) abovebedrock.Thesesame The fact that so manytracesof vaulting narrow windowsemergeon theexternal,batcanbefoundin theFortis of specialinterest. teredwallsof the Fort immediatelybeside Apparently woodwasnot usedin anyof the the multiplearrowslots (Figure6) thatslope downfromthe floorof the secondstory. The onlyone of thesearrowslots to retain its full height of two and a flfth meters (alittle 5. X doorwaybetweentwo magaover 7 feet) is still distinguished by the standzines. The low, triangularupper ard, triangular cap of Assyrian and later times. frame remainsalmostintact Roughlycontemporary parallelsfromother excavateddefensesare limitedto thosereportedfromNeo-Assyrian Assurand those discoveredalmostthirty yearsago in the northern fortiflcation wallat Persepolis. Withsuchstraight,narrowapertures it has to be concededthatthearchercouldonlyselecta targetimmediately in frontof him;but in a massattack,with scarcelymorethana meterbetweeneacharrowslot, two superimposedrowsof suchslotswerepresumably a vitaladditionto the firepower thatcouldbe broughtto bearfromthe crenelatedbattlementsof anywelldefendedstructure. .

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Relativelyfew obiectswerefoundin the ne Cenfral Building Fort,whichappearsto havebeenpeacefully abandoned about600 B.C. Yet on thelastday Towardthe middleof the mound,mostof of thedig,whilewe wereclearingthe baseof lastyear'sworkcameto be concentrated on the ramp,we hadthe goodfortuneto Snda anothermonumental structure, ourso-called smallsilverhoard,buriedin a bronzebowl CentralBuilding(Figure2). Possiblylozengeandhiddenbeneatha singlebrick.Thesilver shapedwhenit wasfirstbuilt,with stepped objectsincludea seriesof doubleandquad- innerandouterwallfaces(FigureI2), this ruplespiralbeads(Figures7, 8); anearring uniquemud-brickconstructionappearsto withwhatappearsto be appliedgranulation havehadat leasttwoopposedroomsdivided (Figureg); and an intriguingseriesof bars byastraight partition wall.It isnotyetknown (FigureI0) andSnelyworkedcoils(Figure whetherornotthistower-like ediScehadany II) that mayproveto be samples of a local outerdoor,although itspartition wallwasapformof currency. parentlypiercedby botha widedoorwitha As far as the beadsaloneare concerned, woodenlintelandat leastoneinternal"winthe archaiccharacter of the two maintypes dow." is somethingof a surprise.Quadruple spiral Withintheoneprincipal roomthathasbeen beadsarefarfromcommonaslateasthesev- clearedto a depthof sevenmeters(23feet)in enthcenturyB.C., andpossiblytheclosestpar- places(justone meterabovefloorlevel)we allelsto ourlong-sleeved double-spiral pend- havealsofoundseveralrecessed walldecoraantsarethosefromtheverymucholder,early tions.Theseincluderecessedcrosses,square second-millennium settlementof HissarIIIB "scaffold holes,"anda seriesof blindwindowsS in northeastern Iran. eachwitha deep-setnicheat the base.Similarcrossesoccurin the ninth/eighth-century paintedpotteryfoundin SialkCemeteryB, 7. Two doublespiralbeadsfrom thesiluer whilethe blindwindowsarenot entirelydishoardfoundin theFort.The largestof the similarto eitherthoseknownfromthe stone beads*measures 2X6 inchesin width.(Objects "towertemples" at Pasargadae andNaqsh-i markedwithasteristswill cometo the Rustamor thosefoundinsidethe fifth-cenMetropolitan Museum) turyB.C. templeat Maribin the Yemen. Apartfromthesearresting features, a quite 8. id groupof quadruplespiralbeadsfrom the extraordinary effortwasmadeto cocoonthe samesilverhoard.Theseareperhapsthelatest wholeedifice,probably stillearlyin thelifeof examplesof thissimplebutattractive form the site. To beginwith, the wholebuilding to befoundin theNearEast.Theonesat the wasfilledwithsmallstonesup to a heightof top and bottomof the left-handcolumn* sis meters(20 feet). Such stoneswere not sharea maximumlengthof IX6 inches merelythrownin from above:they were placedin positionwithgreatcareso thatno 9. X silverearringorpendant* from thehoard. partof the originalstructure wouldbe damLengthH inch agedin anyway.Thelargeandsmallchipsof shaleusedin thisremarkable operation were IO. Silverbarsor ingotsfromthehoard.That allobtainedlocally- thestonebeingidentical at thetop has beencut; thatat thebottom* withthatof themainNush-iJanhillandthat appearsto be marked for possibledivision. of variousotheroutcropsnearit. At the end The latteris I00.8 gramsin weightand of the firstpartof thisoperation, whenthe measures3% inchesin length pureshalefillhadreachedto withintwometersof the topof the building,it wascapped I I. Threesilvercoilsfrom the hoard.The left firstby a seriesof alternatebandsof mudand andcenterexamples*sharea maximum shaleandsecondlyby a thickprotectiveseal diameterof aboutZ inch of mudbrick.Thislastcapnot onlycovered l83

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roombut (to fully modeledheadof the Assyriandemon the areaof the largetriangular in the earlyphasesof Pazuzu(FigureI4), whichis not at all unadd to ourdifficulties it alsoranover the original likelyto havebeenlootedfromAssyria. the excavation) wallsof the entirestructure. At the westernendof the mound,an isoto fillandseal latedtesttrenchwouldseemto havehit upon Beyondsuchdirectmeasures theinteriorof the building,the southsideof the upperwallsof yet a thirdmonumental edificewasenveloped structure.Here againthe characterof the thisoncefreestanding of brick;its eastside buildingremains in a curved"bastion" in doubt,althoughfromthe of theFort exceptional by theconstruction numberof moreor lesscomplete wasconcealed insertion of a potteryformsfoundina second-orthird-floor (notto mentionthesubsequent in thenar- roomwecanperhaps hopeto uncoverat least s3. A bronzeelbowfibula*of late andshaleblocking solid,mud-brick Mediandate.LengthI 1S6 inches and a goodpartof a multistoried strucrowspacebetweenthe two structures); residential fromwhatcanbe seenin stillotherareas,it ture. wouldseemmorethanlikelythat both the remaining facesof the buildingwerealsohidChronology walls. denfromviewby tallsecondary it is stilldiffiIt is possibleto arguethat the Fort itself At thisstagein theexcavations of the cultto offerfirmdatesforeachphaseof conmayhavebeenbuiltfortheprotection AsFig- structionat Nush-iJan.But if we compare older,ultimatelycocoonedstructure. exteriorof the CentralBuildure2 shows,the Fortis withoutany arrow- the weathered slotswhereit adjoinsthe CentralBuilding, ing with thatof the Fort,it is not difficult must pre- to supposethattheformerconstruction andon top of so manyotherstructural guard havestoodexposedto theelementsformany cautionsthe provisionof a permanent However, yearsbeforeany otherbuildingwaserected wouldnot seem too far-fetched. ouronuntilthe CentralBuildingshouldhavebeen on thebarerockbesideit. Moreover, datefromTepeNush-iJanis a broughtto yieldall its ownsecrets- be they ly carbon-I4 earlyonefromthefillof the Censtruc- seemingly orfunerary thoseof a secular,religious, ture- anduntilthewesternendof themound tralBuilding,wherea fragmentof woodhas . A bronzeheadof theAssyrian demonPazuzu,an erilgenius aswell,it is prob- givenus a dateof 723 i 220 B.C. shouldhavebeenexcavated reputed to bringferer and sictevidenceit is perhaps to trytodefinetheprecisefunc- Fromsuchcombined ablypointless 1%6 inches ness. Height of to placethe construction tionof anyof Nush-iJan'smajorstructures. notunreasonable Thefloorof the CentralBuildinghasbeen the CentralBuildinga little before700 B.C. of theFortat leasta few inspected at onlytwopoints:firstin theeast- andtheconstruction room,wherewe decadeslater.A closestudyof the pottery ern recessof the triangular foundnothingbuta quantityof finelybroken fromeachstructureis still in progress,but buS-ware pottery,andthenin onecornerof forthemomentthereis noconcreteevidence the northernrecess,wherethe stonefill was that wouldseemto quarrelwith eitherof thesetentativeestimates. foundto reston a thinlayerof grayash. As for the datewhenthe Fort fell out of use,it canonlybesaidthatthereis littleeviOtherMedianStructures The longoccupation. denceof a particularly outsidethe upperwallsof the collapseof Assyriaandthegradualerosionof Immediately a feeling curved"bastion"we wereable to uncover Scythianpowermusthaveproduced severalsmallrooms,eachprobablycontem- of greatersecurityin centralMediaafter6I2 porarywith similarextensionsoutsidethe B.C., but whetheror not this new situation originalwallsof the Fort itselÂŁIn thesewe shouldbe held responsible for the ultimate singular werefortunateenoughto findseveralobjects abandonment of ourown,somewhat is stillanotherquestion. of bronze,includingan elbowfibula(Figure establishment the endof the I3) of a typeattestedtoward Finally,aftera definitebreakwitheventhe seventhcenturyatNimrudanda small,force- latestpotteryformsof Mediandate(Figures I85

I 5-I 7), the siteof Nush-iJanappears to have beenreoccupied in late Hellenisticor more probablyParthiantimes.Althoughhardly anythingmorethana fewfloorsandscattered pitscanbe associated with thisbriefreoccupation,the potteryfromthis finalphaseis notwithoutinterest.Glazedbowlswithconcentricgrooveson the insideof the baseare by no meansscarce,and a thin,fine,dense potterywith a gray core and a reddishto yellowishbrownsurface - possiblybestcalled "cinnamon ware"-canbe recognized as an outstanding localproduct(FigureI 8).

sS. A two-handled jar of fine,pintishbuff ware.*Late VII or earlyVI centuryB.C. Height4H inches 15

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A rimfragmentfroma burnished gray-ware bowl*with a horizontalhandleand two decoratiretnobs. Late VII or earlyVI centuryB.C. Diameter7S inches

s7. Partof a potteryhandlein the shapeof a duct'sheadwithincisedeyes.* Maximum length2X6 inches

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at Dintha Tepe, Excavations 1966. F7oursquaretrencheshave beenlaid out: the two in the foregroundhavenotyetbeen excavated;thetrenchin thebactgroundto theleftis havingits turfremoved,andthe oneto the rightis seenafterfour daysof digging.In thedistanceis the ancientmoundof Saujawith its modernvillage

at Excavations Dinkha

Tepe,

1966

OSCAR WHITE MUSCARELLA 4ssistantCuratorof 4ncientNearEastern4rt

explor- Pennsylvaniabegana majorcampaign.Two In I936 the Britisharchaeological er Sir AurelStein travelednorthfromShi- yearslaterThe MetropolitanMuseumof Art raz throughwesternIranrecordingancient joinedforceswith the UniversityMuseumin occasionally hecon- an effortcalledthe HasanluProject.The aim moundsandmonuments; ducteda sondage,or briefexcavation,at a of the project was to documentat Hasanlu promising site. Few moundsin Iranhad at and surroundingmoundsa cultural-archaeoor excavatedby ar- logicalhistoryfromthe neolithicperioddown that timebeenrecorded chaeologists, and Stein succeededin docu- to recenthistorictimes.The moundsof Hajji of scoresof an- Firuz, Pisdeli, and Dalma have yielded rementingthematerialremains cientsitesby sondagesandsurfacefinds. mainsfromat leastthe sixthdown to the fifth Stein discovered and and fourth millenniaB.C. Hasanluitself has Amongthe sitesthat mapfor future alsoproducedsuch remains;thereis, in addiplacedon the archaeological studywasHasanluTepe,locatedin the Sol- tion, materialfrom the late thirdmillennium in B.C. to the fifth and perhapsfourth centuries duz valleyin the provinceof Azerbaijan northwestern Iran.Becauseof Stein'sprelirn- B.C., as well as evidenceof a fourteenth-cen- Thefundsfor TheMetropolitan undertheauspices of tury A.D. Islamicfort. inarywork,excavations Museumof Art'sshareof the Serviceweremade Most of the objectsand architectureexca- Dintha Tepeand HasanluexcavatheIranian Archaeological vated at Hasanlubelong to a portionof the tionswereprovidedby the Rogers at Hasanluin I947 and I949, and in I957 the UniversityMuseumof the Universityof IronAge,betweenI300 and800 B.C., although Fund I87

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earlierand later periodswere also excavated. Divided archaeologically, the sequenceof levels at Hasanlu,countingfrom the top down, is as follows:level I, at the very top of the mound, is an Islamicsettlementof the fourteenth centuryA.D.; level II, just below, has remainsof a largehousebuiltaboutthe fourth century B.C.; levels III A and B, datingfrom the seventh throughthe fifth centuriesB.C., are known as Iron Age III; level IV, about I000-800 B.C., iS knownas Iron Age II and is the most complete and best preservedlevel at Hasanlu;level V, about I300-I000 B.C., iS knownas Iron Age I. Below level V, Bronze Age remainswere encounteredand this level is called periodVI. Here fragmentsof house walls and pottery, mostly sherds,were excavated, but, comparedto the later levels, not in sufficientquantity to provide a coherent recordof the historyandcultureof the people living there.Whatwaslearnedfromthe excavations,however,was important:the people of periodVI usedbuffpotterydecoratedwith paintedbandsor trianglesaroundthe shoulder of the vessels.This pottery is quite different fromthe characteristic IronAge monochrome gray or red wares,and is exactly the sameas that foundat many sitesacrossthe Near East I88

to the west, fromnorthSyriato northMesopotamia,anddatingfromabout I800 to about I300 B.C. Because this pottery was first reportedfrom the KhaburRiver areain north Mesopotamiaand is very commonthere, archaeologistscall it Khaburware. To learnmoreabout the periodVI culture and understandwhat relationship,if any, existed betweenit and the overlyingIron Age culture, we would have had to remove the massiveremainsof the periodIV settlement. This would have entailedmuch expenseand labor and would have destroyed important structuresof archaeologicalinterest. Moreover, our soundingsindicatedthat the period VI levels were not well enoughpreservedto producethe informationwe wanted.Because it did not seem practicalto continueexcavation at Hasanlu,we beganto look for another moundin the areathat might produceperiod VI remains. SirAurelSteinhelpedus again.A fewweeks beforehe excavatedat Hasanlu,Stein reconnoiteredthe Ushnuvalley to the west of Solduz and madea sondageat DinkhaTepe lasting six days. From the publishednotes and photographsof the pottery and tombshe excavated,we could see that therewas a major deposit of HasanluVI materialat Dinkha. And there seemedto be very little Iron Age materialon the site- in fact Stein saidso himselÂŁ This impliedthat we would not have to dig throughan overlayof IronAge structures in orderto reachthe architectureandartifacts of the Khabur-ware periodthat we wishedto investigate.We decided, therefore,to excavate at DinkhaTepe, andin I966 the Hasanlu Project beganits first campaignat that site. Dinkha Tepe lies about fifteen miles west of Hasanlu;it is a moundabouttwentymeters (66 feet) in height and roughly about four hundredmeters(I,330 feet) in diameter.The GadarRiver, which crossesthe whole Ushnu valley, is continuouslyerodingaway part of the north face of the mound. The massive mountainrangethat marksthe Iran-Iraqborderlieslessthanten milesto the west, and the famouspass between the two countries,the Kel-i-Shin,is clearlyvisibleto the northwest. Thereis no naturalbarrierseparatingthe Solduz fromthe Ushnuvalley,and thismight be

one reasonfor the culturalsimilaritybetween the two areasin antiquity.Dinkhais situated at a crucialpositionwhereit wouldexperience any movementof tribes,caravans,or armies acrossthe Kel-i-Shin pass, and at the same time would be in easy contact with areasto the south and west. Four trenches,ten meters(33 feet) square, werelaidout on the northedgeof the mound (FigureI), just southof the areawhereStein originallyexcavated,that part having been eroded away by the river. Later, two more trencheswere laid out further south in the center of the mound, and a series of test trencheswere excavatedat variousplacesto test the stratigraphy andgrowthof themound. Aftera few daysof excavationin the north areaa majorcemeterywasdiscovered- unexpectedly,I might add,for Stein hadnot come acrossany evidenceof it. Unexpectedalsowas the interestingfact that the contentsof the burialsin the cemeterywereall exactlyparalleledby the objectsfoundat Hasanluin periodsIV and V, belongingto the Iron Age. We realizedafterrereadingStein'sreportsthat he hadbegun his excavationsnot at the top of themoundbut ratherat variouslevelson the erodednorthface and, therefore,never came intocontact with the upper levels that containedour cemetery! Based on stratigraphyand the tomb contentsin the cemetery,we have been able to establish the followingchronological sequence, numbered from the top down: Dinkha I (Islamicremainsin the northeastarea of the mound);Dinkha II (IronAge II, or Hasanlu IV,about I000-800 B.C.); Dinkha III (Iron AgeI, or HasanluV, about I300-I000 B.C.); and DinkhaIV, representedby remainsunder thecemetery (Late BronzeAge, or Hasanlu VI,about I 800- I 300 B.C.) . A totalof sixty-eightDinkhaII andtwentysixDinkha III burialswere excavatedin the cemetery. In the same area we found three pottery kilns, one with a Dinkha II vesselin situ, and somehousewalls,perhapsindicating that the cemeterywas abandonedbeforethe end of periodII. The settlementin existenceat the time when the cemeterywas in use seems to lie to the south,and fragmentsof wallsapparently belongingto this periodwere exca-

vated in a test trench.Althougha fairly extensive town existed at Hasanluduring the IronAge III period,no remainsof this period were foundat DinkhaTepe. Three types of Dinkha II burialswere encountered.The most common were tombs with walls of mud bricks that enclosed,on three sides only, the flexed body and grave goods. The tombs were built within a grave pit and consistedof three or four coursesof brickwith a top courseof half bricksslightly overlappingthe burialcavity (Figures2-7); the tombs and their contents were covered with earth without any apparentmarkers. The grave goods almost alwaysconsistedof spoutedvesselsand other pottery familiarto us from Hasanlu (Figures 8-IO, I2), often filledwith food remains(Figures5, 6); there were also bronzebracelets,anklets,pins, and an occasionalknife or dagger.Terracottatripod supportsfor spouted vessels were not foundat Dinkha, although they were fairly commonat Hasanlu.One vessel, shown in Figure II, iS apparentlynot a typical Iron Agetype, althoughthreeexampleswerefound atHasanluin I947. It is shapedlike a gourd andis of a thin redpolishedfabric;at the base isa slightlypointednippleand to one sidetwo smallholeswere placedfor suspension.These vesselsmight actuallybe importsfrom some asyet unidentifiedarea. The secondtype of burialis representedby seventombs constructedentirely of stone, eacha completely closed chamber(Figures 2.DinkhaTepe:plan of the cemeI3, I4); the flooron whichthe bodyand grave teryin squareBsob. All the goodsrestedwasof neatly laid flagstones.Aftombsarefrom periodII except terthe wallsand roofof the tomb were built B so and s3, whicharefrom inthe burialpit and the funeralceremonies periodIII werecompleted,one of the long walls was sealed with slabs;occasionallya vessel (sometimesmore than one) was placed outside as .'-JI 48$ W an additionaloffering.These tombswereusually richerin contentsthanwere the contemporary brick tombs, although there was no great differencein the typesof objectsfound. One largestone tomb, B 6, in squareBIoa (Figure I3) had sixteenpottery vesselsplaced WEaW outside its east wall, and many vesselsand bronze objects, such as a star-shapedmacehead, a horse's bit, a spearpoint,bracelets, anklets, rings,and pins, within the chamber SW

SOUARE E.10h

DINKHA TEPE

1966

B 12

I89

B 11

I 0

, 1

, ZM

Tomb B 6, square B so b: plan, showing the brictconstruction. DinthaperiodII, X-IX centuryB.C. An iron daggerwith a bone handleorerlyinga smallbowlmaybeseen nextto the skeleron's left elbow

4. Crosssectionof the tombfromtherear . . .

5. TombB 6, square B so b; TombB 5 may be seenat thetop of thephotograph

6. TombB 5, square BIob. Dinthaperiod II, X-IX century B.C.

7. TombB 9, square BIo b, showingthe gravepit. DinthaperiodII, x-sx centuryB.C.

9. Red-ware spouted

vessel

_ _

with a horned animal

head as a handle,

__ l _

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I3. TombB 6, square Bsoa.Dintha periodII, x-lx century B.C. Another stonetombfrom periodII 2s2nthebacRground

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;

14. TombB 6 intheprocess of excavation.Thebodyhasdisappeared, probably as a resultof water accumulation in thechamber. The positionof thefeetis martedby bronze antlets,theheadbya bronze ringnectlace.Themacehead is intheupper leftcorner andthehorse bitisjustbelow

. _ 12

8. Gray-ware teapot-shaped vessel, fromTombB s6, squareBsoa. DinthaperiodII, x-lx century B.C. Height 3S inches.67.247.4 fromTombB 19, squareBgb. DinthaperiodII, x-lx century B.C. He2ght 7 2nches. 67.247.6 so. Gray-ware spoutedvesselwitha hornedanimalheadas a handle, excavated at Hasanluin 1964.PeriodIV, x-lx century B.C. Height77,;inches.6v.20.l5 . Gourd-shaped vesselof redpolished warewitha smallnippleat the base,JromTombB 15,squareBloa. DinthaperiodII, x-lx century B.C. Height 3h inches.67.247.5 . Pottery fromTombB 16, squareB loa. DinthaperiodII, x-lx century B.C. Height of spozwted vessel8h inches.67.247.z-

_ w* _>.

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__ 1_ffi__ L _

s5. GrareB I2, squareB gb. Dintha period 111,about I300-I000 B.C. The shallow bowlwithfood remainsis illustrated in FigureI7. X pedestal-base goblet witha brokenhandleis in theforeground Z6.

GraveB 26, squareB ga. Dintha period III, aboutI300-Iooo B.C. Thegrave contentsincludea bridgeless spoutedvessel, a fragmentof a shallowbowllikethe onein Figures7, bronzebracelets, antlets,a ringnectlace,and a bronze omphalosbowl, one of the earliesttnown

(FigureI 4) . In addition,theskeletonof a dismembered horsewasfoundwith the pottery outsidethe tomb.Theculturalsignificance at Dinkhaof the presenceof a horseburialassociatedwith a tenth-or ninth-century B.C. tombcomplexis stillnot clear.Horseburials are usuallyassociated with Scythiansor relatedtribes,whomovedinto thisareain the late eighthandearlyseventhcenturies,and we wouldnot ordinarily expectto findsuch burialsin Iranbeforethattime.A gravecontainingthe skeletonsof four horsesplaced alongside thedeadmanwasexcavated at Hasanluin I947; becausethishasnot beenpublishedadequately, it is at presentimpossible to sayanythingaboutits dateor to makea meaningful comparison to the Dinkhaburial discussedhere.In I967 a burialof a horse alone,with its trappings,was excavatedat BabaJanin Luristan;fromthe excavation's briefpreliminary report,it seemsalmostcertain that the burialoccurredafterthe Iron AgeII periodandmustbe eighthor seventh centuryB.C. in date. The thirdtypeof burialis represented by gravesthat containeda largevesselor urn usedasa receptacle forthe dead.Onlyearth mixedwith bone splintersand some small beadswereeverrecovered fromthe urns.A largesherdor brokenvesselwasusedto seal the urn'smouthand sometimesa vesselor two wasplacedalongside.Presumably these werechildren's burials. Theburials of theearlierDinkhaIIIperiod (FiguresI5, I6) aresimpleinhumations like thoseat Hasanlu. In somegraves,however,a singlebrickwalllinedone long sideand in rarercasesbrickwallswereplacedat both endsof thelongoneto formthreesides(Figure2, B IO, B I3). Thisbrickliningis apparently the predecessor of the laterperiodII tombstructure andatteststo a culturalcontinuitybetweenthe two periods.The grave goodsuniformly consisted of a spoutedvessel withouta bridgebetweenthe mouthand spout,aone-handled gobletona pedestalbase, anda bowlwitha smallmodeledridgeenclosing holesfor suspension (FiguresI5-I7), the very sameobjectsthat occurat Hasanluin periodV (forinstance,FigureI8).

-> W **v

s7. Potter fromtwo DinkhaperiodIII burials,abolt I300-I000 of spoutedztessel8 inches.67.247.zz-z3

B.C.

Height

s8. Gray-ware pedestal-base goblet,excavatedat Hasanluin s964. PeriodV, abouts300-soooB.C. Height7H inches.65.Z63.75

tstt -^;*S

in thesouthern CauAmongthefindsfromoneof thesetombs, at a sitecalledKizilvank B 24, squareBga,is a smallbutverydelicate casus,whereit is datedbetweenthe latefifram's-head beadof glass(FigureI9). It is teenthandearlyfourteenthcenturyB.C.We nowableto recognize anearlier stronglyreminiscent of themanyglass,stone, are,therefore, found andfritbeadsin theformof animals oranimal phaseof the IronAgethanpreviously headsfoundat Tell al-Rimahand at Nuzi in the area. (periodII, fifteenthcenturyB.C.) in Mesopotamiato the southwest. It hasalreadybeenstatedthat thereis no At two areason the mound BronzeAge culturaldistinction in thetypeofgoodsfound materialandarchitectural remains havebeen in the IronAgeI andII periodsat Hasanlu excavated. Oneof theseareaswasat thenorth andDinkha.Nevertheless, a curiousdeviation end,directlybelowtrashdepositsunderlying doesexistbetweenthe two sites,becauseno the IronAge cemeterydiscussed above;the brickor stonetombswerefoundat Hasanlu: secondwasfurtherto thesouthnearthecensg. Glassbeadin theshapeof a allIronAgeburialsthereweresimpleinhuma- terof themound. ram'shead,from TombB 24, The earliestBronzeAge settlementwas tionsin shallowpits.The importance of this squareBga. DinthaperiodIII, distinction betweenthe twootherwise identi- builtin the centralarea.Herewe havenot abouts300-sooo B.C. Length cal culturesis not understood. However,it beenableto cleara largesection,butpartof 34 inch.67.247.I8 fortification wallstanding might reflectsomedifferencein the back- a thickmud-brick groundof bothpeople,or in outsidestimuli- to a heightof aboutfourmeters(I3 feet), 20. Fragment of a paintedterracotta bothof whicharepresently abuttinga brickplatform, was beyondthepower andapparently plaqueof a female(?) witha of archaeologists to interpret.It may be of revealed.Whetherthe settlementassociated hat.DinthaperiodIV, about interestto noteherethata slightpreference with this wallwasdestroyedor abandoned, XYII-XYI centuryB.C. Height for redasopposedto graywaresseemsto be we do not know,butanothersettlementwas sh inches 67.247.Z4 builtoverits remains. We cancharacteristic of the potteryat DinkhaII in subsequently wall,but a carcontrastto the potteryof HasanluIV, al- not yet datethe fortification thoughtheshapesareidentical(compare Fig- bOn-I4(C I4) date for the overlyingstrucuresg andIO). Sincethedifference wascaused turesis I6I2 i 6I B.C.,based,asareallC_I4 by variationin temperature at the time of datesin thisarticle,ona halflifeof 5,730years. suggests firing,we couldassumethat the choiceof (Note,however,thatrecentresearch grayor redmighthavebeena matterof local thatIOOor I50 yearsmighthaveto beadded preference. to C_I4 datesbetween2000 and IOOO B.C.) wall Thereis anotherinteresting occurrence at Thisdatesuggeststhat the fortirScation Dinkhathathasnot appeared at Hasanlu.In andits settlementwasbuiltcloseto or even a test trenchdug in the westernpartof the beforeI800 B.C. mound,AreaVII,we foundtwo DinkhaIII Shortlyafter the upper settlementwas tombs,onedirectlybelowtheotherandthere- apparently destroyed-bywhomwe do not forestratigraphically distinguished as an ear- know- a thirdwasbuiltto the north,apparlieranda laterinhumation of thesameperiod. entlyon the outskirtsof themoundasit exThe potteryshapesreflectthe chronologicalistedat that time.Partsof two largehouses record:in the earliertombthe pedestal-basewere excavated;they were constructedof gobletis long and thin,morecylindricalin largesquaresun-dried brickssetonlargefounshapethanthe laterexamples(compare Fig- dationstones.Althoughtherewas evidence ures I7 and I8) and the typicalbridgeless of burning,indicating somedestruction, very spoutedvesselhas a very shortspoutcom- few objectswere recoveredin the rooms, paredto allothershithertoknownat Dinkha whichimpliesan abandonment ratherthana andHasanlu. Bothvesselshaveparallels with hastyevacuation. A C_I4datefortheextreme examplesfromthe IronAge I TombK at upperstratumof this level, just belowthe GeoyTepe,a littleto thenorth.Thespouted overlyingIronAge cemetery,is I434 + 52 vesselis alsoveryclosein formto onefound B.C.,andanotherdateforthelevelconnected I94

with the lowerfloorof one of the structures togglepins(Figure2I), andgoldearrings and iS I 555 i 52 B.C. pendantswerefoundin the tombs.Someof Thepotteryfoundin thenorthsettlement the potteryfromone of the tombs,B 28, isquitesimilarto thatfoundin thecentralex- squareB Ioa,maybe seenin Figure22. The cavations. Bothareasproduced Khaburware potsareallplainbuSwarewithflaringnecks - buffwaresdecoratedwith paintedbands, and ring bases;except for the absenceof triangles,lozenges,"bow ties,"and silhou- paintedbandstheyseemto be relatedto the ottedbirds;bothareasalsoproduced pottery Khaburwaresfoundelsewhere in theexcavapaintedin two or morecolors,exactlythe tionsandalsoat HasanluperiodVI. Oneof sameas waresfromGeoyTepe,andsimilar the potswith a flangeon the shoulderhasa to Cappadocian potteryin centralAnatolia. parallelat contemporary GeoyTepe (period Beforewe canestablish chronological conclu- D) andalsoreminds usof theflangescommon sionsas to the relativepopularity of the par- at TepeGiyanin thesouth.Thevesselin the ticularmotifsin the variouslevelsof period centerof Figure22 consistsof threebowls IV, muchmorestudy is required,and the joinedtogetherandrestingonthreeshortlegs, rarerandlesstypicalexamples of otherpot- with two smallpiercedlugsfor the handles. terymotifsfoundin the samelevelsshould OtherBronzeAgegraves,simpleinhumaalsobe studied. tionsratherthanstonetombs,foundin variOneof themostinteresting of theceramic ouspartsof the moundasa resultof ourtest objectsrecovered fromtheBronzeAgelevels trenches, alsocontained potteryof theKhabur wasa fragmentof a paintedplaquewith a type.Oneof thesegravesfromTestAreaIV, humanheadin relief(Figure20); it came B 7, hadseveralbuffvesselswithpaintedde- 2z. Silvertogglepinfrom Tomb fromtheuppermost settlement in thecentral signsof hatchedlozengesenclosedin plain B 28, squareBloa. Dintha partof the mound.The headmayrepresent triangles periodIV, aboutxvll-xvl cen(Figure23). Anothergravefromthe a female,unlessa barelyvisibleline around sameAreaIV, B 9, hadistakhans, turyB.C. Length3 inches. a typeof themouthindicates a beard.Thefigurewears vesselcommonin IranandIraqin thesecond 67v247v26 a flat-topped hatwitha smallpeakin front, millennium B.C. (Figure 24); (a recentpubliandhasthickhairfallingto the levelof the cationstatingthatistakhans occurin Hasanlu mouth;it hasa curvednose,bulgingeyes,and periodV is in error;theexamples citedarein thicklips.Althoughsimilarterracotta plaques factfroma periodVI burial). 22. Potteryfrom TombB 28, square withheadsin relief(somefrontal,someinproBloa. Heightof thetriple file)areknownfromTepeGiyanandAssur, Excavations do not alwaysproducewhatar?vessel on a tripod2 inches. andterracotta plaques, manyof nudefemales chaeologists expect,and DinkhaTepe is no DinthaperiodIV, aboutxvllholdingtheirbreasts, arefoundin allpartsof exception. Wedidnotanticipate anyIronAge xvl centuryB.C. 67.247.20-25 theNearEast,theDinkhaplaqueisuniquein facialcharacteristics. If theheadis indeedfemale,wemayassumethatit originally joined a nudebodyandthat the lady'shandsheld herbreasts. Amongthe housesin the northernsettlement,andcontemporary withthem,werediscoveredtwo stone tombs,each containing multipleburials.In contrastto the customs of the laterIronAge,whencemeteries were outsidethewalls,theBronzeAgepeopleburiedtheirdeadwithinthecityitself.Thetombs wereconstructed of roughstonesandsealed withflatslabsofgreatsize.Muchpottery(curiouslyenoughwithoutany traceof painted designs),a sword,knives,bronzeand silver

andAnatolia,where materialand yet muchwas forthcoming.But tainsinto Mesopotamia we alsofound what we sought- architecture, no graywareof thistypehasbeenfound.A1fromthe west, especially tombs,and artifactsof the BronzeAge. The thoughinfluenced materialrecoveredhas shed light on several duringthe IronAgeII period,theyseemto Iranianculturewith problemsof second-millenniumarchaeology havebeenanindigenous and has added to our limited knowledgeof apparenttiesfurthereastin the Gurganreshoreof the Caspian. earlyIranianhistory.We arenowableto state gion,by the southeast questionsremainto many say, to Needless valUshnu and Solduz the of that the culture culture Khabur-ware the did answered: be RezaiLake of shores southern leys, from the doesit or west, move and Iran in originate uniform generally was yeh to the Iraqborder, western a of extension eastern an represent area's the that in the late Bronze Age; and culturalrelationshipwith the west, with cen- culture?Did thisculturesuccumbto the inpeopleor did the KhaburtralAnatolia,northSyria,andnorthernMeso- vadinggray-ware the areabeforethe arabandon people ware potamia,was very close. The fact that the the peopleof the Can latter? of the pottery and other Snds rivalof the preponderance withanyof the equated be culture from the Dinkha Tepe and Hasanluregion gray-ware in the ninth documented in the BronzeAge is the sameas that to the nationshistorically andUrartians? west cannot,I think, be explainedas merely centuryB.C. by the Assyrians remainmostintera result of casualor even vigorousmerchant Theseandotherquestions and the for futureresearch, ventures. In fact, it is possible that we are estingproblems completedthis dealingwith one peopleor perhapsone polit- resultsof anothercampaign, ical unit that sharedthe sameculture.There past summer,will no doubt producesome and,indeed,raisenewquestions. are also indications,derivedmainly from de- answers signson potteryandthe occurrenceof Khabur wares,that some form of relationshipexisted with Tepes Giyan and Godin in Luristanto NOTES AND REFERENCES the south. We know that the newcomerswho entered The archaeologicalstaff at Dinkha Tepe was directed Musthe region in the late second millennium by ProfessorRobert H. Dyson, Jr.; OscarWhite carellawasAssistantDirector.The excavatorsincluded changedthe culturalpatternof the areadras- ChristopherHamlin,Edward Keall, Regnar Kearton, tically,and introduceda graywarethat char- Louis Levine, and Mary Voigt. Maude de Schauensee acterizesthe Iron Age in westernIran. And served as registrarand ZabihollahRahmatianwas the IranianInspector. it now appearsfrom the Dinkha excavations that the Iron Age people (or peoples!)may RobertH. Dyson, Jr.,"The HasanluProject"in Science pp. 637-647I35 (Feb. 23, I962), have enterednorthwestIranone hundredor , "Problems of ProtohistoricIran as more yearsearlierthan hitherto thought;we seen from Hasanlu"in TheJournalof Near Eastern wouldat this time cautiouslysuggestthe date Studies24, no. 3 (I965), pp. I93-2I7. B.C. for the event, with the realization BarthelHrouda,Die bemalteKeramikdeszweitenJahrI300 undNordsyrien(Berlin, tausendsin Nordmesopotamien that it may actuallyhave been earlier.EviI 957). dence for the existenceof the Iron Age grayware culture is not only found in western OscarWhite Muscarella,"HasanluI 964" in The MetropolitanMuseumof AfrtBulletin(November I966), Azerbaijanin the Ushnu, Solduz, and Lake 24. Buffistathanfrom TombB 9, Rezaiyeh regions, but also in the north at Iran(London,I 940), AurelStein, OldRoutesof Western TestAreaIV. Dinthaperiod Yanik Tepe and in the south and east at the pp. 36 I -404. IV, aboutXIX-XVI centuries excavatedsitesof TepesSialk,Giyan, Godin, T. Cuyler Young, Jr., "A ComparativeCeramicChroB.C. Height3 inches.67.247.z6 and Khorvin.As far as we know, these newnology for Western Iran, I 500-500 B.C." in Iran comersdid not penetrateacrossthe mounpp. 53-86. (I 965), with Bu;vessel decorated paintedbandsand hatched lozengesset withintriangles, from TombB 7, TestAreaIV. DinghaperiodIV, aboutXIXB.C. Height XVI centuries 35 inches.67.247.z5

pp.

I96

I2I-I35.

Western

Islamic

Art

- fromSpainto Indoexpanse Islamicartspringsfroma vastgeographical of peoplesand nesia-andits historyconsistsof a dynamicinterchange ideas.It is complex,andaswiththeartof Europeor theFarEast,reflects momentof flux,andevolvesits ownperiodsof eachpoliticalandreligious WesternIslamzcAfrt,an exhibitopeningon andconservatism. renaissance partof thewhole,and NovemberI5, iS anattemptto explorea fascinating yet leaststudiedareasof art history. oneof the mostimportant theMaghrzb-"The The carvingo£ rock crystal-andthe cut understood andhistorians EarlyMuslimgeographers NorthAfrica(westof Egypt),Spain,andsouthern glassthatimitatedit -was perfectedin FatiWest"-asencompassing midEgyptandwashighlyadmiredthroughItaly.EgyptandSyria,too,mustbe includedin oursurvey,fortheyhad out the Muslimworld.Indeed,the later to bothEastandWest.Syriawasperhapsthe Persianglassoftensoughtto copy not only relationship a fluctuating developmentits techniquebutitsrichvocabulary as wellas the material mostdirectsourcefortheintellectual of forms. conas a perfume used probably bottle, This of a transformation Syrian specifically was the it Indeed, Islam. of western angled abstract, very the continues tainer, intoan Islamicformthatwas civilization andearlyChristian lateclassical theUmay- carvingo£ the precedingTulunidperiodin carriedto Spainduringtheeighthcentury.There,in Cordova, figurative Egypt, insteadof contemporary forthreehundredyearsafterit lost motifs. andprospered yaddynastycontinued to the rivalAbbasiddynasty;the splitwiththe Eastwasmade Damascus Bottle. Egypto-Arabic,Fatimid period, in thetenthcentury,of anofficialwesterncaliphate. finalby theformation, roct crystal,height X-XI century.Cartfed AndasforEgypt,in a periodsuchas thatof theFatimidsit wasaltogether withinthe culturalMaghrzb,for the FatimidswereBerbers-non-Arabs 23 inches.Giftof GeorgeD. Pratt,3I.*25 to NorthAfrica. indigenous owncollection. is fromthe Museum's Everyobjectin thisinstallation althoughtheywill Manyof the pieceshaveneverbeforebeendisplayed, dueto openduring in thenewIslamicgalleries installed allbepermanently celebrations. centennial theMuseum's Curatorof IslamicAfrt DON AANAVI,Afssistant

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

The FatinlidswereBerbertribesmen fromnorthwestAfricawho claimed descentfrom Fatima,the daughter of the Prophet;they took powerin Egypt in 969 and foundedthe new capitalcity of Cairo. In this panel, whichmay haveservedas partof a door, one sees the Fatimidaccomplishment:a fusion of pre-Islamic withIslamicideas,blendedwithartisticinterests of theirown.Theheraldic disposition of the addorsed horsesat once relatesto Coptic,Hellenistic, and Sasanian sources;but in Islamic artbeforetheFatimidperiod,figurative motifs had been used only in storytelling,religious,or propagandistic contexts.The Fatimidsencouragedanddevelopedsuchmotifs as puredecoration, fordelightin the motifitselfratherthanforits usefulnessas a vehicleforsymbolism. Here the horseshave also been actively "Islamicized"-transformed into geometric,arabesque patterns. Panel. Egypto-Z4rabic,Fatimid period,XI century.Wood,height I33MinC*es.ROgersFUnd,

II.205.2

For seven hundredyears,from the time the Umayyad dynasty fled from Syria in the eighth century, Arab culture flourishedin Spain, where its productsdazzled both the Muslim and Christianworlds. The motifs seen in this ivory plaque-dancers,and animalsof the gardenand the hunt- suggestthe entertainmentsof the Umayyad court, and are quite similarto the iconographyof the rival Abbasid Caliphate in Baghdad: they may, indeed, have been intended as overt artistic"competition"with the enemy. The design, however, is remarkablyarchaistic, basedas it is on a strict repetitionof either addorsedor confrontedfigures.This is typical of Hispano-Moresqueworks, which often hark back to art forms that were in vogue beforethe Umayyadsleft Syria. Plaque.Hispano-Moresque, aboutxs century. Irory, originallypainted, width 8 inches.JohnStewartKennedy Fund,s3.z4s

I. he

Almohades,who, like the Fatimids, were of Berber extraction, ruled Morocco, Algeria,Tunis, and all of MuslimSpainduring the twelfthand thirteenthcenturies.The calligraphyshownhere is uniquelyMaghribi: it presentsan austerecombinationof vertical, horizontal, and circular forms; even the vowelmarks,whichusuallymove on diagonal axes, are here either horizontalor semicircular.But if the form is austere,the color is brilliant;in additionto the gold chapterheading (whichis in an archaizing,angularmode), there are sequencesof crimson,blue, green, and orange.Also illuminatedare the medallion finial on the heading, and the verse marksin the text. Leaffrom a Koran.Moroccan,XII-XIII century.Ing colors,and gold on parchment,2I X 22 inches.RogersFund,42.63

Textileswitha succession of interlocking motifs suchas this were producedin both Spainand NorthAfrica.Theymayhavebeenusedashangingsin mosques, whichwouldhavebeenan ideal settingfor them,sincein all of westernIslamic art few creationsare moreconcernedwith the ideaof theinfinitepattern,andthuswitha visual reference to the eternalorderandglorythatthey inspiredthe viewerto contemplate. In the relatively smallpanelillustrated,one can count at leastseventotallydifferentwaysof usingcolor andform,combinedwith tasteandfinesse. Textile.Spanish,Hispano-Moresque, xv century. Wovensilt, length39X inches.Fletcher Fund,29.22

During the twelfthcenturySalahad-Dinibn Ayyub,the famousSaladin,achievedhegemony firstin Egyptandthenin Syriaandpartof Iraq. HisdynastyendureduntilI250, whenits Turkish vassalsseizedpowerandformedthe Mamlukempire.Theenameled glassplateseenaboveis representativeof the Ayyubidpredilectionfor gilt ornamentand totallyabstractdesignsthat seem to negatethe Fatimidfigurativetradition.The crosslikemotifin the centerof the plate,a frequentoccurrence in thirteenth-and fourteenthcenturyEgyptianand Syrianart, was probably not usedas a Christiansymbol,but simplyas a decorative device. Plate. Syrian, Syyubid period, XIII century. Glass,enameledandgilded,diameter8M2inches. Bequestof EdwardC. Moore,9I.I.I533

1 he frequentinterchange of artistsand iconographybetweenEastandWestoften,ashere,resultedin thegraftingof foreignmotifson Islamic objects.The basicformof thistray,withits perforatedstarpatterns,is indigenousto Egyptian andNearEasternart;a newfeatureis the lotus design- a motifthatreflectstheimpactof Chinese artuponeasternIslamduringthe thirteenthand fourteenthcenturies,whent:heconquering Mongolssweptout of innermost Asia. Tray. Egypto-Arabic, Mamlut period, I30C)Brass,originallyinlaid with silver,diameterI8 inches.Bequestof EdwardC.Moore, 9I.I.532 I350.

::r

governedEgyptandSyriauntil theOttomanconquestin the sixteenthcenThe Mamluks elementin all theirart wasan elongatedandrhythmiccalligraphy. tury.The predominant of Chinesestyle(ratherthanthecopying of a Musliminterpretation Thismightbeaninstance of a motif,suchas the lotuson the piercedtrayon the precedingpage):in the thirteenth Iraqdevelopeda sinuous,graceful,attenuatedfiguralstylethatthe andfourteenthcenturies MuslimartistsbelievedreflectedChineseforms. designs,on two ot usednonrepresentational primarily Althoughthe Mamluksthemselves on theewer, motifsareused:flyingbirdsin medallions figurative thevesselsin thisillustration andseatedfigureson the neckof the candlestick. Mamlutperiod,I300-I350. Brass,inlaidwith Basin,ewer,and candlestict.Egypto-Arabic, inches.Bequestof EdwardC. Moore,9l.l.587,600,529 silver,heightof ewer17M2

ÂŁfiewZ-

In Spain,the Mudejarstyle wasbornof a fusionof Easternand Europeanmotifs.It emphasized figurativedesigns,which had previouslybeenrelegatedto infrequentappearances in Hispano-Moresque textiles.In thepopular patternshownin thispiece,typically Islamicarabesque formsare handled with a non-Muslim immediacyand relative lackof intricacy. Textile(fragmentof a chasuble).Spanish, Hispano-Moresque (MudGejar), xv century. Worensil&,length46H inches.RogersFund,20.94.I

Republication of

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Bulletin,

Old

Series

In I905, thirty-fiveyearsafterthe Museum ring in the developmentof the Museum," openedits doors,the Trusteesdecidedto is- saidhe, thatonlymonthlypublication would "magazine suea newsletter forthemembers and"allthe keepthe issuesfromapproaching citizensof New York. . . interestedin art." bulk."Hispointendures.Moreandmoreof Information aboutthe collectionswasocca- generalinteresttakesplacehere,oicers and sionallySndingits wayinto the publicpress, staffare pressedas neverbeforeto keepan the Trusteesnoted,but it couldnot be as- everlarger,morewidelydispersed membersumed"thateverymemberhasreadevery- shipinformed,and todaythe Bulletinoften thingaboutthe Museumthathasanywhere attains"magazine bulk"despiteits frequent appearedin print."The answerwould be appearance. the Bulletin,throughwhichthe oicers and But let us turnfromthe presentsceneto staffcouldcommunicate with the members. the occasionfor this note,whichis nothing It wouldincludea list of all the newacqui- lessthanthe republication, by ArnoPressof sitions,descriptions and illustrations of the New York,of the entireOld Seriesof the moreimportantones,andnoteson the Mu- Bulletin (I905-I942) in thirty-sevenclothseums actlv1tles. boundvolumes.Librariesand othersinterBecausethe memberswereknownto be estedin obtainingthiswrittenandillustrated "busypeople,already overwhelmed withover- documentof the Museum'sworkmay now muchprintedmatter"(soundsmorelike the do so.Eachvolumeis reprinted in its original I960S thanthe I9OOS, doesn't it?),theBulletin size,with its originalannualindex.In addiwouldappearbut fourtimesa yearandcon- tion,thepublisher willissuea newlyprepared tain "justthe numberof pagesnecessary to cumulative index.Theprepublication priceof give the informationrequired" - no more, the set, includingthe indexvolume,is $975; "evenif the lastpagebe notSlledout." afterJanuary I the pricewill be $I,I00. OrOne of thesedecisionsfell shortimmedi- dersmaybe senteitherto the Museum,Box ately.With its secondnumber,for January 255, GracieStation,NewYork,N. Y. I0028, I906, the Bulletinbecamea bimonthly; with or to ArnoPress,330MadisonAvenue,New its third,a monthly.RobertW. de Forest, York,N. Y. I00I7. thentheMuseum's Secretary, explained why: LEONWILSON, "Thereis so muchof generalinterestoccurEdSitor of Publications ,

204

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