Fenway Court: 1985 by Isabella Stewart Gardner Museum

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urt

Fenway Court r 9 8 5

Isabella Stewart Gardner Museum

Published by the Trustees of the Isabell a Stewart Gardner Museum, Incorporated 2 Palace Road Boston, M assachusetts Copyright 1986 Designed by Stephen H arva rd Photographs by Greg H eins Printed by Meriden-Stinehour Pre s

Cover: Raphael, A Papal Procession, detai l, red, yellow and black chalk on paper, 398 x 404 mm., Inv. o. l.l.r.12, Short Gallery.

Contents

Some Thoughts on Raphael and Michelangelo ]. A. Gere

Of Connoisseurs and Kings: Velazquez' Philip I V at Fenway Court Mary Crawford Volk H enri Matisse: "A Magnificent Draugh tsman" Karen E. Haas

An Ecclesiastical Glaive in the Isabella Stewart Gardner Museum Walter]. Karcheski, Jr. Lady Gregory and Mrs. Gardner: Kindred Sp irits Susan Sinclair

The Isabella Stewart Gardner Museum, Inco rporated Sixry-first Annual Report for the Year N ineteen Hundred and Eighry Five Report of the President

Malcolm D. Perkins

Report of the Director

Rollin van N. Hadley

Report of the Curator

Kristin A. Mortimer

Membership Program

Membership

Publications

Report of the Treasurer Trustees and Staff 94

1 Michelangelo, David, 1501--04, marble, H. 4.34 m., Accademia, Florence. (Photo: Alin ari/Art Resource)

Some Thoughts on Raphael and Michelangelo

Editor's Note Breaking precedent, Fen way Co urt this year carries an article that is only philosophically related to the collection.}. A. Gere, the former Keeper of Prints and Drawings at the British Museum and a distinguished scholar, presented Some Thoughts on Rap hael and Michelangelo as a lecture in the Tapestry Room on 30 May. It seemed to us that it was such a concise and clear rendition of a complicated subject that it deserved publication. Prior to this all of the articles in Fenway Court have been about works of art acquired by Mrs. Gardner or have drawn on material in the Mus eum archives. The drawing on the cover of this annual report is the Museum 's Papal Procession, one of a small number of Raphael drawings in America and one of only two in multicolored chalk that are ascribed to him. The subject is thought to be a study for a scene in the fourth and last Vatican Room decorated by Raphael and his shop.

The subject of Raphael and Michelangelo is a very large one, on which whole books could be written-and, indeed, have been written. All I can do this evening is to try to demonstrate, in a rather disjointed way and chiefly by means of drawings, a few points in Raphael's development at which he seems to have been particularly susceptible to the influence of Michelangelo; and to try to define the aspects of Michelangelo's art to which he seems to have been most susceptible. Michelangelo and Raphael were contemporaries, but they were not friends. In temperament and personality they were entirely unlike one another, and in their case there was no question of any "attraction of opposites." Michelangelo was born in 14 7 5, Raphael in 1483. Eight years is an awkward gap : a man of not yet thirty, even if his genius has been fully recognized, is likely to view with some disquiet the sudden emergence

of a brilli ant young rival of twenty-old enough to be an effective ri val, but not so mu ch younger that the other is in a position to patronize him. Michelangelo was always what we would call a " loner." It was above all he who created the stereotyped image of "the lonely, poor, independent old artist-man " (to quote Henry James's description of himsel f) . H e worked in solitude, admitting no one to his confidence, and hi thoughtprocesses were wholly incommunicable. He had no pupils, or even close fo llowers, and the only assistance that he could ever bring himself to accept was of a purely mechanical and even meni al kind . Raphael, in contrast, was sociable, charming, courteous and tactful. As Vasari says, he " lived more like a prince, than a painter." He had a lucid and analytical intelligence which enabled him, when overwhelmed with work in his later years, to "break down" the elements of a largescale decorative commission so that much of the preliminary work and even execution could be entrusted to a highly trai ned and well-organ ized team of studio assistants. The weight of Michelangelo's personality was such that if he had had studio assistants, they would have ended by simply imitating the superficial aspects of their master's style. Raphael's genius as a teacher is shown by the way in which his three principal followers-Giulio Romano, Perino del Vaga and Polidoro da Caravaggio- developed, each in quite a different way, to take their places among the leading artists of the next generation. Michelangelo's art was entirely personal to himself. It sprang from somewhere buried far down in the subconscious depths of his solitary and introspective nature. One almost feels that if he had been brought up in total isolation from all extraneous artistic influences, he would 7

2 Raphael, David, ca. 1504, pen and brown ink, 393 x 219 mm., courtesy of the Trustees of the British Museum , London. 3 Raphael, A Nude Man Advancing to the Right, ca. 1504, pen and brown ink, 279 x 169 mm ., courtesy of the Trustees of the British Museum , London.

have produced something very much like what he did produce. On th e other hand it is impossible to im agine th e result if Raphael had been born and brought up on a desert island, for his art is to an extraordinary degree the result of what might be called "crea tive ass imilatio n. " The effect on him first of Perugino and the Umbrian School, then of what he found in Florence (especially Fra Ba rtolommeo, Leonardo a\ld Michelangelo); and finally of Ro me and the antique, are all immediately and und isguisedly obvious in his work, but there is no feeling of unintelligent or uncomprehending imitation. His power of analysis was accompanied by a compo unding power of synthesis, which enabled him to transform these successive and varied waves of influence into something entirely characteristic of his own personality. Sir Joshua Reynolds expressed this paradox when he said: " Raphael - always imitating, and always original. " Another thing about Rap hael to strike us when we consider his career as a whole is his way of finding himself in the right place at exactly the right time. Havi ng begun by absorbing everything that

Perugino and the Umbrians could teach him , he moved to Florence in about 1504, during the brief space of time-only about five or six years -when Florence had once again become the most intense focus of artistic activity in the whole of路Italy. Ten years ea rlier the citizens had expelled the ruling family of the Medici and had established a republic. In revolutions the a rts tend to be cherished for th eir propaganda value; and in Florence artists were encouraged to give visual expression to republican virtues a nd democratic sentim ents. The quality of such art depends on the artists who happen to be available, and the Florentines were exceptionally fortunate in being able to welcome back their two greatest living native artists- Michelangelo, who returned from Ro me in 1501, and Leonardo da Vinci, who came back from Milan in 1503. Soon after Michelangelo's return the Signoria-the government of the Republi c-commissio ned from him a colossa l marble figure of David (fig. 1), the archetypal republican hero, being a symbol of popular res ista nce to tyranny; and in the summer of 1504, just when Raphael was settling in Florence, the statue, which is about fourteen feet high, 8

rran form111g 11 hclangclo' almo~r ungaml) youth mro a noble figure of ideal cla 1cal propornon. The Oa\ 1d reappear~ m rwo furrher dra\\ 111g b) Raphael. In one he ha~ adapre<l the po~e ro make H more effec.me 111 profile: rhe \\c1ghr 1 ~nll on rhe nghr leg, l ur rhe lefr leg 1~ e' rended ba k\\ ard an<l rhe left forearm fof\\ ard ~o rhar borh are\ 1 1blc g. ~ . Raphael\\ a~ L'\ 1denrl} <lr~l\\ mg nor fr m rhe ~raruL H~elf nor from memor) bur from J II\ mg model or rhe obie r da ped m rhe left hand 1~ dearl} rhe r p of rhe nd, \\ h1Lh a m de! po ed 111 th1~ \\ J) would h.1\ e lud ro u em order ro ~upporr rhe \\ e1ghr o h1 arm.

4 Raphael, A \ 0 111'1(11/ mimor. u. 1504, pen anJ brown 1nk, 26 ' 190 mm., Ashmolean I\ Iu'eum,

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In rhe orher <lr. \\ 111g, ar ford, rhe hgurL been rurned mro a om ennonal 'outhful \\ arnor b, rhe addmon of a ~h1elj and pear (fig. 4 .路 e mo r obnou dif erenLe fr m the rarue 1 1n rhe po mon of the lefr arm,\\ h1 h 1 hel<l ar mud1 the ame .111 le 111 rhe dra\\ mg from the modt:I. Bur a m re ~ubrle change 1 that rhe ldr boulder 1 moved ~lighrl) forn :ird, and rh .u rhe c ntrapposto 1mparre<l r rhe bod) ha au ed m re LOn p1 uou prorru ion of the nghr hip. ha~

wa pl a din p in n ut 1de the Palazz d Il a ign ria, n w the Palano e h10. (TI1e figure th ar w e th ere i a repli a路 th rigi nal wa rn ve<l incl r , r rhe ad rni a, in l 7 .) The" 1anr" -a~ David wa p pularl y kn wn - rea red an enorrnou en arion. Ir wa rnethmg quire new. We ha ea r c rd f Raph ael' immedi ate reaction ro ir in the form f drawing in th e Briti h Mu urn of rhe ba k view of the figur (fig. 2). Thar ir wa drawn direct! fr rn th raru i rabli hed by the pre en e of rhe rre - rump, wh ich th cu lptor had had ro add in ord r to trengrhen the right leg. Ir i in rrucri v to cornpar Raphael' c py wi th the riginal. The drama of rhe t ry of David and Goliath lie in rhe contra r berween rhe gigantic and brutal Goliath and they uth and inexperi ence of David. Michelangelo emph a ized thi a peer of th e tory by making his figure an ado lescent who ha not yet fini hed growing o that hi han d and feet, and e pecially hi head, are till too large in pr portion to hi bod y. Raphael' innate bi a toward idea lization led him, no doubt uncon ciously, to ad ju t the proportions of th e fi gure, th ereby

TI1e me ure f the d1ffercn e 1 rhar rh1 drawmg doe nor n1Jke one 1mmed1arel} think of t\ !i helangel ' D.wrd. nd \\hen \ e n 1der rhe rwo 1de b) 1<le an<l rem mber rhe inrermed1are rage , rhe compan n will I h pe illu rrare rhe p mr ab ur Raphael' power fa 1milanng other pe pl ' idea : n t plag1ariz111g them, bur menrall ab orbing and dige ring th m o thar rhey become omerhing enrirel y per nal r him elf. The colo al marble David wa nor rhe on ly publi pr je r wirh whi h Michelangelo wa oncern d during rhe yea r in Floren e. nether, n le olo al wa for th e de orati n of rhe main hallthe ala del Gran on iglio-of rhe Palazzo dell a ignoria. Michelangel and Leonardo were each comrni ioned t 9

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Battle of the Standard (1503-05), ca. 1615, pen and in k and chalk, 451 x641 mm ., the Louvre, Pa ris. (Photo: Giraudon/Art Resource) 6 Aristotile da San Gallo, after Michelangelo, the Bathers (ca. 15 05 ), 1542, grisaille on panel, 761 x 1320 mm ., collectio n of the Earl of Leicester, Holkham Hall. (Pho to : Courtauld Institute of Art)

paint a battle from Florentine history on the same long wall of the roo m. This is a very large room, and it has been calculated that the space which each artist was required to fill would have measured about twenty-two feet high by nearly sixty feet wide. The project was in fact so ambitious that it defeated its own purpose, and came to nothing. By 1505 Leonardo had got so fa r as actually to paint, on his section of the wall, what seems to have been the

central incident of the very much larger composition that must originally have been planned. This was the group of horsemen and footsoldiers locked in combat known as the Battle of the Standard. The p ainting disappeared in the redecoration of the room in 15 65, but a number of copies and reconstructions of it are known, of which the most fai thful is probably a drawing by Rubens in the Louvre (fig. 5).

7 Michelangelo, Battle of the Cen taurs, ca. 1492, marble, 84.5 x 89.2 cm., Casa Buona rro ti, Florence. (Phoro: SEF/Arr Resource)

Michelangelo got even le far with hi battle. By the pring o f 1505 he had completed only the ca rtoo n_- th at i , the fullsca le drawi ng from which the o utline of the compo iti on were to be tran fe rre~ to rhe wa ll -for o nl y part o f the com po ino n. The ca rtoon it elf was de troyed ometime in the fo llowing decade, a nd the be t urviving reco rd of it appea ran ce i a pa inting (fig. 6 ), executed in 1542 by a n ob cure Fl o rentine arti t, Ari toti le da San Gallo, w hich since the eigh teenth centu ry ha . been in the co llection of the Ea rls of Leicester at H o lkham H a ll in England. It is instructi ve to compa re the Bathers, as the Michelangelo cartoon is usua ll y ca lled, w ith the Battle of the Standard. Leonardo 's, if not a conventiona l battle fo r nothing by Leonardo could ever be o described-is at any rare immediatel y recogniza ble as a representation o f a battle. Michelangelo, in contrast, has p roduced a representatio n of a bathing party: a gro up of men in vario us stages of und ress, hav ing evidently just emerged fro m the water. A number o f sketches by him, of men fightin g, can be dated at abo ut this tin:ie and are presumably studies fo r the painting of the battle itself which wo uld have

occupi d th e re t o f the pa 路 but the Bathers group i th pa rt th a r he began w ith , and th e pa n thar pr bably inrere red him the mo r. Leona rdo' ba ttl e a th Barrie of nghia ri in whi h the Flo rentin in 1440 def~ated the jo int fo rce of th e Du ke f Mi la n a nd the King of France-a fai rl y recent event, and ne o f n iderab le hi to rica l impo rta nce. Michela ngelo cho e th e Barrie o f a ina whi h had ta ken place a lo ng ago a 1364 , a nd which wa a mere kirmi h in the lo ng d raw n-o ur wa rfa re, o f o nly loca l ignifica nce, berween Florence and the neighbo ring city of Pi a. The onl y fea ture th at di tingui he thi battle fro m any o f th e o ther i the incident, related by the chro nicler Vill ani , of the Florentine a rmy being ca ught o ff their guard and surpri ed by the Pisa n wl~il e en joying a bathe in the ri ver Arno, w ith the resul t that they had to scrambl e o ut o f the wa ter and hur ried ly dress a nd arm them elves. What prompted Michel angelo to choose th is no t exactl y inglo rio us, but no t particul arl y glorio us, epi ode in Florentine history ?

Michelangelo was pre-eminent not only as a painter and draughtsman, but also as an architect and a sculptor. O f these three means of artistic expression, his fund amental allegiance was always to sculpture. It is significant, fo r exa mple, that he often signs himself 'Michelangelo Scultore'. His great works of painting are the Sistine ceiling, of 1508 to 1512, the Sistine Last Judgment of 1536 to 1541, and the frescoes in the Pauline Chapel in the Vatican, begun in 1542 and completed in 1550. But in the period before 1504, the year of the commission fo r the Battle of Cascina, his activity had been almost wholly confined to sculpture; and it was with this background of experience that he confronted his fi rst opportunity of painting on a large scale. Only one painting by Michelangelo ca n be with absolute certainty assigned to this ea rliest period of his activity. T his is the so-called Doni tondo of The H oly Family, now in the Uffizi- a painting datable somewhere between 1503 and 1506. It is a translation into two-dimensional terms of two circular marble reliefs of the same subject which he carved at about the same time: the Pitti tondo, now in the Bargello ' in Florence, and the Taddei tondo, now in Burlington Ho use in London. The Bathers was similarly conceived as a two-dimensional projection onto a fl at surface, of a sculpture in high relief. If we want a sculptural analogy in M ichelangelo's previous work, we find an exact equivalent in the small relief of the Battle of the Centaurs, a juvenile work dating fro m the early 1490's (fig. 7). Sculptors, on the whole, do not th ink in terms of narrative-of what Berenson called "illustration." T hey think in terms of th ree-dimensional fo rm. We today are conditioned to think of form as something abstract. But in the Florence of the Renaissance, form was thought of in terms above

all of the hum an figure: and to be more exact, of the heroic, male, nude figure in action. The Bathers is composed of eighteen heroic, nude, male figures. It was on a colossal scale. The group would have had to occupy the greater part of a space twenty-two feet high; and a contemporary account describes the fi gures as larger than li fe-size. Somebody once described the Bathers as "a Forest of Statues." The phrase is most apposite: a fo rest consists of individual trees, and trees are rooted in the ground so that only their branches move; and a statue is essentially an isolated single figure. The Bathers does indeed give the impression of a deliberate and carefull y pondered arrangement of essentially static figures, each of which moreover has been conceived in isolation ; as in a study in the British M useum for the seated man in the center fo reground. In fact, Michelangelo seems to have chosen this particular battle, the Battle of Cascina, as a pretext for representing a group of nude men in as w ide a varier}r as possible of contorted attitudes. It is not a representation of a historical event, but a display of skill and virtuosity in the rendering of the human figure. Vasari tells us something very significant about Michelangelo's cartoon- and it is all the more significant since he gives no indication of having appreciated its significance. In 1542 he persuaded Aristotile da San Gallo to paint the grisaille now at H olkham H all as a permanent record o f the lost cartoon. When San Gallo was a young man, he had made a drawing directly fro m the cartoon itself; and Vasari goes on to say that of all the many young artists who had studied the cartoon at that time, San Gallo was the only one to whom it had occurred to copy the composition as a whole. T he clear implication is th at all the others copied either single figures or at most groups of two or three fi gures, and that for them the importance of the car12

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r n wa a a repert ire f po~e . \ e happen t have an examp le by R. phael him elf, a heer 111 the an an L1brar} n whi h he rap idl y J rred <lO\\ n 111 pen and ink th t.:nnal fa t ab ut the p c f two figure 111 the en ter f regr und (fig. ).

arr nd r all a pirrura"-" the everyone who a pired to be a pa111rer. " B ' rhe econd de ade f th i teenth entur ' the High Renai ance tyl , \ ith it cla ical r nity, it lu idity and n bi li ty f entiment, had reach d a point f perfe tion beyond which furth er devel pm nt wa impo ibl . The yo unger gen ration , confronted with thi dead end, uld nl react aga in tit; and th ir reaction t ok the form of th e tyle on which art hi ro rian have bestowed th e name " manneri m. " Thi i a term th at every prudent lecturer hrink from u ing, for it ha been u ed in such a wide variety of en e a to have become almo t mea ningle . But if I ma y ri k a genera lization, I would ay that rhe characteristi of the Manneri t tyle, above all , are irrationa lity- or anti-rationa li ty-capriciou complexity and intri-

, ;oph1 n ated fan ta~} f 111vennon and an emph >t~ on the apparent!) effortlcs~ re olunon of formal <l1fficultte that often eem robe 111rro<luce<l ~1mpl} 111 order ro gt\ e rhc artt~r an opportu111l) o ~how 1n g off h1; ktll 111 c forrb~I re oh 111g them. onrcnt be omc~ ... uborc.1111 re to c rm and parrern ,111<l the sp. nal and narram c dJrt!) of the High Rena1 . . ~ance gt\ e \\ J\ co Jmh1gu1l) .me.I Jn cmph.1"' on Jnarom1 al\ 1rruo t!) a~ n en<l 111 1r. . clf.

Bur th1~ ;mng of :ih,traLt noum 1 t errcr 11lu tratc<l b) e'amph.:~. "o fre . . rne b) a<l<leo ZucLaro, born 1n I 5_ and one o the mo r mien tee.I of rhe cconJ •cneranon o ~lanncn~r~, \\ nc p:i1nrcJ 111 .1bou1 15 2- 3 a~ parr a i:y le of ~Lene from rhc Pa ~ton of hn t 111 rhe chur hot t.'.I. lan:i dclb on o!J11onc 1n Rome . Ir 1 not 1111mec.l1Jtcl} !car\\ hat ep1 oJe~ re rcpre cnre<l. ne 1 111 .'.ILC brist \/Jott •11 to the People- the f ce /-101110 -bu r one ha~ r lo k quire hare.I bdorc one ~cc rhc figure f hn r nghr 1n the b.ii:kground and on a <l1m111umc nJ 1n

Kenneth lark ' rema rk rhar "rhe real au e of rh anneri r ryle wa rhe 1rre 1 ribl e infecti n of i helang I " i merhing of an o er implifi ari n. Bur ir ca nnot be denied that rhe ca pri i u mpha i n omp lexity of gro uping and n rh po e of individua l figur ar rhc expen e of ubj t marrer in th e and ther w rk of the 1550' are h racten nc rhat appea r in embryo in the Bathers arr n. These laterwork are th reductioad-or 13

9 Taddeo Zuccaro, The Last Supper, 1552-53, fresco, Sta. Maria della Consolazione, Rome.

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even ultra-absurdum of the same tendency. After this digression on the genesi and characteristics of the M annerist style, it is time to return to Raph ael. His response to the Florentine aesthetic of the nude male figure in actio n is shown in this drawing (fig. 10). The Leonardesque character of the profile of the sho uting man on the left refl ects knowledge of the Battle of the Standard (fig. 5 ); but even Raphael could not all at once fully abso rb the lesson of the two battle cartoons, and if we are to look for a Florentine model for this drawing of men fighting, it seems likely th at Raphael drew his inspiration from something earlier, such as two engravings datable in the 14 ?O's, the first by Antonio Polla iuolo himself (fig. 11 ), th e other after a drawing by him (of which, incidentally, there is a fragment in the Fogg Art Museum). A feature of the Raphael drawing is the way in which the conto urs are emphasized. It has been suggested that this is the result of " later reto uching," but it is hard to see why any subsequent owner of the drawing should have wanted to do anything so senseless. Rap hael has gone further than Pollaiuolo in knitting his figures into a tightly-woven and two-dimensional linear pattern, a complex figurative ara besque;

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and he hi mself must have strengthened the conto urs in order to emphasize this aspect of his design. Like the Bathers (fig. 6), this drawing seems to have been intended to simulate the effect of a sculptured relief, but it differs from the Bathers, and resembles an antiq ue relief in the a bsence of any suggestion of depth or of movement from front to back. All the movement is emphatically parallel to the picture P.lane. This relief conventio n, in which a continuo us band of interwoven figures seems to be compressed into an impossibly narrow space immediately behind the picture plane, was to become a favorite Mannerist device, especially in the hands of Raphael 's fo llowers G iulio Romano and Polidoro da Caravaggio; but it must have come to them via Raphael himself, whom we here see anticipa ting it in all essentials as early as a bo ut 1507. Compariso n between Raphael's nude studies and Michelangelo's stud y, mentioned earlier, for a figure in the Bathers shows that R aphael did not share Michelangelo's searching and passionate interest in a natomy. His purpose was not sculptural but pictorial, and for it he evolved a graphic convention for representing the human figure that was entirely adequate. His tendency toward generalizatio n of form can be seen even in his more 14

10 Raphael, even 11de W0mors F1ght111g for a ta11dard, ca . I 07, pen and brown ink mer bla k halk, 274 x 42 1 mm., A hmolean lu eum, ,ford. 11 Polla1u lo, The Battle of the Ten udes, ca 1471-72, engraving, 3 4 x 90 mm.

detailed tudie of individual figure , uch as the so mewhat later chalk drawing of about 1511-12. It is this kind of drawing, not Michelangelo's, that wa the fo rerunner of all later academic figure studie . One at Chat worth (fig. 12) shows Raphael at his closest to Michelangelo, and was indeed for a long time believed to be by him. Toward the end of 1508 Raphael was summoned to Rome by Pope Ju lius II, who wanted him to decorate his private

apartmenrs in the Vari an. Ea rlier in the ame yea r Michelangelo had al o gon to Rome, and wa beginning the decoration of th e Si tine ceiling. ] uliu fl wa a very grea t patron , a nd he encouraged Raph ael-who e geniu he immediatel y recognized- to work o n the grand ca le that he needed in o rder to fulfill him elf. Raphael 's greate t works were produced in Rome, and he is the fir t, a nd greate t, artist of the Ro man chool. Michelangelo always rema in a Flo ren tine.

12 Raphael, A Group of Three Nude Men: Study for Figures in a Resurrection, ca. 1511-12, black chalk, 233 x 364 mm., Devonshire Collection, reproduced by permission of the Chatswo rth Settlement Trustees. (Photo: Courtauld Institute of Art)

About eighty or ninety years ago, when Berenson published his fo ur brilli ant essays on Italian Renaissance painting his "Four Gospels" -there was no place in his scheme fo r Rome. He was therefore obliged to put Raphael a mong the Umbrians and discuss him in the context of Perugino. This difficulty of classification has given rise -ifI may say so with the greatest respect-to a somewhat restricted and backward-looking view of Raphael as a belated quattrocentist. This view is exemplified by the interesting critica l history of one particular drawing (fig. 13 ). The great interest of its critical history is that until very recently it has had no critical history. Yet the drawing is at Chatsworth, one of the most important collections of Raphael drawings, studied by every art historian and every connoisseur seriously concerned with the subj ect. The drawing has always been kept under the name of Raphael, and must therefore have passed under the scrutiny of all these specialists, each one of whom must have paused, however briefly, to consider it in the light of the traditional attribution. It is significant of the limitations of the generally accepted view of Raphael th at the possibility of this drawing being by him should have been dismissed as so fa r out of the question as not to deserve even the most perfunctory discussion. If one of the skeptics had been challenged to suggest an alternative attribution, he would probably have taken refuge in the terra incognita of

High M annerism, and would have attempted to explain the drawing as the work of some unknown artist active in the middle of the century - a " bad p eriod " quite undeserving of serious study. But the p ro blem cannot be swept under the carpet in this facile way. The figures (but not their accessories of dress, armor, etc.) correspond exactly, in reverse, with part of a composition of a battle engraved by M arco Dente da Ravenna (fig. 14 ). M arco da Ravenn a was one of the associates of M arcantonio Raimondi, an engraver who worked in intimate colla boration with Raph ael and whom Raph ael had chosen to be the offi cial disseminator of his style to the world at large. Marcantonio occasionally used draw ings made expressly to be engraved (one example which we shall see in a moment is The Massacre o f the Innocents [fig. 16]), but more often he and the other engravers in his workshop were given discarded studies made for other projects. This particular engraving is not dated, but a terminus ante quem for its date is provided by a copy of it by the German engraver Daniel H opfer, which is inscribed with the date 1523 -that is, only three years after Raphael's death . The evidence of these engravings thus places the drawing in the circle of Raphael, and almost certainly within his lifetime; and there really can be no doubt that it is by him. Its

13 Raphael, Part of a Cavalry Battle, ca. 1510-12, bru h drawing in brown, heightened with white; ome black chalk underdrawing, 244 x 358 mm ., Devo n hire Collection, reproduced by permission of the Chatsworth etdement Tru tee . (Photo: ourtauld Instirute of Art) 14 Marco Dente da Ravenna, after Raphael, Battle Scene, before 15 23, engraving, 226 x 364 mm.

style suggests a date not long after Raph ael's arrival in Rome. The comp lete composition, preserved in the engravi ng in a clumsy and even travestied form (the engraver was probably responsible for the landscape setting), immediately bring to mind Leonardo's Battle of the Standard (fig. 5); but another and perh aps even closer analogy is with a sketch by Michelangelo on a sheet of studies in the British Museum (fig. 15 ), others of which are datable around 1504-that is exactly at the time of the Battle of Cascina car-

toon. The obviou exp la nation of thi rap id sketch is that Michelangelo i here working out an idea for the part of the composition repre enting the battle itself which was to have gone along ide the Bathers group. It i tempting to wonder whether a more highl y finished drawing of this group by Michelangelo may not have existed, which might have been Raphael's point of departure fo r thi exceptionallyindeed, until recently unrecognizablydeveloped dra wing.

15 M ichelangelo, Studies for a Statue of St. Peter and for the Battle of Cascina, ca. 1504, pen and yellow-brown ink, 187 x 184 mm. , courtesy of the Trustees of the British M useum, Lo ndon.

Another work of the early Roman period is the famous composition of The Massacre of the Innocents, known in its fin al form only in the engraving by M arcantonio (fig. 16) . This composition seems to have been designed especially to be engraved. If one pauses to consider the subject literally, as an actual historical event, it is one of the most horrifying episodes in either the Old or the New Testament, and that is how artists have on the whole chosen to represent it. But not Raphael. He has somehow, so to spea k, "defused " the subj ect by eliminating from it all the elements of bloodshed and cruelty, of pity and terror. As Kenneth Clark put it, " the beautiful poses of the figures bear no more relation to their brutal intentions than if they were ballet dancers." These bea utiful young men and women could be a team of Scandinavian athletes perfo rming some complicated gymnastic evolution. To illustrate this point I show a photograph of a moment in a game of foo tball, which

appeared recently on the sports p age of the London Tim es (fig. 17).

If we compare Raphael's Massacre of the Innocents with earlier treatments of the subject, it is clear that something has happened in the interval: and (as has often been observed) what has happened is Raphael 's experience of Michelangelo's Bathers, in which we similarly lose sight of the ostensible subject in admiring the skillful treatment of the nude and the intricate complexity with which the figures are woven into a pattern. A sheet of studies in the British Museum (fig. 18) provides a connecting link between the two, and shows that the Bathers was in Raphael's mind when he was designing his Massacre of the Innocents. Apart from the left arm, the pose of one figure is identical to that of the executioner in the right background of the M assacre (fig. 16); who is likewise offset on the left

16 Marcantonio Raimondi, after Raphael, The Massacre

of the Innocents, ca. 151112, engraving, 283 x 434

mm. 17 Football game. (Photo: London Times )

by another leaning in the opposite direction; while the pose of the figure seen from the back at the top of the sheet occurs, in reverse, in the back row of the Bathers (fig. 6). Raphael died in 1520, only a few days after his thirty-seventh birthday. His artistic development had been so prodigiously rapid that in retrospect we tend to think of his career in terms of the normal parabola of youth, maturity and age. We talk of a "late" work by Raphael in the same way

as we talk of a " late" Rembrandt or a "late" Titian or a " late" Michelangelo. But Raphael's very last works are not late in that sense: they are the work of an artist in his prime, still hardly on the threshold of middle age. If he had been as long-lived as Michelangelo, it is astonishing to reflect that he would have survived until 1572. Even if he had only lived to a mere 63, like Rembrandt, he would still not have died until 1546. A very interesting and amusing book was published in the early 1930's,

18 Raphael, Torsos of Five Nude Men in Action, ca . 15 08--09, pen over lead point, 269 x 197 mm. , courtesy of the Trustees of the British Museum, London.

called If It Had Happened O therwise. In it a number of distinguished historians each took a particular turning point in history and gave their views about what might have happened if things had gone the other way. It is a no less fascinating subject for speculation to wonder what changes Raph ael's art -and, indeed, the whole course of Italian art- would have undergone if he had not been cut off while still a relatively young man.

Unti l he came to Rome, the course of his development was fa irly straightfo rward . But there followed a period during which he was ra pidly a bsorbing a number of very varied and very powerful impressions. His first paintings in Rome, in the Stanza della Segnatura in the Vatican, are the culmination o f his Florentine experience and also of the High Renaissance style. The adjoining roo m, the next one to be decorated, the Stanza d'Eliodoro, occupied him from 1511to 1514. As one goes through the

doorway from one room to the other, the contrast is striking. It is clear that there has been a complete stylistic break. The forms are more dynamic, the figural group more tightly knit, the color range deeper and more resonant, and the lighting more dramatic. This change must have been caused by the revelation of Michelangelo's Sistine ceiling, half of which had been completed by 1510, and the whole by October 1512. The impact of this on Raphael was so powerful that he seems almost to have been able to jump right over Mannerism and into the Baroque. But would this impetus have lasted? The Tapestry Cartoons of 1515-16 are once more in the classical Florentine tradition which stems from Masaccio, enriched and ennobled by study of the antique art with which Raphael was surrounded in Rome. The cartoons have indeed been called " the Parthenon Sculptures of Modern Art." But Raphael knew as well as King Canute that a tide is irresistible and cannot be reversed. It is impossible to imagine him as a reactionary, fighting a rearguard defense of High Renaissance principles. Even less is it possible to imagine him following the arduous and lonely path th at led Michelangelo to the Sistine Last Judgment and the frescoes in the Pauline Chapelworks in which he used painting to express a unique and intensely personal mysticism.

Political developments can be imagined with some plausibility, as in the book I have just mentioned : politicians are ordinary people like ourselves, concerned with everyday practical matters. Their likely reaction to any given set of circumstances can be readi ly imagined. Raphael was not an ord inary man. He was a creative genius; and the essentially unpredictable and incalcu lable nature of genius makes it impossible to predict with any certainty the likely course of his development if he had survived for the normal life-span. But one can perhaps say this. His remarkable gifts included an exceptionall y sensi tive awareness of whatever artistic tendencies were even vaguely in the air. One often notices in his wo rks motifs and turns of expression th at his fo llowers developed so much more fully that we think of them as characteristic of an essenti ally later phase of development. It is arguable, though unprovable, th at Raph ael would have followed the sa me Mannerist tendency, and in doing so would have shown himself increasingly susceptible to what has been called "the irresistible infection of Michelangelo." ]. A. Gere

1 Velazquez, Philip IV, ca. 1626-28, oil on canvas, 201.2 x 109.6 cm., Inv. No. P26e18, Titian Room, Isabella Stewart Gardner Museum .

Of Connoisseurs and Kings: Velazquez' Philip IV at Fenway Court

Velazquez, Berenson, and Isabella Stewart Gardner

On 9 November 1896 Bernard Berenson wrote from Fiesole to Isabella Gardner, bringing to her attention a picture by an artist she had expressed interest in for her collection: I am sending yo u registered th e photograph of a Velasqu ez . ... It is a portrait of Philip IV, infinitely distinguished, every inch a king. It is not the H olford portrait, but is not inferior. As a portra it it is unquestiona bly grander an d profounder th an the H olford . ... It-the one! am proposing- is a little earlier th an the H olford-in fact is a replica of th e Madrid portrait (no. 1070) than which it is better in execution. It was painted directly after th at, an d avo ids some mistakes of the first versions. 1

Mrs. Gardner decided to buy the picture, probably persuaded as much by her advisor's astute discussion of the portrait's provenance as by a study of the photograph of it he had sent her. By early December, Berenson wrote that he had cabled her to " .. . Send cheque for ÂŁ15,000 at once. To my great regret and contrary to my expectation, I could not get the Velasquez for a penny less .... " 2 The money must have arrived in good time, because by 8 February of the following yea r, Mrs. Gardner sent Berenson an excited note from Boston: "His Majesty is here! . . . He is glorious. I am quite quivering and feverish over him. How simple and great. Âť3

The portrait over which Berenson and Mrs. Gardner enthused in 1896 now hangs in the Titian Room at Fenway Court (fig. 1), an appropriate short distance from Titian's Rape of Europa-painted for Philip II-which Mrs. Gardner had bought some months earlier. In her placement of the picture, Mrs. Gardner emphasized the historic patronage of Titian by the Spanish Hapsburg kings, and also acknowledged, by virtue of proximity, the courtly provenances both paintings possessed.

This matter of provenance was demonstrably important to Mrs. Gardner in her acquisitions. So much so, in fact, that she wrote Berenson after agreeing to buy the picture and requested that he reiterate the details of its history to her. 4 Entirely aware of his patron's interest in pictorial pedigrees, Berenson had gone into considerable detail in his first letter about the previous ownership of the Velazquez portrait.5 Now, in response to her request, he repeated the whole story, reassuring her of the special quality of the painting through an account of its past. The details offered included: It was painted for the Marques de Leganes, cousin to Olivares. Later it came into possession of the Altamiras. The French carried it off as booty, but Louis XVIII returned it to the Altamiras who sold it in 1827 to the Bankes's of Kingston Lacy. From them it was bought quite recently along with other pictures by the Colnaghis of London - and you are the next and present owner. 6

Berenson's acco unt has never, to my knowledge, been discussed, and yet it happens to reveal a very great deal about his own approach to the important matter of attribution, as he was here treating a painting by an artist who fell well outside his primary area of expertise, th at of the Italian Renaissance. His remarks also offer useful insights into an understanding of Velazquez in general, during a period when appreciation of his painting was a major factor in the history of taste. Consider the comparison between two portraits of Philip IV by Velazquez that Berenson uses as a means of establishing the high quality of the painting he wishes Mrs. Gardner to buy. His November letter points out that hers " .. . is not the Holford portrait, but is not inferior.... " 7 The " Holford portrait" referred to (fig. 2) had been introduced into their correspondence when Berenson, in a letter of 22 September 1896 from Vienna, wrote Mrs. Gardner in reply to her query about a "great Velas-

quez" he had in mind fo r her. He expresses himself quite directly: " .. . th e fin est Velasquez known to me excepting those at M adrid, and the Do ri a Pope, is Capt. Holfo rd's full-length portrait of Philip IY. There is a buoyancy of life in it, a severe splendour of co lor that I scarcely know the ri va l of. That is the Velasquez I long fo r yo u to have .... " 8 The portrait in qu estion, however, p roved no t fo r sale-it was sold to John Ringling only in 1928 when the collection of Sir George H olford was offered at Christie' .9 Berenson wo uld have known the portra it when it was in the collection of Ro bert H olfo rd at Dorchester Ho use, Lo ndon, where it had been published. Whether or no t Berenson had actually seen the Holfo rd po rtra it is not enti rely clea r, altho ugh his p ro no unced judgment of it suggests that he had. Certainly he had seen the other Velazquez portraits he mentioned, at the Prado and the Do ria palace in Rome. H owever, just how extensive his knowledge was of Velazquez portraits in British collections in the 1890's - o r how subjective he was being in singling out these two Philips fo r praise - canno t be pinpointed. The stunn ing po rtrait of Juan de Pareja, fo r example, now at The M etropolita n in New York, was then in th e collection of the Earl of Radnor at Lo ngford Castle near Salisbu ry.10 Velazquez' rega l fulllength of the king, the so-called "S ilver Philip," was in the National Gallery at London after 1882; 11 the reduced equestrian po rtrait of Oli vares was in the Earl of Elgin 's collection at Broo mhall, Scotland fro m 1806on;12 and after mid-centu ry at least two very fine po rtraits by the master were in the extraordinary gallery formed by Lo rd Hertford at London, now the Wallace Collection.13 In addition, a noteworthy portrait of Philip IV in military dress, thought at the time to be the original done by the artist at Fraga in 1644, was at Dulwich.14 And this list is deliberately confined to portraits.

2 Velazquez, Philip IV, before 1629, oil on canvas, 209.l x 121 cm., The j ohn and Mable Ringling M useu m of Art, Sarasota.

Of further interest is the ea rly dati ng of the Holfo rd po rtrait: given vario usly to the 1620's but in no case after 1629, and always related to the importa nt full-length of Philip (ca . 1626) in the Prado (fig. 3 ).15 Berenson used th is relationship to full adva ntage w hen he put forwa rd two months later a portrait located in another English collection - particula rly nota ble fo r its Spanish pictures -that of the Bankes fa mily at Kingston Lacy in Dorset. The Bankes pa inting was not " infe rio r" and, indeed, as a po rtrait, "grander and profo under" th an the H olfo rd . H e added that it was " .. . a little earlier . .. in fact, is a replica of the Madrid portrait (fig. 3). 16 ... " In this assertion he was a bsolutely correct, and his knowledge of the picture's nineteenth-centu ry histo ry was admira bly thorough. Berenson probably knew the entry o n the po rtrait from the sale catalogue at Stanley's in London in 1827 when it was o ffered with other works fro m the gallery of the Count of Altamira at M adrid .17 And he wo uld have known the judgments o n it by histo rians of the period like C urtis andJusti , and probably Waagen.18 It is do ubtful, on the other 24

Mrs. Ga rdner bought in 1896 is not on ly the most important ea rly work by Vel azquez in the United States, but also th at it is a work from which a significa nt new understand ing of the character and function of Velazquez' iconography of his king can be ga ined. Berenson's judgment, in fact, can be who lly vindica ted : the Gardner Velazquez is indeed " infinitely distinguished."23

3 Velazquez, Philip I V, ca . 1626, oil on canvas, 201 x 102 cm., Museo del Prado, Madrid.

Velazquez, O livares, and the King's Image

hand, that he had ever visited the Bankes collection itself, as its availability to visitors prior to its recent acquisition by the National Trust was very limited.19 Especially remarkable in the provenance Berenson gives for the portrait is mention of its earliest owner, "a cousin of Olivares," the Marquis of Legan es. Legan es' ownership had been cited in the 1827 catalogue at Stanley's, but his relationship to Olivares, the powerful first minister of Spain under Philip IY, had not. 20 Berenson must have done some personal research to find that out, perhaps in Justi's classic study, Diego Velazquez und sein Jahrhundert; there the close relationship between Leganes and Olivares was set forth briefly. 21 To Berenson and Mrs. Gardner the ownership of the picture by a highly ranked member of Philip IV's court naturally increased its appeal. Neither, however, could have been aware of how very illustrious such an ownership was, for little was known about Leganes as a collector and connoisseur until recently. 22 It can be maintained, however, that the portrait

Velazquez' decisive entrance into courtly circles at Madrid in 1623 was in no small way due to the appro bation of the Co untDuke of Olivares, a fellow native of Seville, and the single most powerful man at court at the time.24 From an artistic standpoint, though, th at entrance was largely determined by Velazquez' considerable gifts as a portraitist. The appoi ntment the artist received in 1623 was as the sole portrait painter of the King, to the exclusion of all other artists.25 Portraiture had been of great importance to the Hapsburg rulers since Maximilian, and by the 1620's a distinguished group of images in the Spanish royal collections testified to this predilection. Indeed, in an age when state portraiture attained an unprecedented brilliance and variety in European painting, those commissioned by H apsburgs easily met the competition. Behind such fondness for portraiture lay the widespread belief in absolute rule. Portraiture as a vehicle for the expression of princely power and magnificence had been revived in Italy in the fifteenth century; as a guarantor of fame it had been recognized first by the ancients. 26 Therefore seventeenth-century rulers were only accepting and exploiting what had already been sanctioned by the highest authorities as a worthy, indeed necessary, part of their princely equipment. 27 On a grand scale, the ruler commissioned elaborate pictorial

programmes to p roject his greatness to posterity-Rubens' M edici Cycle and Velazquez' ensemble in the Buen Retiro come readily to mind as outstanding examples. But he more often required simpler portrayal in single, life-size images, and it was this type o f portrait th at presented the most frequent challenge to a court portraitist. Yet unlike the programme, it has attracted far less art-historical attention. Indispensable to an examination of this subject is an understanding of the social ramifications fo r both painter and subject that such imagery ca rried at the time. Success in a first portrayal of an important ruler, fo r example - as in Velazquez' case - often was the prerequisite for his further patronage, and it seemed to establish artistic reputations as no other genre could. 28 While not considered the highest category of artistic endeavor, portraiture seems to have been the most profitable, particularly in terms of social prestige. In part, this derived from the cosmopolitan nature of portraiture. Calderon de la Barca recognized this aspect in a dialogue in one of his best-known comedias, Dario todo y no dar nada, originally perfo rmed at the Spanish court in 1657. Ca mpaspe, a beautiful free spirit bred in the country, is confused when urged to have her portrait painted: Quisiera Sa ber que cosa es retrato . .. Pintura ya se que sea; Que en el templo he visto ta blas, Que, de colo res compuestas, Ya representan p aises, Ya ba tall as representa n, Siendo un a no ble mentira De la gra n naturaleza; Pero retra to nose Quees. 29

Landscape and battle painting, then, were fa miliar even in rural temples, but portraiture belonged to the rarified world of the court. And the well-known relationship

4 Velazquez, Philip IV, ca. 1624, oil on canvas, 61.6 x 48.2 cm., Algur H . Meadows collection, Meadows Museum and Gallery, Southern Methodist University, Dallas.

between Apelles and Alexander- which provided the theme for Calderon's play was not just a favo rite classical story dramatized during the period. It had become a topos that seventeenth-century rulers wished to reincarnate, and that their portra itists were measured against. Both Van Dyck and Velazquez became Apelles to their respective Alexanders, although Van Dyck's position as painter to Charles I was flexible enough to allow him to visit his native country on occasion and also to paint numerous portraits of courtiers, statesmen, and others who had no direct connection w ith the English court. 3 0 Velazquez' career, on the other hand, was almost completely encompassed by his duties as co urtier-portraitist to Philip IV of Spain. 31 His are the only portraits of a ruler from the period that span an entire reign, for example, and as such they offer a unique opportunity to examine the role of the single, form al portrait in the development of a significant iconography of kingship. Obviously, o ne of the principal problems fa ced by any royal portraitist concerned idealization. Kings, after all, were held to be quasi-divine and Philip IY, as king of the greatest monarchy in Christendom at the time, would have required an especially careful resolution of this issue. The importance of this concern has led to an art-historical view of Velazquez' royal portraits as masterful solutions to this problem alone, chiefly by endowing the king with a godlike aspect around the head and face,

5 Velazquez, Philip IV, ca. 1656, o il o n canvas, 64 x 53 .7 cm., Natio nal Ga llery, London.

and by suppressing all accidental expression and detail. 32 By this view, the character and significance of his portrayals of Philip remain essenti ally unchanged from the early bust-length (ca. 1624) now in the M eadows M useum (fig. 4), where the artist achieved " . . . a sentient image of th e King which was to remain his own . .. ," all the way to his last known portrait of Philip (ca . 1656), also bust-length (fi g. 5), in the National Gallery at London.33 As a loyal and highly favored subject, Velazquez p ro bably did revere Philip IV as quasi-divine. As a courtier, however, he would also have been very aware of the importance of offi cial portraiture in creating a public conception of kingship, namely in the conflation of royal appearance and policy. On one hand, it is clear that the artist developed an early fo rmula fo r portraying Philip as a reserved, impassive figure; on the other hand, he also produced several major inflections on this formula, each of which made a highly specific statement about Philip's sovereignty. Moreover, in these pictorial inflections Velazquez seems to have been especially cognizant of the all-powerful influence being exerted over Ph ilip by the first minister Olivares. 34 It has been shown recently that during the 1620's Olivares was tirelessly bent on molding the young and unformed Philip into a worthy image of rulership . It is furth er argued here that Velazquez understood this situation very well indeed, and knew how to transmute Olivares' "education of the prince" into effective pictorial terms.35

The full-length portra it of Philip IV in the Prado (fi g. 3 ), of which the Gardner portrait is a replica, embodies an important case in point. The portrait represents a major revision of Velazquez' fi rst standing image, approxi mately two yea rs earlier, which is revealed with radiography beneath the present pa inting. 36 An autograph copy of this first conception appears in the portrait of Philip IV now in The Metropolitan M useum (fig. 6).37 In it Philip is shown as a broader, more aggressive figure, with legs spread, weigh t thrown on right hip, and cape fa lling in full, voluminous fo lds. Such emphasis on fullness of for m similarly appears in Velazquez' fi rst po rtrait of O livares, also done about 1624 (fi g. 7).38 T he Prado portra it of the king replaces this aggressive, rather corp ulent silhouette w ith one decidedly more svelte. While the main outl ines of the fi rst composition are retained- vertical fo rmat, body at a three-quarter turn, placement before a small table at the right on which rests the king's hat, and right hand holding a folded paper-the king's figure has become much thinner and more self-contained. A corresponding change occurs in the artist's second image of O livares (fi g. 8), of about the same date.39 This significant change of tone and silhouette is the key to the meaning of the king's image. In the compositional fo rmula used fo r both portraits, Velazquez records the position Philip IV actually assumed when he received visits and petitions fro m ambassadors and other supplicants during a fo rmal audience, as is recorded by the Spanish chronicler Gonzalez Davila in 1623.40 The posture adhered to the practice first established at the Spanish court by the king's grandfather, Philip II, who always gave audiences in a particular room in the royal apartments in the M adrid palace, or Alcazar. He received while standing impassively next to a small table, and after listening to the official greetings 27

6 Velazquez, Philip IV, ca. 1624, oil on canvas, 200 x 102.8 cm., bequestofBenjamin Altman, The Metropolitan Museum of Art, New York. 7 Velazquez, Gaspar de Guzmdn, the Count-Duke of Olivares, ca. 1624, oil on canvas, 203 x 106 cm., Museu de Arte, Sao Paulo.

of the visitor, doffed his hat to signal the opening of the audience. 41 By carefully depicting this position, Velazquez presents Philip IV as a monarch "at work," discharging affairs of state, in the way he would have appeared to official visitors. He also gives him precisely the pose for doing so that that most austere and industrious of all monarchs, Philip II, had devised. The change toward a tone of dutiful, reserved gravity that the Prado portrait reflects coincides extraordinarily with the direction of Olivares' tutelage of the king during the period from 1626 to 1628. 42 Olivares' best efforts on coming to power in 1621 were directed into a programme of reforms, especially fiscal, designed to restore to the royal office the respect it had enjoyed under Philip II but had lost during the corruption and indolence of Philip Ill's reign from 1599 to 1621. 43 Styling himself the king's "faithful minister, " Olivares deliberately generated a climate of conscientious zeal that he sincerely, if erroneously, hoped would also help to diminish pejorative consideration of him as a cor-

rupt "favorite" in the tradition of Philip Ill's minister, the Duke of Lerma. 44 Essential to the accomplishment of this purpose was the king's own exercise of the ideals of industrious, parsimonious dis.charge of duty that had so distinguished his grandfather. In a famous letter of 1626 Olivares delivered a kind of tutor's entreaty to his royal pupil, pleading the impossibility of his own position if the king did not diligently attend to affairs of state. 45 After a serious illness in the fall of 1627 that apparently threatened his life, Philip did begin fulfilling Olivares' demands of him, and he undertook a strenuous daily routine with the endless paperwork of the government. 46 Olivares, then, in the years 1626 to 1628, succeeded in creating a ruler who was taking his office seriously, and Velazquez recorded this creation in the Prado portrait. Indeed, given the king's slender appearance, the portrait may well have been painted late in 1627 or early in 1628, just after his recovery. 47 The young ruler's austere, black-dad reserve, more akin to that of a secretary or a cleric than that of a king, and lacking any outward

8 Velazquez, Gaspar de Guzmdn, the Count-Duke of Olivares, ca. 1626, oil on canvas, 222 x 13 7 cm., Hispan ic Society, New York. 9 Van Dyck, Don Diego Messia Fe/fpez de Guzmdn, the Marquis of Legan es, oil on canvas, 202 x 125 cm., Banco Urquijo, Madrid (Photo: MAS).

display of princely splendor, brilliantly captures the gravity and purposefulness that Olivares, at least for the moment, had nurtured in Philip IY. Velazquez, Philip I V, and the Marquis of Leganes

As mentioned above, Velazquez' appointment as portraitist to Philip N was considered "exclusive." While there were other court painters in the king's employusually at least three were full-time at any given moment at the Spanish court-none was to enjoy the special privilege of creating the king's likeness. 48 This privilege is potentially important in understanding the role of replicas and copies of Velazquez' royal portraits. The painting bought by Mrs. Gardner offers clear evidence of the making of close, contemporary replicas of the king's image for prominent courtiers, most likely by Velazquez himself. The portrait at Fenway Court was owned by Don Diego Messla Felfpez de Guzman, the Marquis of Leganes (d. 1655 ), a first cousin of Olivares and member of the highest circles of courtly and ambassa-

dorial responsibility at Madrid (fig. 9). H e had been active as a page at the archducal court in Brussels during the second decade of the centu ry, where he met Ambrogio Spinola, the Genoese aristocrat in charge of Spanish arms in northern Europe. By 1627 he was engaged to Spinola's daughter Polyxena, and their marriage at Madrid in February 1628 brought into the Leganes house a very considerable dowry fro m one of the oldest noble fa milies in Genoa. 4 9 Leganes rapidly amassed lucrative appointments under Philip IV, and at least by 163 0 had begun to collect paintings, a passion that led to a gallery of over 1,300 pictures by the end o f his life.50 A recent reconstruction of this collection indicates that in quality as well as quantity, it represented one of the two or three most distinguished private galleries in the seventeenth century. 51 Leganes' acquisitions seem to have been made partly in connection with the artistic traditions of the Spanish territories in which he served as ambassador or viceroy, but his taste also reflected established patterns of collecting at the Spanish court as well as certain personal preferences. For example, about

10 Titian, Federico Gonzaga, Duke of Mantua, o il o n canvas, 125 x 99 cm., M useo del Prado, Madrid. 11 after Mor, Mary Tudor, Queen of England, oil on canvas, 208 x 122 cm., Wellington M useum (Apsley House), Londo n.

half of his holdings were works by Northern artists from Van Eyck onward, and these included a very fine gathering of works by contempora ry Flemish painters, especially Rubens.52 This penchant for Northern art surely derived from his early and prolonged experiences at the Flemish court, where he stayed intermittently at least until 1635, when he was appointed fo r five years to the governorship of M ilan.53 It was p ro bably during this latter appointment that he acquired the several hundred works by late-sixteenth- and early-seventeenth-century Italian painters inventoried in his gallery by 1642. Also featuring in his collection were fine works by artists inextricably associated with the H apsburg court at Spain , particularly Titian. One of the finest paintings to figure in Leganes' gallery, in fact, was the splendid portrait of Federico Gonzaga, Duke of Mantua (fig. 10), which Leganes owned by 1630. 54 It may have stimulated Leganes to begin forming within his collection a kind of portrait gallery of fa mous men, since by 1642, when he owned 1,149 pictures, there was an extended group of portraits, mostly full-length, of H apsburg rulers, and their spouses, offspring, and allies, suggesting an effort on his part to

create a kind of pictorial pantheon of individuals to whom he bore allegiance.55 It is within this context that the full-length of Philip IV by Velazquez now at Fen way Court should be understood. From a mong many examples that might be introduced, the following other full-length portraits, originally part of Leganes' gallery, can be offered as evidence of the nature and extent of his interest in such images . Two portraits, now at the Wellington M useum (Apsley H ouse), London, of Mary Tudor, Queen of England, after Anthonis Mor (fig. 11 ), and Rudolf II, Emperor of Austria, attributed to H ans von Aachen (fig. 12), appear as items 409 and 415 in Leganes' 1642 inventory listing. Indeed, the original numbers are still visible at lower right a nd left on the p aintings.56 Items 413 and 414 in the 1642 inventory are represented by another pair of fulllength portraits, after Rubens, of Philip IV and his queen, Isabel of Bourbon, which are now at Stra tfield Saye, Reading, England and the Hispanic Society, New York (figs. 13 and 14). They too bear their original Leganes inventory numbers, visible at the lower left margin of the canvases. 57 Furthermore, all these portraits, as well as others discovered that were part of the 30

12 H ans von Aachen,

Rudolf ll, Emperor of Austria, o il on canvas, 200 x 121 cm., Wellington Museum (Apsley House), London. 13 after Rubens, Philip IV, oi l on canvas, 202.5 x 122.2 cm., Duke of Wellington collection, Stradield Saye, Reading.

14 after Rubens, Isabel of Bourbon, oil o n ca nvas, 197.6 x 117 cm. , Hispanic Society, New York.

same collection, identi fy the sitter by name in dark script at the foot of the image. Such an inscription appears on the Velazquez portrait of Olivares now in the Hispanic Society (fig. 8), confirming the idea that it once belonged to Lega nes, and the Philip IV at Fen way Court is similarly identified, at lower left, with " R Phe 4. "58 Regrettably, the original inventory numbers on these last two paintings have at some point in their histories been effaced. 59 These details all po int to one conclusion Leganes acquired these portraits from various court artists to form a coherent gallery, or ensemble. Exactly when the inscriptions were put on is not known but, like the inventory numbers, they probably were applied by those in charge of keeping collection records during Leganes' lifetime, and therefore were probably present before 1642 when the first extended inventory was drawn. 60 Of interest in this connection is an exact replica (Varez-Fisa collection in Madrid) of Velazquez' portrait of Olivares owned by Leganes (fig. 8), considered autograph by a majority of scholars. 61 The relationship the two Olivares portraits bear each other is the same that the Fenway Court Philip IV (fig. 1)

bears to the undou btedly original version in the Prado (fig. 3 ). Both are arguably by the master, with the only principal disagreement resting on Velazquez' degree of completion of all details of costume. M oreover, since Leganes owned a Velazquez portrait of Philip IV's prime minister in the sober, restrained idiom developed aro und 1626- 28, it seems likely that he would have insisted on an autograph portrait of the king himself in that sa me idiom. That Velazquez painted more th an one example of the same image, moreover, would coincide logically with the function of such portraits at the time. As we have seen, a "master" portra it of the king - and of Olivares - was created in the 1620's to convey in pictorial form the conception of a new rule, that of the young Philip rv. The first and official example of this portrait undoubtedly would have resided in the royal collection itself, and it is fro m that collection that the Prado portrait comes. But a lim ited number of replicas would have been made for particularly important courtiers- and Leganes was certainly a member of that company. Thus the provenance of the Fenway Court portrait itself argues for the painting's claim to autograph status. A similar situation pertains to the fulllength of Philip IV now in The Metropolitan M useum (fig. 6). It can be documented to 1624, when it was paid fo r by Dona Antonia de Ipenarrieta, wife of Diego del Corral (1570- 1632), who was a pro minent jurist at Philip IV's court. As noted above, this portrait typologically represents the first full-length image of the ki ng that Velazquez painted- a broader, more aggressive solution that was replaced slightly later by a more restrained conception. That this first, "master," portrait type did exist as the official image of Philip IV for a short time, however, is attested to

by its own copies and replicas. One such copy is now in the M useum of Fine Arts, Boston, acquired in 1904 as a Velazquez, but now rightly accepted by most scholars as a work by another hand. 62 These two p aintings illustrate yet a third intern al relationship that existed within the body of official portraiture associated with the yo ung Velazquez - one between the artist's own replica and a copy, presumably by an assistant in his studio. 63 It is important to point out, however, that the portrait type, or idiom, in the New York and Boston paintings is identical; it is their differences in painterly quality and historical documentation that have distinguished one as original and the other as a copy in art-historical opinion. It becomes clear that under these kinds of circumstances questions of provenance can assume a fundamental position in deciding what represents an autograph work by Velazquez and what does not. The problem of attribution is.compounded here since the traditional criterion -that of sheer artistic quality - is more than a little compromised by having to confront the artist's earliest examples in a certain genre, in this case the royal portrait. Obviously, the basic question of Velazquez' inherent level of accomplishment in royal portraiture is more difficult to frame since there is little comparative material in his own previous work. It can be suggested, though, that of all early portraits of Philip IV by the artist outside the royal collection itself, Mrs. Gardner's "simple and great" image fulfills most completely the requirements of a genuine Velazquez in both pedigree and pictorial character. Mary Crawford Volk

1 For consu ltation o f the correspondence of Isa bella Stewart Gardner, both with Bernard Berenson and with o thers, I am very grateful to the director and staff of the Gardner Museum and the director and staff of the Archives of American Art, Boston. I am here citing from the film copy kept in th e Archives of American Art, listed as Roll 846. Berenson's letter of 9 November 1896 appears as fram e 68. 2 Berenson to Mrs. Gardner, 6 December 1896; Roll 846, 72. 3 Mrs. Gardner to Berenso n, 8 February 1897; Roll 846, 80. 4 Mrs. Ga rdner to Berenson, 28 Ja nu ary 1897; Roll 846, 78. 5 Berenson to Mrs. Gardner, as cited in no te 1. 6 Berenson to Mrs. Gardner, 10 February 1897; Roll 846, 81a. 7 Berenson to Mrs. Gard ner, as cited in note 1. 8 Berenson to Mrs. Gardner, 22 September 1896; Roll 846, 64. 9 I am grateful to the curator and staff of the Ringlin g Museum of Art in Sa rasota, Florida for providing me with many useful details of the history of the Philip IV in th eir collecti on. See also R. van N. H adley, "What Might H ave Been: Pictures Mrs. Gardner Did Not Acquire, " Fenway Court 1979, Boston, 1980, 36-38 and 40, fig. 11. 10 See E. Fahy, T. Rousseau, et al., "Jua n de Pareja by Diego Velazquez," The M etropolitan Museum of Art Bulletin, XIX, 1971.

11 My thanks to Allan Braham of the National Gallery, London for permitting me access to curatorial files; see also A. Braham, Velcizquez, Themes and Painters in the National Gallery, London, 1972, esp. 18-26. 12 ]. Lopez-Rey, Velazquez, A Catalogue Raisonne, London, 1963, 198, no. 216. 13 See]. Ingamells, The Wallace Collection, Catalogue of Pictures, I, London, 1985, 407, no. P12 and 411, no. P88. 14 See A. de Bernete, El Velazquez de Parma, Madrid, 1911, where the splendid portrait now at the Frick was first established as the original. 15 See especially the extended discussion of

provenance in M. Diaz Padron's entry in Splendeurs d'Espagne, 1500-1700, 11, Brussels, 1985, 427, no.B23. 16 The importance o f the Prado full-length po rtrait of Philip IV in black was recognized by Lopez-Rey, Cata logue Raisonne, 37 and 210, no. 241. Berenson's remark o n th e Bankes po rtrai t appea rs in his letter of 9 November 1896, as cited in no te 1. 17 Stan ley's, London, 1827 (9 June), Pictures from Spain, A Catalogue of a Magnificent Collection of Pictures ... , no. 46 : " Po rtrait of Philip the Fourth, o f Spain, painted by Velazquez, for the first M arquis of Leganes;-it was taken from the Altamira Ga llery by th e French, when they were in th e occupatio n of M ad rid, and resto red to the Count by a decree of Louis the 18th . ... " 18 C. Curtis's Velazquez and Murillo appea red in London and New York in 1883 and quickly became a principal reference on both a rtists; K. Justi's Diego Velazquez und sein j ahrhundert appeared at Bonn in 1889 and at Lo nd on in 1890 ; it remains fundam ental to any study of th e artist. G. Waagen's volumes (1854-5 7) o n works of art in British collection were also basic references. 19 The collection is presentl y being photographed and catalogued by the National Trust. On Bankes as a collector of Spanish paintings, see A. Braham, El Greco to Goya, Lo ndo n, 1981, 23-24. 20 See note 17. On the title page of the sale catalogue, the paintings are proclaimed as coming from the gallery of the Count of Altamira, " ... a descend ant of th e Marquis Leganes, the patron of Rubens, and the present hei r of that house . ... "The Cou nts of Altamira inherited the Leganes titles and estate when the latter house failed of issue in 1711. 21 Justi, passim. See also the various works by ]. Elliot, especially with]. F. de la Peiia, Memoriales y Cartas de! Conde Duque de Olivares, 2 vols., Madrid, 1978- 80, where the political and cultural policies of Olivares are set forth in fresh detail. 22 ]. Lopez Navio, in Analecta Calasanctiana, 1962, 262-330, published the 1655 inventory of Leganes' collection, with a brief biographical

for in the temple I have seen images composed of colors which represent landscapes and even battles; they constitute a noble imitation of great Nature; But I am unaware of what exactly a portrait is.

essay. Additional details of Leganes' career, together with excerpts from two earlier unpublished inventories, appear in M. Crawford Volk "New Light on a Seventeenth-Century Coll~ctor: The Marquis of Leganes, " Art Bulletin, LXII, 1980, 256-268. 23 Berenson, as cited in note 1. 24 Velazquez' special position as a courtierartist is increasingly recognized. See, e.g., M. Levey, Painting at Court, London, 1971, . and J. Brown, Velazquez, Painter and Courtier, New Haven, 1986. Perhaps the most expansive picture of Olivares' powerful position in cultural circles at the court is in J. Elliott and J. Brown, A Palace for a King, New Haven, 1980. 25 Palomino, in Museo Pictorico, first printed in 1724 and written by a court painter who worked in Madrid only a few years after Velazquez' death, seems the first to recount the story; see the Aguilar edition, Madrid, 1947, 897. 26 See, among others, J. Pope-Hennessy, The Portrait in the Renaissance, New York, 1966 and M. Jenkins, The State Portrait, New York, 1947. Classical authorities who particularly noted the role of portraiture in fama included Terentius Varro (116-27 B.C.) and Pliny the Elder, in Natural History, XXXV, 9-11. 27 Studies ofltalian sixteenth-century portraits have especially pointed this out; see, for example, K. W Forster, "Metaphors of Rule. Political Ideology and History in the Portraits of Cosimo I de'Medici," Mitteilungen des kunsthistorisches Institutes im Florenz, 15, 1971, 91-99 and L. W Partridge, "Divinity and Dynasty at Caprarola: Perfect History in the Room of Farnese Deeds," Art Bulletin, LX, 1978, 494-530. 28 See, e.g., Francisco Pacheco, Velazquez' father-in-law and teacher, in El Arte de la ' Pintura, II, 141-142 (ed. Sanchez Canton, Madrid, 195 6). The success of a portrait of the king, now lost, led to Velazquez' appointment. Van Dyck's career in England may have sprung from James I's admiration of his portraits; Rubens' portrait of the Duke of Lerma secured his patronage, and the Medici Cycle brought him an international clientele. 29 J. ]. Keil, Las comedias de D. Pedro Calderon de la Barca, Leipzig, 1827-30, IY, Sa; see also E. Curtius, "Calderon's Theory of Art and the Artes Libera/es," in European Literature and the Latin Middle Ages (trans.WR. Trask), New York, 1953, 559-570 and H. Bauer, Der Index Pictorius Calderons, Hamburg, 1969. In English, Calderon's passage can be read: I would like to know What a portrait is ... Painting I am familiar with,

30 Following his appointment at London, Van Dyck visited Brussels at least once,_ in 1634, and many of the images that appeared m his I cones (Antwerp, 1645) seem to have been done there. He also did portraits of prominent Flemish courtiers and of the governor, the Infante Ferdinand. 31 See Levey, 136-150 and Brown, Velazquez, passim. 32 This position was developed and sustained especially in the writings of Lopez-Rey; see his Catalogue Raisonne and Velazquez, The Artist as a Maker, Lausanne, 1979. 33 Lopez-Rey, Catalogue Raisonne, 37. 34 On Olivares as a personality see G. Maraii.on, El Conde-Duque de Olivares. La Pasion de Mandar, Madrid, 1936. See also, especially, Elliott and de la Peii.a, as cited in note 21. 35 Elliott and de la Peii.a, I. Philip IV was a mere boy of sixteen when he ascended the throne in 1621; Olivares was his senior by nearly twenty years. 36 Prado No. 1182. Lopez-Rey, Catalogue Raisonne, no. 241. The radiographs are reproduced in pis. 443, 444. 37 Lopez-Rey, Catalogue Raisonne, no. 236. See also note 61. 路 38 Sao Paulo, Museu de Arte. Lopez-Rey, Catalogue Raisonne, no. 506. 39 New York, The Hispanic Society. LopezRey, Catalogue Raisonne, no. 507. 40 G. Gonzalez Davila, Teatro de las Grandezas de la Villa de Madrid, Madrid, 1623, 310: "Recibe the King la prim era vez en pie, con el collar del Tuson, arrimado a un bufete, a los Embajadores ordinarios, ya los Presidentes y Consejeros sentado .... " 41 See, for example, the detailed description of the reception of the Venetian ambassadors on 8 December 1572 after news of the victory of Lepanto had reached Madrid, in L. Gachard, Relations des Ambassadeurs Venitiens sur Charles-Quint et Philippe II, Brussels, 185 5, 169-170. 4 2 Elliott and de la Peii.a, I, esp. XXXIII-LXII and doc. XI. 43 Ibid. Also]. Elliott, El Conde-Duque de Olivares y la Herencia de Felipe II, Valladolid, 34

1977. Philip II was renowned even during his lifenm~ for his industriousness and "pru-

dence. Significantly, one of the earliest descriptions.of the equalities was being written at just this time at court by Lorenzo van der Hamen printed as Manual ala Historia de D. Felipe El Prudente, Madrid, 1632.

53 Crawford Vo lk, "New Light ... ". 54 Prado no. 408. In 1630, shortly after his

king's reply have been printed everal rimes most recently in English by F. Sax!, in "Vela~足 quez and Phi lip fV," Lectures, l, London, 1957, 312-313. See the original text in Elliott and de la Pefia, I, 201-204.

marriage, Leganes founded a mayorazgo, or entailed estate, and included in it a short list of paintings that mentioned the Titian. The document is printed in Crawford Volk "New Ught ... ", 25 6. H. Wethey, The Painti~gs of Titian, II, The Portraits, London, 1971, 107108 suggests the portrait may be identifiable with one inventoried at the Gonzaga collection at Mantua in 1627 not among the works bought from that collection by Charles I of England. Leganes thus may have acquired the painting directly between 1627 and 1630.

46 Elliott and de la Pefia, I, docs. XII, XIII.

55 This.idea, a complex one with a history of

44 Elliott and de la Pefia, I, 201-204. 45 The letter, dated 4 September 1626 and the

47 The king fell ill in August 1627 but had improved by 6 September. The exact nature of his.affliction is not known, although it was senous enough for intrigues to begin as to his successor. 4~ Palomino, as cited in note

25, put it: "Alento le desde luego el sefior Conde Duque de Oliv~res a la honra de la patria, y prometiole que ~I solo habia da tratar a Su Magestad, y los demas retratos se mandarfan recoger; gozando la m1sma preeminencia que tuvo Apeles, que solo el podfa pintar la imagen de Alejandro. ... "The privilege seems mostly to have been respected, although at least one famous exception was made, when Rubens was asked to paint the king in 1628 during his diplomatic visit to Madrid. 49 The wedding took place at the Madrid palace where Polyxena had been a lady in waiting to the queen since 1622, and the a mou nt of the Spinola contribution staggered even contemporary chroniclers accustomed to lavish display. T he marriage contract documents, signed on 17 June 1627, are preserved in the notarial archives at Mad rid, legajo 2043 (Santiago Fernandez), ff. 1717-1752. O n her fa ther's position and the history of the fami ly generally, see A. Rod riguez Villa, Ambrosio Spinola, Madrid, 1904, based for its biographical details in large pa rt on F. Casoni, Vita del marchese A. Spinola, Genoa, 1691.

50 1,333 paintings were listed o n his death in 1655; see Lopez Navfo, as cited in note 22. 51 For example, Italian collecti ons like those of Giustiniani or the Ludovisi at Rome were considera bly smaller; this also was true of celebrated English galleries like th ose of Buckingham or even Arundel. The nearest ri va l to Lega nes' collecting seems to have been royal.

52 An overview of his holdings appears in Crawford Volk, "New Light ... ",as cited in note 22. A full reconstruction of the collection, with much new material, has just been completed by the same writer (forthcoming).

its own, 1s developed at greater length in the author's forthcoming reconstruction of Leganes' collection.

5 6 I am grateful to the staff of both the Wellington Museum and the Victoria and Albert Museum in London for permitting a close examination of these portrait , and for providing me with detai ls of the history of their acquisition. See M. Kauffman, Catalogue of the Paintings at Apsley House, London, 1982, nos. 1, 111.

57 These paintings, like those at Apsley House, are to my knowledge unpublished in this context.

58 An abbreviation for "Rey Phelipe Quarto," or King Philip IY. A comparison with the identifying inscription on the king's portrait at Stratfield Saye indicates a script by the same hand.

59 A close examination of the surfaces of both paintings with ultravio let, and also a study of rad1ographs, revea led no traces of these numbers. However, both portraits have second nu mbers in white paint, wh ich appear on many other Leganes paintings as well, and which seem to represent identifying numbers assigned when they were taken to France during the Napoleonic period. T hese numbers usua lly appea r between two small cross-shaped symbols, near the lower center of the image.

60 That is, they are not part of the original pain ti n.gs themselves, but are contemporary to the pen od when they were in Leganes' collection. 61 Recentl y exhibited at the Royal Academy, Londo n; see A. E. Perez Sanchez, The Golden Age of Spanish Painting, 1976, 67, no. 47.

62 Lopez-Rey, Catalogue Raisonne, no. 237; curatonal files, Museum of Fine Arts, Boston.

63 Little is yet known about Velazquez' possible studio practices.

1 Matisse, The Terrace, St. Tropez, 1904, o il on canvas, 72 x 58 cm., Inv. No. Pl s5, Yellow Room, gift of Thomas Whittemore, Isabella Stewart Gardner Museum.

Henri Matisse: ''A Magni-fi,cent Draughtsman "

Very few visitors to the Gardner Museum, familiar with its important collection of Italian Renaissance and Dutch seventeenth-century paintings, are aware that Isabella Stewart Gardner also collected notable works by contemporary artists and that she had the first painting by Matisse to enter an American museum. Even fewer realize that she also owned five Matisse drawings, dating from 1900 to 1912, as well as two of his prints-portraits of fri ends etched in 1914. The Terrace, St. Tropez (fig. 1) is a colorfu l, sunlit landscape painting done during a visit in 1904 to the home of the artist's friend, the Neo-lmpressionist painter Paul Signac. The drawings, on the oth er han d, are all sheets of fi gure studies-four of nudes an d the fifth w ith sketches of the head of a young Moroccan girl. Im ages of modern nudes are rare in Mrs. Gardner's collection, but the nude, especially th e female nude, was Matisse's favorite subj ect and one he returned to throughout his ca reer. He himself claimed: "What interests me most is neither still life nor landscape, but the human fi gure. It is th at which best permits me to express my almost religious awe towards life." 1 That the Matisse prints and drawings stand out in such stark contrast to the mostly Renaissance works with which they share a gallery case can be explained, at least in part, by their having all been gifts rather than Mrs. Gardner's own purchases. Although she did not choose the works herself and the two apparently never met, she sustained an avid interest in Matisse and numerous letters to her in the Museum's archives are filled with news of his comings and goings and works in progress. By the time of her death in 1924 Mrs. Gardner had more drawings by him than any other artist, except John Singer Sargent and Anders Zorn. Given the conservative environment in Boston right after the turn of the century, her displaying

of works by Matisse at this ea rly date is particularly noteworthy. In New York, gall eries and collectors could accept (if on ly barely) the diversity of movements like the Ash Can School and the European avant-garde, but in Boston, progressive collecting had come to a virtual stand-sti ll by 1900 and, according to Theodore Stebbins, "the Na bis, Po t-lmpressionist , Cubists, and Futuri ts were not bought by Boston collecto rs until the 1950's. " 2 Certai nly this is an outstand ing instance of Mrs. Gardner's collection prov ing the exception to the rule! Three of the fi ve drawings have not before been published, and even in the case of those prints and drawings that have, there is no firm consensus regarding their provenance. We do know that at least three, and possibly fo ur of the drawings, as well as the painting, were bought fo r her by her close friend the archaeologist and Byzantinist Thomas Whittemore. 3 Another drawing-a female nude seated on the ground- was the gift of her friend, fellowBostonian Sarah Choate (Mrs.]. Montgomery) Sears. 4 Matthew Stewart Prichard, assistant director of the Boston Museum of Fine Arts fro m 1903 to 1907, presented her with his own portrait etched by M atisse and perhaps the sheet of studies done in Tangier as well. 5 Unlike his paintings, which were often controversial and maligned by critics, Matisse's drawings were comparatively well received and were collected by Americans early in his career. In fact, following the first American exhibition in 1908 of Matisse's paintings and drawings at Stieglitz' New York gallery "291, " his drawings were given favorable reviews even by some of the most conservative critics. In a strongly worded letter to The Nation that same yea r, Bernard Berenson refuted critics of Matisse, pronouncing him "a magnificent draughtsman and a great designer. "6 37

The earliest Matisse drawing (ca. 1900) in Mrs. Gardner's collection dates from his years as a student and is a fairly standard academie depicting a standing female nude (fig. 2). Already in his thirties, Matisse clearly had not yet abandoned the tenets of his academic training; although he was soon to become active in the radical Fauve movement, at the turn of the century he was in many ways the epitome of the "late bloomer." In 1897, for example, he had submitted a large Impressionist paintin b> a La Desserte, to the Salon de la Nationale- several decades after the Impressionists had created such a_ stir in Paris. Even after Matisse had ach ieved a reputation as the leader of the avant-garde movement, many of his drawings still seemed to reflect his conservative background, and the advice he later gave to his students echoed much of what he himself had been taught. In the late 1880's Matisse had set out to follow the wishes of his family and studied law in Paris, returning to Saint-Quentin in 1888 to become a clerk in a law office. The following year he began taking classes at the nearby Ecole Quentin Latour, where students learned to draw from plaster casts. In 1890 during a bout with appendicitis that kept him bed-ridden for an extended period, Matisse first experimented with painting and was thrilled by the new-found liberation of working with color. He was so inspired by this experience that he quit his clerkship and returned to Paris to study with Bouguereau at the Academie Julian; in doing so he hoped eventually to gain entry to the Ecole des Beaux-Arts. The brief period he spent working under Bouguereau apparently was disillusioning, and his master is said to have told him, "You'll never learn to draw!" As if confirming that prophecy, Matisse did fail the entrance exams to the Ecole on his first attempt in 1892.

2 Matisse, Standing Nude, ca. 1900, litho-crayon on paper, 320 x 206 mm., Inv. No. 1.3.0133, Short Gallery, gift of Thomas Whittemore, Isabella Stewart Gardner Museum.

However, not long after that he began drawing again, this tiff!e at the Cours Yvon, adjacent to the Ecole, where hopeful students eagerly gathered to work from the antique. There he managed to attract the attention of one of the school's newest and most liberal teachers, Gustave Moreau. For the next three years he worked unofficially as part of Moreau's class and met many of the artists who would later make up the Fauves. When asked about early influences on his art, Matisse readily admitted that Moreau had been one of the most important. Although as a teacher Moreau seems to have done little to introduce his students to the work of more contemporary artists, especially the Post-Impressionists who later had such an impact on Matisse, he does seem to have allowed them unusual freedom of expression and never imposed his own romantic sensibility. Moreau often took his students to the Louvre to study the old masters - from Raphael to Chardin -something Matisse would in turn recommend to his own students years later. Studies from the nude were always Matisse's strongest subject in school, and in contrast to his rather disappointing performances in studies of perspective, modelling and architecture, it was for his 38

3 Matisse, Reclining Nude, ca. 1900, Ii tho-crayon on paper, 203 x 324 mm., the William E. Nickerson Fund, Museum of Fine Arts, Boston.

nudes that he received his highest marks .7 Finally in 1895, probably on the strength of these high grades, h~ was accepted as an official student at the Ecole des BeauxArts. The Gardner Standing Nude (fig. 2) is an example of just the type of academic drawing in which he excelled. It 1s competently done, although somewhat.awkward, and anatomically correct, 1f not particularly expressive or inspired . .The model rendered in a standard studio pose and tu~ned away from the viewer, relates closely to subjects that Matisse painted during his years with Mo~eau, su~h as In the Studio (private collection, Pans) of about 1895. Actually the Gardner drawing was done some years later, after his teacher's death in 1898. Unfortunately Moreau's successor at the Beaux-Arts, Fernand Cormon, was not so sympathetic as Moreau had been to the younger artist's drawing style, and Matisse was soon asked to leave, given only the lame excuse that he was over the age limit of thirty. Even after his ouster from the official program at the Ecole, Matisse seems to have continued to thmk of himself as a student. If for no other reason, the academic setting was important for the newly-married and impoverished artist because it allowed him his only free access to nude models. Matisse next began working at the socalled "Academie Carriere" in the rue du

Vieux-Colombier. There he painted the large Model with the Rose Slippers (G. Daelemans, Brussels), which is closer to the Gardner drawing than the nudes done under Moreau and may even depict the same model in a similar pose. Reclining Nude (fig. 3) is also thought to have been done while Matisse worked with Carriere, or slightly later whi le in the studio of his friend Biette. The handling of the figure, with its systematic shading and carefully hatched background lines, is nearly identical and also is comparable to the nudes fro~ his earliest experiments in etching of 1903. According to his friend and patron Sarah Stein, Matisse later told his students: "A shaded drawing requires shading in the background to prevent its looking like a silhouette cut out and pasted on white paper." 8 A second drawing in the Gardner M useum, simply titled Savages (fig. 4 ), is actually three studies of the same model, an Italian named Bevilaqua, whose long, kinky hair and beard and striking muscular physique fascinated Matisse in the period from 1900 to 1903. Bevilaqua was the model for several of Matisse's works in different media, including the large oil painting Male Model (fig. 5) .a nd another slightly more active pen and mk drawmg in the Thannhauser collection at the Guggenheim (fig. 6). H e was also said to have appeared for more than 100 sittings over the course of three years for Matisse's 39

4 M atisse, Savages or Th ree Studies of Bevilaqua, 1900-03, black ink with pen and brush on paper, 330 x 240 mm. , Inv. No. 1.3.0/29, Short Gallery, gift ofTh o mas Whittemo re, Isabella Stewart Ga rdner Museum . 5 M atisse, Male Model, 1900, o il on ca nvas, 99.4 x 72.7 cm. , Kay Sage Tanguy and Ab by Aldrich Rockefeller Funds, Museum of M odern Art, New York.

6 M atisse, Male Model, ca. 1900, ink on paper, 311 x 228 mm. , the Justin K. Thannha user collection, Solo mon R. Guggenheim M useum, New York. 7 M atisse, The Serf, 1900-03, bronze, H. 92.3 cm., Musee M atisse, N ice-Cimiez.

Iii.,, .â&#x20AC;˘, .

//.~A .

first major sculpture, often ca lled The Serf or Th e Slave (fig. 7). In this bron ze the man's characteristic barrel chest and strong legs are accentu ated by the arms having been cut off at the elbows before the piece was cast. The work of Rodin was certainly the inspiration for th e sculpted figure and it was the young Bevilaqua who also modelled for Rodin 's Walking Man in 1877. The drawings of nudes, like these two of Bevilaqua (figs. 4 and 6) done in ink with brush and reed pen, have a much more innovative and expressive qualiry than the rather dry, academic nudes of just a year or two earlier. In these works Matisse seems to have gained new confidence and to have been able to incorporate novel techniques like the broken dash-like strokes that may well have been inspired by the work of the Pointillist painters Signac and Cross. The vigorous lines and roughly hatched, dynamic surfaces are also reminiscent of the drawing methods of Van Gogh, whose work he had seen at Ambroise Vollard's gallery in the late 1890's.9 From the early 1900's onward, Matisse rarely mixed drawing media and often chose to work in the most unfo rgiving of them - pen and ink or later, pencil not wishing to mask the effort that went into each one. In the case of these two sketches, the coarsely drawn lines in fact complement the subject, whom fellow-artist Jean Puy described as "une espece d'anthropoide. " 10 What is interesting is that Matisse also chose to employ this method in drawings of other subj ects as diverse as female nudes and still lifes. In 1899 Matisse bought a small oil painting, The Three Bathers by Cezanne, whose work according to him was the most important of all the outside stimuli leading to the mature development of his own sryle. 11 The handling of the shaded areas around the contours of the figure of Bevilaqua in the Gardner drawing is

strikingly similar to the surface treatment th at Cezanne employed in his small canvas, making the background come forward and seem as palpable as the fi gures themselves- " embedding" them into the surface of the picture. 12 Matisse sent his first works to the Salon des Independants in 1901 and in so doing took an important step toward allying himself w ith the avant-garde of Paris. This crucial decision, however, was fo llowed by a year of illness and severe money problems, and Matisse spent most of 1902 recuperating and trying to work near his fam ily home in Bohain. Th en in 1903 he exhibited at th e Salon d'Automne, fo unded in that year in response to the overcrowded conditions at the previous jury-less Independants exhibitions. There he certainly saw the major retrospective of Ga ugu in , an artist whose work he had admired as early as 1899 when he bought a Tahitian painting from the dealer Vollard. Matisse had his first one-man exhibition at this same gallery in 1904, but except fo r a favorable review by the critic Roger Marx the show was neither a financial nor a critical success. That sa me summer he stayed at Signac's villa La Hune and painted The Terrace, St. Tropez (fig. 1). Completed just a short time before his pivotal work Luxe, calm e et volupte (Centre Georges Pompidou, Paris), Matisse had not yet succumbed in The Terrace to the powerful influence of Cross's and Signac's divisionist technique that he employed in the larger work. 13 By 1905 Matisse's fortunes had taken a turn for the better and during this period new patrons gradually came forward. Following the notorious Salon d'Automne of that year, in which he and his friends were for the first time grouped together under the Fauve label, the four Steins, ex-patriate Americans in Paris, took an interest in him and began buying his work. Also, it was at their apartment on the rue 41

de Fleurus that Matisse first met the young Picasso. Although Picasso soon eclipsed the older artist's popularity with Gertrude and Leo, Michael Stein and his wife Sarah remained lifelong friends. Their collection of Matisse eventually was rivalled only by those of the Russian collectors Shchukin and Morosov, and the Cone sisters of Baltimore. Matisse travelled to Biskra in Algeria in 1906, developing an interest in African art for the first time. 14 The Museum's Nude Seated on a Table (fig. 8) probably dates from the year just following that trip. Although Barr characterized this period of 1906- 07 as one in which the artist was most profound ly influenced by Cezanne (whom Matisse described to his students as "le pere de nous taus"), one cannot dismiss the charismatic influ ence of Picasso as well.15 In 1907 the two had exchanged pa intings and Matisse must have been aware of the large Demoiselles d'Avignon that Picasso was working on at the time, which was in turn dependent on Matisse's La Joie de vivre of 1905-06 (Barnes Foundation, Merion, Penn.), then hanging in the Steins' Paris apartment. At the urging of friends and fellow artists such as Hans Purrmann and Sarah Stein, Matisse had also opened a school that year in the Couvent des Oiseaux on the rue de Sevres. Perhaps it was his new role as teacher, with the constant presence of models, that led to his renewed interest in depicting the female nude. Whatever the reason, the bulk of his major works of this period were monumental nudes like Le Luxe (Centre Georges Pompidou, Paris) and Blue Nude: Souvenir of Biskra (Baltimore M useum of Art). The drawings fro m this time seem to have been a reaction against the freedom of his earl ier Fauve pa intings and a return to the discipline of his academ ic training. For Matisse teaching was often a frustrating experience; he worried that his pupils

would try to imitate his mature painting style and see in it merely his apparent facility with a brush. Only after a student had gained competence in draughtsmanship, he believed, was he worthy of working in color. Typical of his oft-repeated warnings to his students was: "Don't think you are committing suicide by adhering to nature and trying to portray it with exactness. In the beginning you must subject yourself totally to her influence .... You must be able to walk firm ly on the ground before you start walking a tightrope. "16 T he Nude Seated on a Tab le (fig. 8), with its reinforced contour lines and simplified forms, is typical of a series of pencil drawings from abo ut 1907. Several very similar works such as Nude-Backview (private collection, Switzerland), Man R eclining (fig. 9), and Seated Nude Leaning on her Arm (The Metropolitan M useum of Art, New York) have the same characteristic dark outlines, obvious erasures and changes, and vigorous slashed shading lines. Drawings like these were criticized by Frank Jewett Mather and others for their "misleading air of finality" in reviews of Matisse's 1910 exhibition at "291."17 Uncomprehending of these drawings as finished works, critics like Mather saw in them only the process and did not appreciate their true intent. The closest parallel in painting to the Gardner Nude of 1907 is the Standing Nude (fig. 10) of the same year. This rather brutal, dark painting, with its Cezannesque planar construction and carefull y built-up brushstrokes, earned fo r Matisse the nickname of "apostle of ugliness." T he pose is much like that of the earliest of Mrs. Gardner's drawings with the same title (fig. 2), but a comparison of the two shows how far he had actually come. 18 The heavy outline and the face ted shape of each body part contrast sharply with the conventional handling of the early 42

\ 8 Matisse, Nude Seated on a Table, ca. 1907, pencil on paper, 303 x 231 mm., Inv. no. 1.3.0/28, Short Gallery, gift of Thomas Whinemore, Isabella Stewart Gardner Museum. 10 Matisse, Standing Nude, 1907, oil on canvas, 92.1 x 64.8 cm., Friends of the Tate Gallery purchase, Tate Gallery, London.

9 Matisse, Man Reclining, ca. 1907, pencil on paper, 235 x 308 mm., Alfred Stieglitz collection, The Metropolitan Museum of Art, New York.

11 Matisse, Nude Seated on the Ground, 1908---09, pencil o n paper, 300 x 215 mm., In v. No . 1.3 .0/34, Shorr Ga llery, gift of Mrs. Joshua Montgomery Sea rs, Isa bell a Stewa rt Ga rdner Museum . 12 M atisse, Seated Nude, 1909, reed pen and ink on paper, 325 x 240 mm ., gift of Mr . Emil y Cra ne Chadbourne, Arr Institute of Chi cago.

academie, and the ma k-like fac ia l fea tures perh a ps allude to the Africa n culprure th at bo th he and Pi a o admired . Altho ugh small in sca le, the ude eated on the Ground (fig. 11 ) ha a mo numenta lity no t fo und in Mr . Ga rdner' o ther M atisse drawings and bring to mind Gauguin ' p ainting o f ea red Tahitia n wo men, resembling them in it inu o u o utline. This voluptuo u ude, w ith the top o f her head cut o ff, litera ll y bur ts o ff the sheet, an unu ual occurrence in hi oeuvre.19 ln thi a pect it is imil ar to the Chicago Seated N ude (fig. 12), which is th ought to be an ea rl y stud y fo r M a ti e's la rge pa intings Dance and Music, commissio ned by Sergei Shchukin and comp leted in 1910. Pro bably done in 1908 or 1909, Mrs. Gardner's Seated N ude was given to her by Sarah Sea r , a fellow collector, a profes iona l photographer, and an artist in her own right. 20 M atisse first tried this type of conti nuous line drawing in his lithographs of 1906. After years of working in many different modes and media, drawings li ke the Nude Seated on the Ground became hi preferred method of expression . Many years later he claimed : " My line drawing is the purest and most direct translation of my emotion. Simplification of means a llows that. But those drawings are more complete than they appear to some peop le who confuse them w ith a sketch." 2 1

The yea r fro m 1908 to 1910 we re o ne of experimenta tio n for M a ti e, who wa not o nl y drawing in a new sty le, but a l o attempting ch allenging poses for va rio us eared and crou ching nudes in both culpture and pa inting. N o ta ble exa mpl es a re the Music mura l mentio ned a bove, Bathers with a Turtle ( ity Art Mu eum, t. Lo uis), and Pink Nude (Mu de Bea ux-Art , Gren o ble), a well a two sma ll bronze with po e ve ry imilar to the Ga rdner dra w in g- Small- Crouching Nude (1908 ) a nd eated N ude with Right Hand on the Ground of the same yea r. All o f these prefigure the limmer, more elegant ea ted oda lisque th at would occupy M a ti e in th e 1920' .

In the winters of 1911-12 and 1912-13 Matisse took two trips to Tangier. The Ga rdner drawing of Three Girls' Heads (fig. 13 ), w hich is dated 1912, cou ld conceiva bly have been done during either stay, but it almost certainly belongs to the first. Barr claims that the Gardner work is a study for the painting of Zorah Standing (fig. 14 ), w hi ch originally belonged to Shchukin. 22 The tall, narrow canvas was the centra l panel of a triptych, w ith images of brightly costumed Moroccans, that most scholars agree was completed during the winter of 1912. 23 A more accurate title for the drawing then wo uld be Three Studies of Zorah. Apparently the young gi rl was Matisse's favorite model during

13 Matisse, Three Girl's Heads or Three Studies of Zorah, 1912, pen and ink on paper, 305 x 250 mm ., lnv. No. 1.3.0/30, Short Gallery, gift of Matthew Stewart Pricha rd (?), Isabella Stewart Gardner Museum.

14 Matisse, Zorah Standing, 1912, oil on ca nvas, 146 x 61 cm., The H ermitage, Leningrad.

his visits to Tangier, and she also appears in Zorah on the Terrace (fig. 15 ) from the second Moroccan triptych- his most famous painting from this period.24 Barr suggests that the Zorah Studies were given to her by M atthew Stewart Prichard, who had by 1909 become a close friend and advocate of Matisse.25 A letter to Prichard from Matisse preserved in the Museum 's archives reinforces the idea that both the drawing and the artist's letter were gifts to Mrs. Gardner from him. The letter, dated 4 January 1913 and written from the Hotel de France, Tangier, suggests by the nature of Matisse's response that Prichard was already familiar with his earlier Moroccan works and had expressed an appreciation for them. Matisse writes: " Your letter gave real pleasure, above all the passage where you say that my works emanate a sense of health and hopefulness which consoles me for their imperfection. "26

15 M ari se, Zorah on the Terrace, 1912, oil on canva , 116 x 100 cm., Pushkin Museum, Mo cow.

The Zorah drawing makes an imeresting comparison with the three other female nudes (figs. 2, 8 and 11 ), because it captures on one sheet three distinct but characteristic drawing styles. In the portrait at the upper left Matisse begins with a detailed and carefully shaded likeness, moving successively toward the simplification of a pure line drawing in the profile on the lower part of the sheet. 2 7 Th is profile come closest to the fl at, unmodulated areas of colo r in the painting of Zorah Standing. A simi lar proces of

informal portraits are remarkable for their simplicity and economy of line; most were completed in a few minute and rarely did they depend on preliminary sketche .

moving from detailed likenes toward ab traction i found in a painted portrait of Yvonne Land berg, described by Prichard in a 1914 letter to Mrs. Gardner: Mans e has JU t fini hed a wonderful portrait of a girl.... 1y friends have een it 111 a later rage than it had reached when I left Pan , and a later rage mean a completely new result. You think the picture i fini hed and find next nme a competl y ( 1c) new one. Noth mg 1 the same except the feeling-composition, colour, drawing, all new. While rearing he works with lightning rapidiry in that way, tarting with somethmg which 1 a like-ne and going then farther and farther from the like-ne s into evocation and return mg a linle toward like-ne at the end. Every stage i convincing. 28

Although Ma ti se drew in variou media throughout his career, hi work in printmaking wa limited to a few brief periods. After having done few, if any, print ince the etchings of 1903 and the woodcuts and lithographs of 1906, he apparently decided in 1914 to do a portrait series of friends-fellow arti ts, their wives, favorite models, and children, including many more male ubjects than before or after. 29 The prints originally were meant to be bound into a portfolio-a kind of book of faces, perhaps prompted by the insecurities of the war. In the end the project was not carried out and each print was instead issued in a small series, usually of no more than fifteen to a run. These

The mall etching of female features in the Gardner collection ha always simply been labelled Head of a Woman (fig. 16), but the title given to the work by Mati e wa Mme. Vignier (the wife of harle Vignier, a Pari ian dealer in Far Ea tern art). Actually, Duthuit, in hi catalogue rai onne of the arti t' print , points out that the face is not that of the adult, but rather i one of even etchings of her young daughter Irene. 30 In the tiny print he ha captured, m about two dozen line , the little girl' di tinctive wide- et eye and bow lips. The etched portrait of Matthew Stewart Prichard (fig. 17) al o date from 1914. Although Duthuit claim that it wa mo t probably done from memory or from a photograph,3 1 a letter to Mr . Gardner from Prichard de cribe the ~ctua l sitting: Man e made a linle etching of me the other day when I happened to be in hi tudio and he has now offered to put at my di po al eleven or rwelve of the copie which have been made from hi plate. The print are only to be 15 in number. It is a imp le drawing of very few !me . I have accepted hi kindne sa nd have mentioned you a one of my friends to whom l intend to offer a n example. You will receive this little gift on my return to Pari .... 12

Interred during the war in a concentration camp at Ruhleben, Prichard could not write until February 1920 to let her know that Whittemore, acting as courier, wa to visit and that" [he] i ahead of this letter and was to bear you my messages, many and solicitous, as well as the little outline which Matisse made of me just before plunging into the German cauldron. nB Then just two months later, responding to a letter from her: It was gratifying to know that you found something in the linle Matisse etching. It was

16 Matisse, Mme. Vignier, 1914, etching, 7/15, 90 x 65 mm., Inv. o . 1.3.0/32, Short Gallery, Isabella Stewart Gardner Mu eum.

17 M atisse, Matthew Stewart Prichard , 1914, etching, 10/15, 200 x 15 0 mm., Inv. N o. 1.3.0/31, Sho rt Gallery, Isabella Stewart Gardner Museum.

made in June 1914, what a time it has taken to reach the shelter which it desired during those years! As it stayed in Paris it must have heard many explosions of bombs and shell bursts from German guns. - - There can be no doubt in my mind th at the way of the artist is to approach his problems from with in, I mean from the movement of life itself and not from without. H is method must correspond to an integral vision, an intuition, and not the result of partial and analysed perception . Matisse is an artist and proceeds in the right way. As he remains unique, for artists must be very rare, as rare, of course, as great musicians or architects, -his work merits attention ... .3 4

Finally, in 1922, just two years before M rs. Gardner died, Prichard wrote again to her of M atisse: "By the bye, the Luxembourg has bought one of M atisse's paintings, thus the French accept him about 15 years after your approval!" 35 H is words seem a fitti ng tribute both to the "magnificent draughtsman" and to the woman who collected not only old masters, but also works by important contemporary artists.

Karen E. Haas

1 H . Matisse, "Notes d'un peintre," 1908, tra ns.]. D. Flam, Matisse on Art, New York, 1978, 38. 2 T. Stebbins, " Introdu ctio n: The Co urse of Art in Boston," in T. Fairbrother, The Bostonians: Painters of an Elegant Age, 1870-1930, Museum of Fine Arts, Boston, 1986, 4. 3 Whittemore ta ught at Tufts, Columbia and New York University a nd was Keeper of Byza ntine Coins at the Fogg. In 1929 he esta blished a Byza ntine library in Paris and in the 1930's was responsible for the restorati on of the mosaics at Hagia Sophia, Istanbul. Besides th e Matisses, he also gave Mrs. Gardner a fifteenth-century Russian icon (P19w23 ). Sargent's charcoal po rtrait of him done in 1922 hangs in the Macknight Room (P11 e17). On a letter of 15 November 1933 (Museum archives) fro m G. W Longstreet to Whittemore in Paris appear th ese notes: "W says he gave Mrs. G. 3 drawings. There is no way of knowing which 3 of these four [figs. 2, 4, 8 and 13] they were until he can come to Fenway Co urt and see them .... Mr. W says (2/24/34) he was with Matisse a great deal in those days +when he has time some day will tell of circumstances under whi ch th ese drawings + ptg. were made. I suggest next time he comes to Fenway Court someone pin him down." There is no record of Whittemore, who died in 1950, fin ally visiting the Museum. 4 Only three letters from Sarah Sea rs are in th e Museum's archives and none refers to the gift of the Matisse drawing. For its provenance, see Museum in ventory and notes, Short Gallery, 38. 5 Prichard, an Englishman, was a specialist in classical art and numismatics. H e was dismissed fro m his post at the Museum of Fine Arts for his part in th e controversy over the use of plaster casts in th e new museum on Huntingto n Avenue. He then chose to return to Europe where he lived o n a small private income and became a student of the philosopher Henri Bergson. The Museum's archives include 285 letters from Prichard to Mrs. Gardner-many of them with references to Matisse -but none which specifically refer to th e Tangier drawing of 1912. See note 22. 6 3 November 1908 , quoted in full in A. Barr, Jr., Matisse, His Art and His Public, New York, 1966, 114.

7 "Nude studies were unqu estionably his fo rte at th e Beaux-Arts. H e scored his hi ghest mark with them-17 out of 20- .... His other marks are revealing too: 0 in arch itecture, 4 in modeling, 13 in history and 4 in perspective. " P. Schneider, Matisse, trans. M. Taylor a nd B. S. Ro mer, New York, 1984, 97. 8 " Notes by Sarah Stein," 1908, quoted in Barr, 551. 9 Matisse owned at least two Van Gogh drawings; Pierre Matisse claimed th at they were gifts to his father in 1897 fro m the Australian artist John Russell, a friend of Van Gogh (Barr, 35). Schneider, 138, note 9, states th at M atisse purchased one from Vollard in 1899, at the same time that he bo ught Ga uguin 's Tahitia n Head of a Boy. 10 Ba rr, 482. 11 The purchase of this pai nting was a real financial sacrifice for Matisse at the time. H e fin ally gave it to th e Petit Pala is in 1936, and wrote to th e museum 's director: " It has sustained me morally in the critica l mo ments o f my venture as an artist; I have drawn fro m it my faith a nd perseverence. " R. Escholier, Henri Matiss e, Paris, 1937, 17 . .

12 For Matisse's technique during this period and its applicatio n in his draw ings and paintings, see J . Elderfield, Th e D rawings of Henri Matisse, Museum of Modern Art, New York, 1985, 31-34.

13 Matisse exhibited both these paintings at the Salon des Independ ants in 1905. Luxe, ca/me et volupte was purchased by Signac who hung it at St. Tropez where it remained until 1943. Th e Terrace was also exhibited at Druet's Paris gallery in 1906 and at the 1908 Salon of the Toison d'Or in M oscow. Schneider, 732, assumed th at Mrs. Gardner bought th e painting on the advice of Bernard Berenson but it was Whittemo re who bo ught the painting directly from the artist. Museum inventory and notes, Yellow Room, 42, M . Carter: "Sept. 22, 1922 .. . when Mrs. Gardner asked [Whittemo re] to settle definitely what was to become of th e picture, he said he no lo nger had anything to do with it, and implied that he considered it her property." 14 Gertrude Stein claimed that it was Matisse 48

who introduced Picasso to African sculpture (Barr, 85 ). 15 Barr, 86- 88, describes this as Matisse's "Crisis of 1907-08" and stresses the discipline and guidance he received by studying Cezann e. 16 Barr, 118; translated from H . Purrman n, "Aus der Werkstatt H enri Matisse," Kunst und Kunst/er, XX, February 1922, 168. 17 Mather's review, originally in th e New York Evening Post (March 1910), as well as oth er reviews, were excerpted in Stieglitz' Camera Work, XXXII, October 1910, 47-54. 18 During a visit to the Gardner Museum (11 September 1980), N. Watkins (author of Matisse, Oxford , 1984) related th e early Standing Nude drawing to the Tate painting, suggesting a 1907 date for both. The only similarity I find between th e two is in th e pose. They are very different in style and must be at least five yea rs apa rt. 19 "Notes by Sarah Stein," 1908, quoted in Barr, 551: " It is important to include the whole of th e model in your drawing, to decide upon the place for th e top of the head and base of the feet, and make yo ur work remain within th ese limits." 20 The Museum's collection includes a pastel by Sears, Gladioli (Plle9), which Mrs. Gardner bought in 1915. Although best known as a watercolorist and flower p ainter, Sears became interested in photography at the turn of the century and gained recognition as a portrait photographer. Because of her association with Steichen, Stieglitz and the Photo-Secessionists, it is tempting to suppose that she first saw drawings like the Seated Nude at one of the two Matisse exhibitions at " 291" in 1908 and 1910.

25 Barr, 105. R. va n N. H adley, Drawings/ Isabella Stewart Gardner Museum, Boston, 1968 , 62, describes this as the gift of Whittemore. 26 Museum archives. Long Gallery, Whistler and Sa rgent case. 27 A very si milar process can be seen in the three studies of th e back of a female nude, which appear as the frontispiece of Matisse's book Cinquante dessins of 1920. lt is the only drawing in.the book not done ca. 1920 and must also date from 1912 or 1913, as th e view from the H otel de France, Tangier is recognizable in the background (Elderfield, 80-81 ). 28 Museum archives. Letter from Prichard to Mrs. Gardner, 12July 1914. 29 Barr, 186. He puts th e co unt for th at yea r at eight or nine lithographs, over sixty etchings and drypoints and about nine monotypes. W. S. Lieberman, Etchings by Ma tisse, Museum of Modern Art, New York, 1955, 1. 30 M . Duthuit-Matisse and C. Duthuit, Catalogue raisonne de /' oeuvre grave, Paris, 1983,20-25. 31 Duthuit-Matisse and Duthuit, 38. Matisse made two etched portraits of Prichard in 1914. 32 Museum archives. Letter from Prichard to Mrs. Gardner, 26 June 1914. 33 Museum archives. Letter from Prichard to Mrs. Gardner, 3 February 1920. 34 Museum archives. Letter from Prichard to Mrs. Gardner, 10 April 1920. 35 Museum archives. Letter from Prichard to Mrs. Gardner, 6June1922.

21 Escholier, Matisse, New York, 1960, 155. 22 Barr, 155. 23 Zorah Standing was originally meant to be flanked by standing figures of Fatima, The Mulatto (Muller collection, Switzerland) and Amido, The Moor (The Hermitage, Leningrad). 24 On either side of Zorah on the Terrace were hung The Window at Tangier and Entrance to the Casbah, all three originally owned by Morosov and now in the Pushkin Museum, Moscow. 49

1 Processional glaive, Italian, Rome, ca. 1605, L. 292 cm., Inv. No. F26n7, Titian Room.

An Ecclesiastical Glaive in the Isabella Stewart Gardner Museum

2 An ea rlier variety of processional gla ive illustrated in Nicholas H ogenberg, The Procession o f Clem ent Vil and Charles V after the Coronation at Bologna, 1530, Antwerp, ca. 153 2, courtesy of the Higgins Armory Museum, Worcester.

Unlike many of her contempo raries, Mrs. Gardner's co llecting interests did not to any great mea ure include a rms a nd armor. This face t of the decorative and functional a rts is represented in the Mu eu m only by an Indi an kulah khud helmet (Inv. No. M27w72) and an Italian double miquelet gu n-lock (Inv. No. M27w3 ), both of eighteenth -century date, and a processional glaive of seventeenthcentury Roman o rigin (fig. 1). It is the last that forms the basis fo r this note: its importance lies in the fact that it is one of a fairly extensive group of ceremon ial weapons of high provenance, of which on ly three other examples are known to exist in American collections. 1 By the early seventeenth century, the fami ly of weapons generica lly known as polearms or hafted weapons had lost much of its marti al importance a nd become largely ceremonia l in function, often carried by individuals of rank or by the bodyguard of persons of high station (fig. 2). The Gardner gla ive is such a piece. The patron for whom this weapon a nd its compan ions were intended has been the source of some recent discussion among arms students. By tradition, these were said to have been borne by the palace guard of Camillo Borghese (1552-1621 ), more commonly known to history as Pope Paul V (r. 1605-21). Recent scholarship, however, suggests that the actual patron may have been Cardinal Scipione Borghese-Caffarelli (15 7 6-1633). 2 One of Pope Paul's ten nephews, Scipione assumed the Borghese fam ily name and heraldic arms and was himself elected a cardinal in 1605. 3 Many of the Borghese glaives remained undisturbed in the Villa Borghese at Rome until the late eighteenth century. At this time, some of the weapons were removed and were in turn acquired by foreign antiquarians. By the middle of the fo llowing century, four had entered into French

collections, and sixteen others were extant in Rome and abroad . Then, in two major sa les held in 1892 and 1893, the bulk of the content of the Borghe e palace wa disposed of at public auction. 4 As a result, thirteen more of the glaives, erroneously referred to either as " halberds" or "fa uchards carried by the Guard of Paul V," became avai lable.5 It was not, however, through any of the above-mentioned outlets that Mrs. Gardner secured her example. Evidently, some of the glaives remained unsold and in the inventory of the Borghese estate. In March 1895, obviously acting as Mrs. Gardner's agent, a Mr. Sebasti purchased from the estate's administrators "an antique halbard [ ic] belonging to Prince Borghese a nd previously belonging to Pope Paul V. " 6 The Museum's glaive is typical of the others in the group. It is of Roman manufacture, fo llowing a coeval Venetian pattern.7 The head is of long, knife-like form, curving along the cutting edge to a sharp point with false edge. At the rear of the fa lse edge is a rearward-sloped lobated projection, which is incised and punchdotted with acanthus leaves. The remainder of the back edge is unsharpened and flat, interrupted only by the decoratively cusped and lobated right-angle fluke. This is pierced at its twin trilobated base by eight oval perforations in a rosette pattern

3 The central ca rtouche and outer face of the fluke, detail of fig. 1.

around a circular ninth hole. The fluke terminates in a spike of stiff diamondsection with an engraved acanthus leaf below. At the base of the blade, above the socket, is an addorsed pair of lugs, trilobate-cut like the fluke. The socket is of slightly fl aring, octagonal section with a cushion-shaped molding above, and a pair of short !angers below. The head is fastened to an apparently original, velvetcovered haft studded with small, domeheaded copper nails. The haft terminates in an iron ferrule.

The upper third of the blade and the whole of the cutting edge are plain. The remaining surfaces of both faces are essentially identically enriched in several metalworking techniques. Centered on the face opposite the fluke, and fra med by silver-encrusted dots, is an incised oval carrouche charged with the gilded arms of the Borghese fa mily, a griffin displayed, on a chief an eagle displayed (fig. 3 ). This is surmounted by an engraved and gilded cardinal's hat with ten pendant tassels (fiocchi) . Above, connected to one another by addorsed interlaced and voluted si lverencrusted strapwork, is an axial row of incised and gilded decorative panels that are viewed correctly when the cutting edge is vertical. Top to bottom, the panels

present: a grotesque mask arising from a manneristic foliate group on a punchroughened ground, the whole within a trilobated leaved fra me; the papal triregnum or tiara with the crossed keys, perhaps indicative of the See of Rome, within a flattened octagonal fra me; enclosed by an o blong fra me, a .spray of three palm fro nds projecti ng th ro ugh a coronet ; and the Borghese griffin w ithin an octagonal fra me like that above containing the papal tiara with keys. Below the central cartouche, the blade ca rries the Borghese eagle, and a bove the set of basal lugs, the top most panel with its grotesque mask and foliage is surro unded by an oblong frame. This is also present on the flu ke, near its spike. The ground between the various devices and the silvered strapwork and ellipses is fi re-blued, and hatched to ensure the bonding of the gilt counterfeit-damascening that fills the spaces in a wonderful maze of delicate, lobed running vines. The periphery of the decorative ground of the faces is defined by a pointille border. At the socket, the blade is engraved with another acanthus leaf like that at the base of the fluke spike. Both the socket faces and molding are decorated with small 52

panels charged with human- and harpylike torsos, framed in silver-encrusted strapwork on a ground gilded as above. An engraved fo liate design relieves the severity of the otherwise plain !angers. Today, the extant Borghese glaives are widely dispersed, and have been further

supplemented by a number of well-made copies. 8 There are at least fifteen true examples known, including that housed in the Gardner Museum.9

Walter]. Karcheski, Jr.

1 The glaive was published in M. Carter, Isabella Stewart Gardner and Fenway Court, Boston, 1925 (rev. ed. 1972), 150-151, and G. W Longstreet, Isabella Stewart Gardner Museum, Fenway Court, General Catalogue, Boston, 1935 (rev. ed. 1964), 228 . Several oth er auth ors have noted the existence of the piece, but only three of these have cited the collection. See also note 9 below fo r the other weapons extant.

weapo ns associated with other seventeenthcentury palace bodyguard contingents, including those of Ran uccio I Farnese, Duke of Parma.

2 If the weapons were used by Camillo Borghese's guards, th e presence of the cardinal's hat would indicate a date of manufacture between 1596, when he was made a cardin al, and 1605 when he ascended to the papal thro ne.

9 Two are in The Metropolitan Museum of Art, New York (Acc. Nos. 14.25.250 and 54.46.16); one from the Carl Otto von Kienbusch collection is in the Philadelphia Museum of Art (PMA 1977-167-4 7 6); two are in th e Waffensammlung of the Kunsthistorisches Museum, Vienna; two are in the Armeria Reale, Turin (Inv. No. K.126 ); one is in th e Conde Museum, Chantilly, France; one is at East Berlin, in the Museum fi.ir Deutsche Geschichte (for merl y the Zeughaus; In v. No. W37); two areat Rome in th e Prince Odescalchi collection (Inv. Nos. 1533 and 1534); and one is in th e Wallace Collection, London (No. A.949 ). Another, from the H ever Castle collection, was sold in 1983 at Sotheby's, London, and an example from the William Randolph H earst collection (ex-collection Count H ector de Economos) passed th rough the antique rooms of Gimbel's department store in New York in the 1940's. O ne more example may exist in a collection in Romania, but this has not yet been personally verified.

3 H e was th e son of Marcantonio Caffarelli by the latter's wife Ortsenia, Camille's sister. See L. G. Boccia and E.T. Coelho, Armi bianche italiane, Milan, 1975, 388. 4 At sales held on 28 March 1892 and 13 etc. March 1893. 5 The glaives were lots 417 (in 1892) and 433 (in 1893 ), and were illustrated in the sale catalogues. 6 Museum inventory and notes, Inv. No. F26n7. My th anks to Kristin A. Mortimer, curator, for providing this and other infor mation. Text of receipt translated from th e original Italian. 7 The group closely resembles contemporary

8 One of these copies is in the collection of the Higgins Armory Museum, Worcester (Acc. No. 1782). This was from the Guilia P. Morosini collecti on, and was pu rchased at the American Art Association (New York) on 11 October 1932, lot 474.

The cover of the Abbey Thea tre program that Mrs. Gardner pasted into her guestbook in 1911 .

Lady Gregory and Mrs. Gardner: Kindred Spirits

Lady Gregory, frontispiece

of Our Irish Theatre, 1913.

Lady Isa bella Augusta Gregory (1852193 2), the Irish playwright who helped establish the Irish Literary T heatre, fo und a firm friend and admirer in one of Boston's most dramatic personalities, Isa bella Stewart Gardner (1840-1924). Their meeting in 1911 inspired a lasting mutual affection and a friendship that was enhanced by a common goal, the cultural enrichment of their native lands. Lady Augusta Gregory was one of the guiding lights behind the Irish renaissance, the cultural revival meant to restore national pride and feeling in the wake of the devastating fall of Ireland's national hero, Charles Parnell. In a statement of the Irish Literary Theatre's purpose, Lady Gregory and William Butler Yeats wrote: We propose to have performed in Dublin, in the spring of every year certain Celtic and Irish plays .. .. We will show th at Irela nd is not the home of bu ffoo nery and of easy sentiment, as it has been represented, but the home of an ancient idealism. We are confident of the support of all Irish people, who are weary of misrepresentation, in carrying out a work th at is outside all th e political questions th at divide us. 1

Opening in 1899, the Theatre staged the plays of Irish writers, notably John Millington Synge, George Bernard Shaw, Yeats and Lady Gregory. In 1904, the Irish literary movement made its permanent home at the Abbey Theatre in Dublin. Lady Gregory assumed the directorship. H er biographical and autobiographical works are lively chronicles of the movement's history. Lady Gregory's birth and early life seemingly did not foreshadow her remarkable mid-life career. Isabella Augusta Persse was born, in her parents' view, with two strikes against her; she was female and she was plain. H er mother was so disappointed to discover she had given birth to a daughter that the infa nt was no sooner born than literally forgotten. A blanket was thrown over her and she nearly died

before she was discovered. 2 She remained an unwelcome member of the family until, much to their surprise, she made a good marriage twenty-eight years later to Sir William Gregory, a wealthy neighbor thirty-five years her senior. The young Lady Gregory's marital position provided the protection that her fragile ego seemed to need. She blossomed. Sir William was a fo rmer governor of Ceylon, a member of Parliament, and a trustee of the National Gallery. The Gregorys travelled widely but during the social season the couple lived in London, where Lady Gregory was introduced to the social, political and artistic elite including several friends oflsabella GardnerH enry James, James McNeill Whistler and James Russell Lowell. In 1892 Sir William died, and though the marriage had been a happy and, in many ways, an advantageous match for Lady 55

Lady G regory as she appea red at the time o f her marriage in 1880, courtesy of Colin Smythe Limited. Isabell a Stewart Gardner in the yea r of her ma rriage in 1860, courtesy of the Boston Athenaeum .

Gregory, she never entertained the idea of marrying aga in. Late in her life she wrote in her journal: If! had not ma rried I sho uld not have lea rned th e quick enrichment of sentences th at o ne gets in conversati on; had I not been w idowed I should not have fo und the detachm ent of mind, the leisure for observation, necessa ry to give insight into cha racter, to express and interpret it. 3

Soon after her husband 's death , Lady Gregory sta rted to focus on the problems oflreland and began to write. In 1894 she met Willi am Butler Yeats and in 1896 they became artistic collaborators and began a lifelong fri endship. Yeats was fortunate to have found a friend in Lady Gregory. She introduced him to her London friends, promoted his poetry and offered him the freedom and stability he needed to write. Yeats spent the next twenty summers at her home, Coole Park in Galway, and shared Lady Gregory's patronage with other Irish writers, including John Millington Synge and Sean O 'Casey. Yeats received the Nobel Prize in Literature in 1923 and in accepting the award sa id that Lady Gregory and Synge deserved to share it with him . In Lady Gregory's case, this tribute was long overdue, as the extent of her collabo ration

in the Nobel laureate's work had no t been full y acknowledged. Her most recent biographer believes that both Kathleen Ni H oulihan and The Pot of Broth, prev io usly attributed to Yeats, were her work.4 Although Lady Gregory is remembered primarily for her role in Yeats路's career rather than for her own work, in the ea rly years of the Irish literary theatre her plays were the most popula r and the most frequently produced. 5 Lady Gregory was a prolific writer. She wrote twenty-seven original plays and translated thirteen o thers, including four by Moliere. The characters were usua lly colorful Irish peasants and her dialogue was greatl y admired for its rendering of the Kil ta rtan idio m - Kil tartan being the ho me district of Lady Gregory in the west of Ireland . Lady Gregory's abili ty to capture the Irish character and habits of speech was a result of the many ho urs she had spent visiting the people in their cottages and listening to their stories. In the process, "she fo und a world view that reinforced her own and added emotional richness to it. "6 This richness inspired her with a passionate love for her Irish heritage. She wrote poetry that drew o n the heroic traditio n of Irish history and she translated Gaelic 56

POEMS WRJTJ'EN JN DISCOURAGEMENT, BY W . B. YEATS 1912: 1911

Mrs. Gardner collected the works of the Irish renaissance writers. Lady Grego ry sent her this au tographed pamphlet o fYea t 'Poem s Written in Discouragem ent in 1914.

poetry. H er collection of Irish fo lklore and her translations of the Irish epics were invalu able resources and supplied her, Yeats and others with primary source material for their plays. H er identifi cation with the Irish people beca me a means of revealing her own distinct identity and provided an avenue for expanding her abilities and w inning recognition for them. As Ireland 's heritage inspired Lady Gregory's wo rk, so art and aesth eticism inspired Isabella Stewart Gardner's, supplying the challenge th at co uld gratify her energetic and ambiti ous nature. At sixteen, Isa bella Stewart had travelled in Italy and confided to a fri end her fantasy of liv ing in an Italian palazzo filled with bea utiful works of a rt that the public could come in and enj oy. At twenty, however, when she married, her greatest w ish was to be a mother. The death of her infant son a nd her inability to have other children ended her hopes for maternal fulfillm ent. Deeply depressed by the loss of her child, she may have felt th at she had little left to look fo rward to. Possibly as a consequence of this she succumbed to the nervous disorder~ and invalidism th at well-to-do nineteenth-century women fell prey to in th e absence of challenging work or any concrete goa l. Mrs. Gardner spent her first seven yea rs in Boston as a semi-invalid, a difficult fact to fathom in light of the vivacity of her late.r years . H er physician, believing her physically fit, strongly recommended a change of scene and encouraged John Gardner to take his wife abroad. The trip in 1867 revitalized her. On Mrs. Gardner's return to Boston she threw herself into the social and cultural life of the city and revived her earlier dream of a palace for the people. Like Lady Gregory, Isabella Gardner inspired, promoted and supported young artists. She opened her house regularly to composers, musicians, and painters, offering them friendship and p atronage.

CUALA PRESS OUNORUM 1913

}

H er pas ionate interest in the a rts became a vocation and th e resu lts were remarkable. It is not surprising th at these two spirited women beca me fast fri ends. Their li fe experiences and personalities were si mil ar in striking ways. They had a fl air for attracting attention and controver y. They pursued li fe with enthusiasm and wo rk with determin ation. As patronesses of struggling a rtists- and in Lady Gregory's case, as an artist in her own right-thei r faith and vitali ty enriched and insp ired lives and careers. They were not profound or erudite, but they were in varia bly described as " brilliant." W ithout ev ident physical charms they were indispmably charmi ng. As a mbitious women ma society th at imposed limits on their gender, they were determined not only to preserve their identities but also to assert them. Lady Gregory wrote in Mrs. Gardner's guestbook in October 1915: " How much the wo-men can do Who doth both see & know" (That is yo u, dear Mrs. Gardner)

The two women first met in 1911 when Lady Gregory and Yeats bro ught the Irish players of the Abbey Theatre to America in an effort to raise funds. They opened m Boston at the Plymouth Theatre and Lady Gregory was touched by the warm reception : "I ... found a la rge audience, and a very enthusiastic one, listening to the plays. I could not but feel moved when I saw this, and remembered our small beginnings and the years of effort and discouragement. " 7 57

Isabella Gardner was quick to make Lady Gregory's acquaintance. In a 1926 journal entry, Lady Gregory reca lled their first meeting: She was "a great lady," one of the few I have known .. . . I had not heard of her when a few da ys afte r I had arrived in Boston I was at lunch when I was told "Mrs. Gardner" had come to see me, and when I did not immediately reply the waiter said " Mrs. Jack Gardner!" but before I had time to go upstai rs another message said she had gone. And that even ing at th e Plymou th Theatre he came ro und to my box, sma ll, erect, treading ligh tly, disdaining the assaults of age (I think she must have been then seventy or ove r). She was full of praise of the Players, and I felt at once it was not an acquaintance I had made but a friend. 8

Lady Gregory, who had a fear of public speaking, discovered to her dismay that on tour in America she wou ld be called upon to make frequent "remarks." This she was loath to do, though her "few words" were quite successful and she received warm notices in Boston. Reconciling herself to the need for a fund-raiser to be both visible and vocal, she preferred the prospect of a forma l speech to a string of off-the-cuff remarks. If it were incumbent upon her to speak she wanted to say something substantial. Her new friend, Isabella Gardner, provided the opportunity "and offered me for my first trial the spacious music room at Fenway Court. " 9 In the first of Lady Gregory's eighteen letters to Mrs. Gardner in the Museum archives, the playwright discusses her upcoming debut at Fen way Court as a public speaker. [Hotel Touraine, Boston] [October 1911] Monday Dear Mrs. Gardner, Mr. Baker telephoned to me last night to consult Mrs. Barrell, a lecture agent, abou t tickets for mine. He said he th ought they sho uld be 2 dollars each -and said good patronesses were very important. I called on

Mrs. Barrell but she is o ut of town; & Mr. Wright, the Manager of th e Plymouth says it will be much better to do withou t her-that an advertisement can be put up & ticket sold at the theatre. As to "Patronesse " I don 't know who to ask, or if anyone is nece sary when I am going under your roof! I cannot s.ay how much I feel your great kindness in offering that to me. It encourages me to hope that others may be a kind to my first lecture or reading, whichever it may be called. I think of calling it "The Making of a Play" -speaking a little on my own beginnings & my present method, such as it i , & reading a part of the little play [McDonough's Wife] I wrote on the boat coming over, as it will not be seen at the theatre. My thanks again! Our players were delighted with their vi it to youYour friend Augusta Gregory

The protestors were offended by what they had been told the play represented, but as they had not read or seen it they could offer no specific criticism. Mary Colum, an Irish literary critic, talked to the picketers and wrote: "I do not think I ever met anyone who was perfectly certain why he or she protested . "13 Despite the furor, the Boston premiere of The Playboy was marked by unexpected support. Lady Gregory wrote in Our Irish Theatre: There was a little booing and hissing, but there were a great many Harvard boys among the audience a nd whenever there was a sign of coming disapproval they cheered enough to drown it. Then they took to cheering if any sentence or scene was coming that had been objected to in the newspaper attacks, so, I am afraid giving the impression that they had a particular liking for strong expressions. 14

The lecture on 19 October 1911 was, from the speaker's own account, a success. She recorded in her autobiography that the words flowed easily, that the experience was a pleasure, and that she wrapped it up in good time. 10 Lady Gregory wrote Mrs. Gardner the same evening: "You have been so good to me-today means more 58

UNDER POLICE PROTECTION

路路 PL,,\YBOY"

In New York as in Dublin

Last Night's Scenes in New York

Synge's Malodorous Playboy"路 11

THE RIOT IN THE THEATRE Head lines fro m the Dublin Evening Telegraph and Evening Herald, 29 November 1911, cou rtesy of the National Library of Ireland.

HISSING DROWNED BY

APPLAUSE

The "Man that Killed his Da"

Roosevelt Present

OFFENSIVE INCIDENTS CAUSE UPROAR

than you know-a new fac ulty discovered!" She lectured frequently thereafter and in 1915, again on tour in America, she wrote a friend: "My voice carries and people sometimes cry and it is easy to make them laugh. It is strange to discover a gift so late in life." 11

Lady Gregory and Yeats had spent the afternoon of the play's opening on 16 October at Fenway Court and Yeats wrote in Mrs. Gardner's guestbook: " interview every hour of the day and night. " Yeats set sa il for home the next day, leaving responsibility for the interviews and the American tour in Lady Gregory's hands. Though controversy followed them wherever they performed, Lady Gregory's style and intrepid spirit prevailed.

In the months ahead, Lady Gregory would need the self-confidence that the successful lecture at Fenway Court had given her. The Irish players were under fire for their production of Synge's The Playboy of the Western World and she would be called upon to defend the national theatre.

The Playboy, ostensibly about the honors heaped on a young man for an apparent patricide, affronted the Irish in Dublin at the first staging in 1907. The play, frequently perceived to be an attack on the Irish character, also offended Irish-Americans on the occasion of its American premiere in 1911. Some believed that Yeats and Lady Gregory were English agents. The Gaelic American wrote of the Irish players: "The company which insists on presenting that atrocity insults the whole Irish race and should be boycotted by every decent Irish man and woman in the cities where they go." A Boston critic whose enraged review was excerpted for a pamphlet distributed by Catholics wrote: "Nothing but hell-inspired ingenuity and a satanic hatred of the Irish people and their religion could suggest, construct, and influence the production of such plays." 12 Since all but two of the performers were Catholic and all were Irish, this charge is particularly difficult to understand.

Mrs. Gardner received letters from Lad y Gregory and the players as they toured and she used her social connections to assist them when she could . After performances in Providence and New H aven, Lady Gregory wrote Mrs. Gardner on 4 Novem ber requesting aid in finding an audience for the players in Washington, D.C.: "We play on Monday at Belasco Theatre, Washington. I have been wired for by Mr. Flynn, who can't be there on Friday to look up an audience. If you know anyone there just now a note would be a great help .... " Mrs. Gardner contacted her friend, Mrs. Franklin MacVeagh , wife of the United States Secretary of the Treasury, who gave the theatre company a reception. This was followed by a dinner at the Embassy, tea with President Taft, and an invitation to a party at the White House. On 19 November Lady Gregory was able to write: We have good hopes for tomorrow's opening, the booking is good. The attacks at Washington, made by the Aloysi us Truth Society, (noisy fo r its size like a six months child) were more virulent than any others.

-- fl·""

I '/'

\ 1r,. C.ardncr\ gul'\tbook, <tobcr 1911, "1rh new> lipping' on fl1t• Pl.ivlw v and Ju1ogrJph, of chrn~ member~ of the Ahbc1 Theatre omp.m1 - Jra Allgood, 1 red 'Dono' Jn and J.M .

1'.emgJn.

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;\h dl,lr ~Ir. GJrdn..:r, I Jm t:nd111g 1ou J !<.:"

<:\\ ) ork p.1p..:r "hKh ' ou 111.'.I} nm hJ1.: l·u1, ·"I rh111k p<.:rllJp\ \ OLl J11J\ bL 111[<.:rC,{<:J {O Cl \\ hJ! 1 C\\ )ork chink, .1hoL1l thl PIJ1 bm I JI o \\J111rod1Jnk1ou fonour k111d me' Jg« "h11.:h l.Jd\ re on ,11 c 1111.' Lht 111ghr. 'one.' of LI '' .:r.: J bit the" or .: for our c plncn eon ,\ londJ\ night. In falt 11 J1J u' mm.h more good th Jn h.:irm. \\ l h.11 c h.1J Im ch aud1<.'nu:,c1<.'r,111ll',1.: \\l' .'.lrl rop!J1 "PIJ1 ho)" JgJ111 nnc \\eek. I-or 111) part, I Jm 'l'I"\ g!.:id rh:n pouw lrn me. \Xe .:ire Jll pra1 mg thJr "i: 111J1 •o bJd. m J.:.:ir old Bo,ton bdore \\C \J1l. I don'c rh111k \\l'" ill i:1 er lik.: an) pl.:ic.:, ut..idc L ubl111, ,h lllLILh J' Bo~r n. I don't like e" York at all. J 111ed h) all rhe ln-,h Pla)t:r' 1n 1el) he\! rl'g:ird, c ' kind remembrance Bd1e1eml.',dear~ l r~. ardn.:r Your \mccre friend "Pegeen Mike" Lad n:g r wr re t o, expn: ing

1 o oppo,mon I.ht 111gh1, 111.:reh J 'lighr h1 ,1ng d1Jt c.tllt:J mu .lppbu,<.:. Rmhc1eh " .1., 'plcnd1J - 1lrn11111'1 forgl\ e him for .111 cnmc . Hi: J1J ,l 1.:r1 br.11<.: 1h1ng 111 coming,'" \\J\ lpp.:JkJ !Cl b1 polit1l.li fr1l·nd., nor ro Jo 'o - bL1rhc .11Jch.H.Ktcn t1L.tlh "lfld1Jnor o ro hdp L,1J1 in:gon J ,houlJ bl .l 1dlcm uir 11 ·· - "hl"n hl \\ ;1' .1pp!.tuJC"J he «lll·J 1111 hanJ ~ helJ u l thu hl· 1d.:nc1ticJ h1m,dt "uh u' he lhccred up thl· pl.tier trcnll·nJ OLl,h, telling d1.:111 "h:u tine\\ ork tht:1 "ere Jmng (or I rel.111d .. I 11Jd hl·.ird on un<l.l) ch" g.111g ".h cn111111g, " .l incnJ "11h grl.ll mtlucn c off..:rcd co kc ·p chc1114u1ct, buc I Ide u becccr thl thing ,hould <onw to .1 hc.1J ll\\ "l" kncm \\hat 1t 1•., h.1rtcn<lLr' '- b;irrnum port a pdnl'g Jeknu·k ~ g1rl, - But tlw .lthohl hurlh 11 .\ ILl<lgc ht:rl. JuJg.: I lco •h, "J' ·rnnmg " uh Ill\ p.tm on uc,dJ1," rduwJ Jt the J.t,t bcl,lU'c h1, "lie, Jn: .:nc \<:rt, h.1J been 11t..p1rcJ h\ thl" pnc t m prc1 <:nt him. h.111c L<: lie," ho" ,l\ horn fre -. "J ulmmg. cdepholl(:J dl.lc he ~ll.ld been g1\ en orJ.:r, not co lllllll· tn the Jn,h PIJ1 .·· o chc hurLh \\ ilJ ,ull .ur,tlk LI\. It 1' 'o 'rrJngl thl· ln,h h.:rl' bcmg I Jr more 111 hondJge thJn c1 .:n ,lt home ... .

Tile omp,rn) pr ci:eJi:J to Ph1LiJdph1a \\ heri: rhq \\ere ,lrfl'~tl'J ( )[ rl.rnning to ragi: an 1mmorJI pla). h i:nru.111) cilJrgl' "ere Jroppe<l anJ chi: pla, er mm e<l n r P1mburgh, R1 hmonJ, lnd1an;:ipol", Jnd

gra titude f r rhe loya l upporr of h.: don: R e elr and her e ati n Jt the hur h f r u mg it influence ro keep ath lie fr m attending the play. It 1 ~ indeed Thanbg1v111g day, for all 1 well ' I think the enem) put ro rout! 111e l:i yor' ensor report play "ab olLltdy harmle s" -

C hi cago before returning to Boston . In spite o f the controversy, th e fund -raising to ur had been a great success. After the pl ayers' last performance, Mrs. Ga rdner enterta ined them at Fen way Court. Sh e had invited them there frequently w hen they first a rri ved in America. Lady G rego ry, Yea ts, and th e players Sara Allgood , Fred O 'D o novan, and]. M . Kerriga n autographed her guestbook and during o ne visit they must have spontaneo usly perfo rmed . Mrs. Gardner w rote in the book's margin : "Such wo nderful singing and reading - ." Mrs. Gardner's creatio n, Fen way Court, was greatl y admired by Lady Gregory w ho compa red Mrs. Gardner to the M edici, who "spent wealth and vitality a nd knowledge in making a collection of no ble pictures." 15 Lady G regory's nephew, Sir Hugh Lane, di rector o f the Na tio na l Ga llery in Dublin , was also a coll ecto r of pictu res, pa rticula rly the wo rks o f the French Impressio nists. Lady Gregory was eager to have the two meet. She wrote Mrs. Ga rdner in 1914: " Yo u and he wo uld love each other. " D espite the effo rts o f all three, they were un able to a rrange a meeting and a yea r later Lane went d own with th e ill-fated Lusitania.

In Lady Gregory's last letter to her fa iling fri end Isa bella Ga rdner, in 1923, she writes o f her continuing struggle to retrieve Lane's Impressionist picture co llectio n fro m the Natio nal Ga llery of Lo ndon and to return it to Dublin, its rightful home. Although a co mpromise was struck in 195 7 , Lady Gregory's tireless effort to bring the pictures back to Ireland to stimulate the imaginations o f Irish artists went

1 Lady G regory, Our Irish Th eatre: A Chapter of Autobiography, N ew Yo rk and Lo ndon, 1913, 8. 2 M. L. Kohfeldt, Lady Gregory, The Woman Behind the Irish Renaissance, N ew York, 1985, 14. 3 L. Ro binson, ed. , Lady Gregory's j ournals 1916-193 0, N ew Yo rk, 1947, 338- 339.

unrewa rded in her li fe time. H er fi ght fo r th e Lane collectio n was " the drea riest, least rewarding entanglement o f her li fe, and it took up the last seventeen years of it. " 16 Mrs . Ga rdner was sympathetic to Lady G regory's crusade, as they shared th e conviction th at art was a necessity, not a lux ury. Isa bella Stewart Ga rdner a nd Lady Isabell a Augusta G regory were able to create a harmo nio u balance between their own interests and aspiratio ns an d the cultural needs of America and Ireland . The two women were a fo rce in stimulating a cu ltu ral climate where the a rts could thri ve. Each was committed to p roviding her country and it potential a rtists with " the oppo rtuni ty of seeing bea uti ful things . " 17 In 1914, Lady G regory wrote to M rs. Ga rdner abo ut th e goa ls of their work . She expressed her desire to ma ke a contributio n th at was, like her fr iend 's, bo th benevolent and qu intessentia ll y her own. Last night I dreamed tha t I was going into your ho use, & yo u were wa iting there & welcomed me, & I awo ke wi th a sense of well-being, and of all th e bea uty that had been around me. I had been discouraged when I lay down, troubles abo ut the theatre chiefl y, & my own work, & wondering if all I had do ne had been worth while. So I was comfo rted by th inki ng of what a great work you have do ne, in mak ing a " H ou e Bea utiful " th at will bring its loveliness even into d rea ms-& I tho ught I mu t go o n trying to get at least some beauty into o ur theatre th at mi ght comfo rt tired minds in th e same way.

Susan Sinclair

8 Lady Gregory's j ournals 1916-1930, 245. 9 Lady Gregory, 192. 10 Lady G rego ry, 192. 11 Kohfeldt, 246.

12 Lady Gregory, 190. 13 Kohfeldt, 228. 14 Lady G rego ry, 180.

4 Kohfeldt, 146-147.

15 Lady Grego ry, 191.

5 Kohfeldt, 185.

16 Kohfeldt, 260.

6 Kohfeldt, 105 .

17 Letter fro m Isa bella Ga rd ner to Edmund C. Hill, 21June 1917.

7 Lady Gregory, 173 .

The Isabella Stewart Gardner Museum, Incorporated Sixty--fi,rst Annual Report for the Year Nineteen Hundred and Eighty Five

Report of the President

Art museums seem to be mov ing more and mo re into the wo rld of business. They have " bl ockbuster" exhibiti ons fo r whi ch crowds pay sca lpers' p rices fo r tickets, just as they do fo r the Super Bowl; they keep sto res th at ri va l Bl oomingdale's in va ri ety, volume of sales and pro fits; they have restaura nts o ften regarded as the place to ea t; they use advanced marketing skills in developing membership progra ms; they rent out their facilities for business fun ctio ns; they o rgani ze travel tours to exoti c pl aces. Th e Ga rdner Museum has ventured to some extent into all these fi elds, except th at we cannot be said to put o n " blockbuster" shows unless th e w ho le Museum , just as it stands, is recognized as a blockbuster in its own right. W e do have a modest sa les desk, a highly successful small ca fe, a vigorous and growing membership p rogram, a new lecture seri es th at has been very well attended, new educational progra ms for school children in and aro und Boston , and travel to urs th at parti cipants have fo und unu sually interesting and enj oya ble. Th e three concerts given each week seem of higher quali ty th an ever, and certainly are drawing record crowds. As noted in previo us reports, the Museum has been engaged in prolonged and ca reful planning of additional facilities to p rovide much needed offi ce and labo rato ry space, better accommodatio ns for visito rs including imp roved entrance a rrangements and an expanded cafe, more adequ ate space for securi ty staff and storage, and best of all, mu ch mo re bea utiful gardens in the grounds surrounding th e Museum. The expansio n of our acti vities, including some that look almost businesslike, and the proposed expansio n of o ur facilities, have led to some soul sea rching. Are the new o r expanded activities consistent with wh at Mrs. Ga rdner w anted; are they consistent with the best possible use of the

Museum 's reso urces-the coll ectio n, the building and the endowment ? It is possibl e, of course, fo r a mu seum store, a restaurant, a travel program o r a membership p rogra m to develop a li fe o f its own, to the poi nt w here it sta rts elbowing aside the wo rks of art. Are the p roposed new faci lities approp riate to th e appeara nce of the buildin g and th e nature of th e M use um ? The director and th e staff, th e trustees and th e advisory commirtee have been discussing these kinds of q uestions. They have no tro uble in agreeing th at no thing must be done th at wo uld change the atmosph ere of th e M useum , a specia l qu ali ty few o th er museums possess. Pa rt of this, for exa mple, is th e feeling w hen yo u enter of coming into a ho me, the ho me of a du chess o r a princess to be sure, but a residence rather th an an institutio n. Arrangements for handling visito rs at the entra nce must p reserve this p art of th e atmosphere. Aga in, th e enjoyment of th e collecti o n togâ&#x201A;Źther with its setting, as M rs. Ga rdn er intended, ca n diminish w ith overcrowding, a nd overcrowding also ca n increase the risks o f loss o r damage. H owever, subject to such consideratio ns, all of us who are concerned w ith the running of the M useum believe o ur mi ssio n is to pro mote its use for the enj oy ment and educatio n of the maximum possible number of people. All of the new o r expanded activities are aimed in th at directi on, and they all are directl y related to the cha racter of the Museum and the collecti on. For instance, the sa les desk sells pictures of o bjects in the Museum a nd books about it; th e new lecture series has dea lt m a ~nl y with o ther museums established by 111d1v1dual collecto rs and with Venice the source of th e a rchitecture of Fen way ' Court. The cafe affords a pleasa nt, convement and sometimes almost essential complement to a Museum visit. Aga in , travel tours have gone abroad to great private

Sir Peter Shepheard di cussing plan for the new garden design with Rollin Hadley, Linda Hewitt and Tom Wirth.

co llections and gardens. Most important of a ll , the member not o nl y help keep the Museum financially well but al o constitute a growi ng con tituency, fri end of the Museum and often fri ends of each other, who come to enj oy the Museum as it sho uld be enjoyed, a nd who introdu ce the Museum to a widening circle of appreciative visitors. In sho rt it is our purpose to keep the Museum a co nspi cuous, dynamic enti ty, a center for interesting activities, catering to

a many people a can comfortab ly be accommodated . We wi ll encourage programs and plan new faci li tie that will help ach ieve this purpo e. The director and the staff are doing thi , and doing it very well. They are a creative, re ourcefu l and knowledgeable a group as one cou ld hope to find in any museum.

Malcolm D. Perkins

Report of the Director

In the annual report fo r 1971, the p resident, G. Peabody Ga rdner, announ ced plans to renovate the office wing and to build new greenhouses on land acq uired behind the M useum . T he plan had been presented to the trustees in late 1969 and wo rk was completed in 1972. It is not surprising th at now, fo urteen years later, the trustees and staff are refining another plan fo r additions and renovations, begun in Janu ary 1982 and just coming to fin al form in the winter of 1985-86. The major difference between our changes then and now is th at the M useum can no longer count on its own resources, and has already begun to seek support from fri ends and fo undations. That will occupy a great deal of 1986. We were very fo rtunate during the yea r to receive a grant of $1 00,000 fro m the Robert Wood Johnson, Jr. , Charitable Trust, which came at a moment in our planning when we needed encouragement. T he confidence placed in us by that fo undation has given us a big lift. T he building fund has also received loyal suppo rt from a number of members and trustees who have given at year-end specifically to this ca mpaign; a generous bequest from the estate of Janet P. Elliot; and a gift fro m the Boston Edison Foundati on. Thanks to all of these gifts we have more than $500,000 in hand or in view out of a goal of approximately five million dollars. Of particular and long-range effect was a grant fro m th e DeWitt Wallace Foundation that enables the M useum to use the services of the distinguished British landscape architect, Sir Peter Shepheard. H e has joined the design team of Jack Robinson and Tom W irth here in Boston in several preliminary meetings and is now at work on the Gardner landscaping plan. In a very real sense, the gardens are the foc us of our undertaking. The architecture will enhance and expand the present buildings, increasing space fo r offi ces, laboratories,

cafe and visitor services, and that will fo rm the fra mework for what promise to be the best outside gardens that this M useum, or any museum, could wish for. The new construction is designed to solve p roblems that have plagued the staff fo r almost a decade, as p rograms, membership and general attendance have escalated. When all the work has been completed, every fun ctio n of the M useum w ill have been touched, except the presentation of works of art in the origin al galleries, inviolate in the terms of M rs. Ga rdner's will. We report w ith great pleasure that in 1985 the number of memberships increased by 25 %, and this increase was reflected in attendance at the lectures and other programs. Two of the M useum's Co::porate Benefactors, The Polaroid Corporation and The John H ancock Company, sent distinguished delegations to visit the galleries and enj oy lunch. The policy of opening the doors to non-profit gr_oups during normally closed hours continued. Such special visits with an attendance of 100 or more were: the Church of the Advent; the Cancer and Leukemia Group B; the H arvard Business School PM D Program ; and the American Institute of Wine and Food. Further details of the year's events appear in the Membership Program, prepared by Amy Eshoo, membership coordinator.

1985 was a special year fo r the M useum's music program, in that two magnanimous donors provided bea utiful new instruments. First, the new H amburg Steinway given to the M useum by Mrs. W . Rodman Fay in 1984 finally arrived on 9 February. Everyone has been excited and pleased with its rich singing tone. Then in December, Dr. Robert Barstow very generously established an early instrument purchase fund, th ro ugh which we will be able to acquire a fine harpsichord in 1986. While all of the concerts were notable, some deserve to be singled out: Robert Mann and Stephen Hough playing all of

Richard Daley presenting Bob MacKenzie wi th th e Thomas Roland Medal.

Loren Benson on the occasion of his retirement pa rry.

the piano and violin sonatas of Beethoven; Richard Goode continuing his series of Beethoven piano sonatas; Andrew Rangel! playing keyboard sonatas of]. S. Bach; distinguished members of the Boston University School of Music faculty such as Raphael Hillyer and the Empire Brass Quintet; young winners of the Na um burg International Foundation such as the Aspen Wind Quintet; Ian Swenson and Carmit Zori and numerous performances by the Boston Mozarteum Chamber Orchestra, conducted by Eiji Oue who founded the group two seasons ago. Our other traditional offering, the work of our gardeners, continued to fill the central court with diverse and marvelo us fl owers, raised with the sense of perfection that has always marked their work. In the New England Flower Show, the Museum received a silver medal, first pnze and cultural certificate for a water garden featuring calla lilies. A group _of chrysanthe_- . mums received a blue nbbon, first pnze m the fall Flower Show in Springfield, and the Massachusetts Camellia Society awarded the Museum's entry a first prize blue ribbon again this year. The director of the Massachusetts Horticultural Society, Richard Daley, attended our annual staff lunch in the outside gardens last July and to the surprise of the head gardener, . Robert MacKenzie, presented him with

the Thomas Roland Medal for 25 years of distinguished service. Through care and training, the security staff has managed the building with a quality of steadfastness and dedication that is now thoroughly established. O utside our walls, though , problems continue. Stolen and vand alized ca rs are a sad finish to th e pleasures of a visit to the Museum but too o ften that has been the result, and is of sufficient concern that we have to warn all visitors of the danger. The police have not found a solution, at least at the moment of this writing. On a happier note, the greenhouse staff, assisted by volunteers from the offi ces, worked with the Boston-Fenway Program to maintain the parkland adjacent to the Museum . Across the street in the Fens, underbrush was cut down and removed. In the Evans Way park, a program of maintenance in cooperation with Wentworth Institute and the Museum of Fine Arts has brought back the grass and kept the litter away. On 23 August all the participants celebrated their success at a party in the park attended by the Boston Park Rangers assigned to this section of the Olmsted park system. The sales desk was reorganized as a small business with its own bookkeeping last year and Elizabeth Brill was hired to man-

age it. Started modestly in 1936, and ably managed in recent years by Loren Benson, the offering of publications and reproductions is now an important part of our activity, and benefits students and scholars as well as the general public. Several interesting new additions will be made in the coming year, and in the plans now being prepared a more spacious arrangement is expected. The cafe continued its past success and added to its fam e with Lois McKitchen Conroy's cookbook. It was recognized by The Wine and Food Society as one of the best cookbooks of 1985. The daily miracle of presenting lunch to as many as 15 0 during the winter and perhaps twice as many during the summer can only be appreciated by those who witness the effort that begins at seven each morning. As with the sales desk, new plans pro mise more efficiency, and in particular more elbowroom for staff and visitors.

sister, Ellen Brown, was received by the membership offi ce, and the Reverend Robert Dunba r gave a Kentika palm to the greenhouse. It is in the nature of museums that changes fo r the good take place slowly, often w ith agonizing care. As we look forw ard to 1986 we are confident that it will be a year of pleasant surprises in our activities, and continued support from our members, who already have p roved their importance. I would like to take this opportunity to thank them and to thank the trustees fo r their untiring service as councilors and spokesmen for the Museum. This report has demonstrated the work of the staff and it is a tribute to them that the yea r p ast has been so successful in the history of a remarkable institution.

Rollin van N. Hadley

Certain gifts are noted by the curator in her report, while others a re gratefull y acknowledged here. A gift in memory of Maureen Connors Johnson from her

The new piano a rrivi ng.

Students from Boston English High School perform ing a spring "Court Dance " in the T apestry Room.

Staff Changes Staff changes include the retirement of Loren Benson, sales desk, Charles McStravick and John Lonergan , guards . Resignations were accepted from Jack Soultani an, chief conservator, Carol Dutra, secretary to the director, Elisa Jorgensen, conservation assistant, Margaret Reeve, assistant cafe supervisor, Brian Porter, securiry fore man, Robert Anderson, nightwatch, Mary Ellen and Deborah Thompson, sales desk, John Gallagher, Gwen Jones, Eli zabeth McClelland, Michael Mellett, Carl a Refojo, Janice Ward, Elizabeth Zisa, gua rds, Pauline Dowell, Sal Taschetta, Malcolm Tuffnell, and William Utz, cafe. Engaged for regula r duties were Sylvia Yount, secretary to the director, Ada Logan, textile assistant, Suzanne LaRocca, assistant cafe supervisor, David Moss, securiry foreman, Karen Winter, watchdesk, Elizabeth Brill, sales desk manager, Katherine Caldwell, David Glass, Timothy Gosnell, Richard Lehmann, Dana Little, Naomi Palmer, Bradley Permar, Mark Peterson, Donald Saaf, H arriet T aylor,

gua rds, Rand all Gay and Michael Pickart, cafe. Employed on restricted schedules were John Cill o, accounting, Wi llia m Schroen, printing, Michele Kroll and Brett Shuster, music, Jill Abatemarco, sales desk, Kristin H enderson, garden ing, Elizabeth Bing, Willson Bliss, Edward Kingston, and Yvonne Mercer, mainten ance, J. Daniel Strong, catering, Lorraine Cillo, Polly Crews, Kristin Jayne, Thomas Larkin, Allison Jean Line, Kristin McGee, John O'Shaughnessy, Edgar Velasco, guards, Molly Baron, M arc Bernatchez, Michael Conroy, Karen Curtin , Joseph Dellea, Traci Figura, Katherine Finneran, Susan Gehle, Michele Kemp, Jennie Laitala, Catherine McLean, Karen O'Neil, Despina Papoulidis, Gioia Palmieri, Sarah Patton, Denise Rocco, William Schroen, Michele Sharon, Allison Tsoi, Michael Vozzela and Joseph White, cafe. Employed on work study programs were Jane Fitzgibbons and Sarah Patton, guards.

Report of the Curator

Temporary exhibiti ons in 1985, d raw n fro m the ga lleries and archi ves and installed by the assistant curato r, a rchivist, and paper conservato r, highlighted two aspects o f Mrs. Gardner's collecting. The first brought togeth er fo urteen paintings by American impressioni sts, and demo nstrated her abiding interest in the accomplishments of loca l artists of her time who had studied abroad and were influenced by French Impression ism. The second, Isabella Stewart Gardner and the Venetian Infl,uence, showed both the range of histo rica l obj ects from her favo rite city- textiles, religio us furni shings, drawings and manuscripts, as well as paintings-a nd works by Sargent, Whistler, and other contemporary arti sts who shared her love of Ven ice. This exhibitio n, mea nt to coincide with the 1985-86 erie of Museum lectures o n Venice, was enh anced by ga llery talks given by docent Judith H anhisalo, by the archivist, and by the assistant cura to r. Two gifts fo r the office wing were accepted this yea r: an ea rl y painting, Carmenita, by Lo uis Kronberg, whose oeuvre is represented by nine works in the permanent collection, and a pair of Itali anate carved wooden fo lding chairs. Among the many diverse requests involving the assistance of the archivist, th e microfilmin g of the fin ancial papers of Mrs. Ga rdner and the ea rly records of the Museum for the Archives of American Art was of particula r interest. This film will join that of Mrs. Gardner's co rrespo ndence, which was made available at the Archives in 1972. The archivist also continued research and compi led a preliminary index for the directo r's book o n the correspondence between Mrs. Gardner and Bern ard and M a ry Berenson (Northeastern University Press, 1987). On two occasions the archivist gave special talks, one during the members' trip to the Sarah Orne Jewett House, Hamilton H ouse, and

Po rtla nd Museum of Art, and the other to the Massachusetts a nd Rhode Isla nd Antiqu arian Booksellers, Inc. As usual, conservatio n endeavors were extensive. The paper conservato r, aside from her responsibilities with the educati on programs for 1985, continued treatment of Mrs. Ga rdner's fans, many of which a re fragile, and trea ted and rematted several nineteenth-century wa tercolors and the etched Rembrandt Self-Portrait. In additio n, Veronese's drawing of The Mystic Marriage of St. Catherine was sent to The Metropolitan Museum of Art for a condition report. In th e textile workroom, the conservator and assistant conservato r pursued their respecti ve restoratio ns of two tapestries, Amazons Preparing for a Joust (T24w2) and Noah Builds the Ark (T14w5-s). Also, the majo r underta king (supported by an IMS matching gra nt of $10,000) to sta bili ze, reline, and rehang ta,pestries in the Tapestry Room was brought to completio n; Ada H. Logan, conservation assistant, supervised four interns (beginning in October 198 4) who contributed more than 2,000 ho urs of their time. During this project, it was discovered that asbestos is embedded in o ne of the ten tapestries (Abraham R eceives R ebecca, T1 9n21 -s), and a matching gra nt of $7,500 was subsequently awarded by The ]. Pa ul Getty Trust towa rd removal of this haza rdous substance. Other projects included the changing of certain laces on display in the Veronese Room ca binets; the preparation of a case in the Long Gallery for the reinstallation of two Italian copes (T27w29 and T27w3 0) that a re in the process of being restored ; and the commencement of making new velvet covers for all of the a rchival cases in the Long Gallery. Along with the chief conservator, the textile conservator and her assistant attended the American Institute of Conservation annual conference in Washington, D.C.

Richard Randall , former director of the Walters Art Ga llery, examining an ivory Madonna and Child (ill. below) from the collection.

Finally, the texti le conservator was voted a member of CIET A (Centre International d'Etude des Textiles Anciens), an honor she thoroughly deserved. In the objects lab, the conservation assistant left at the end of the summer after being accepted in the Art Conservation Program at State University College at Buffalo, Cooperstown. She had by then completed one of her most time-consuming tasks, the restoration of the original carved gilt frame for Sargent's El j aleo (P7sl). The chief conservator's projects included examining and, where necessary, stabilizing selected examples of polychromed wood sculpture, such as the twelfth-century Catalonian Christ from a Deposition (S3 l e2). He also cleaned an important and rare ivory Madonna and Child (Limoges case, Long Gallery), and completed treating Cellini 's bust of Bindo Altoviti (S26e21 ) for bronze disease. The latter was sent to the Museum of Fine Arts for analysis; X-rays confirmed the theory that it had been cast in one piece. In the spring the chief conservator travelled for five weeks in Germany on a grant from the John J. McCloy Fellowships in Art. And, at the year's end, he announced his resignation after nine years of service; he is to be congratulated on his new position as associate conservator at The Metropolitan Museum of Art, and his loss will be felt by the entire staff here. For paintings conservation, the Museum engaged the services of Alain Goldrach of 71

the Museum ofFine Arts, who cleaned and restored two ca nvases, o ne from the nineteen th and o ne from the sixteenth century: Paul-Cesar Helleu's Interior of the Abbey Church of St. Denis (P28e15 ), and Giovanni Ba ttista Moroni 's Bearded Man in Black (P26wl ). Museum publications as well as research and other scholarl y activities by both staff and visiting specia lists were ongoing occupations in 1985. The highly successful Gardner Museum Cafe Cookbook (Harvard Common Press), by the cafe super-

visor, was illustra ted enti rely with objects from the ga lleries and archi ves, while the Brief Tour pamphlet was revised and reprinted with a color cover. Working wi th the photographer and textile conservators, the curator completed editing Textiles I Isabella Stewart Gardner Museum, wh ich w ill be avai lable in both soft and hardbou nd versions in April 1986. Also, most of the research has been done for the short-title catalogue of rare books in the collection; editing and photography will begin at the Gardner early next year. To

Jack Sou lranian rrearing Celli ni 's busr of Bindo

Altoviti.

Elisa Jorgensen working o n the retabl e of The Life of the

Virgin.

list a sample of museum-related fun ctions, the director's secretary and the sales desk manager attended the New England Museums Association conference; for the print club of th e M useum of Fine Arts, the assistant curator selected and discussed a number o f Mrs. Gardner's wo rks on paper not readily viewed in the Short Gallery; and the director and curator gave evening gallery talks to members of the Somerset Club. In th e first session of what pro mises to become an annual event, the Gardner sponsored the Boston University Sym-

posium on the H istory of Art; the progra m offered graduate students the opportuni ty to present papers in a professional setting and was open to the public as well as to art historians. Of the numerous investiga tions of single wo rks in the collection, perhaps the most notable discovery was that The Landscape with an Obelisk (P2 l w4) was painted not by Rembrandt but by his pupil Govaert Fl inck, and is a rare, signed instan ce of that artist's depiction of a landscape.

O ne of our goals in recent years has been to offer educational programs that make the most of the Museum 's distinctive attributes. Some are ava ilable to our growing number of visitors, while others are aimed at bringing in students from Boston public schools. The Black Achievers p rogram, piloted in 1982, has expanded to include students from seven Boston M iddle Schools; each small group visits the Ga rdner three times to learn about the process of enj oying museums and to

observe and take part in staff pursuits from conservation to gardening, maintenance and photography. Caroline Graboys, paper conservator, initiated and organized a program for Broo kline's fifth graders in conjunction with their art and social studies curriculum . Approximately 600 pupils fro m eight schools have participated and there is an introductory cl assroom slide presentation before every Museum visit. Early in 1985 the Bank of Boston gave $2,5 00 towa rd the support of our 74

M useum o rganizers with participants in the Boston University Symposium on the History of Art.

Caroline Graboys leading a tour of school children through the galleries.

educational activities. The grant is being used to prepare a brochure, di rected at teachers in the Boston school system, that will introduce them to our proposed free guided tours and study sessions on Friday mornings. The docent staff continues to give regular guided tours of the collection to adult gro ups and school children, in addition to the weekly free public tours on Thursdays at 2: 30.

Last but by no means least, volunteer interns were a valuable addition to the staff: Lorraine Bigrigg (paper conservation); Eleanor H adley, Carol McCusker, and Deborah Rossi (textile conservation); Hillary Kelleher and Matthew H eins (curatorial). Kristin A. Mortimer

Membership Program

Famili ar fri ends of the Museum continued their support in 1985, while helping us to bring in new members, whose numbers increased by 25 % at yea r-end. Their enthusiasm for the programs designed for them was reflected in higher attendance at lectures and other events, and their interest in pl ans fo r the future has been most encouraging fo r the trustees and staff. Support fo r the Museum from its members was a significant factor in gathering major contributions from four found ati ons fo r our capital campaign. The individual has been th e greatest strength of the Gardner's membership over the past six yea rs but the interest of corporations is also becoming an important source of support. Commitments were made by several companies th at joined as Museum Corporate Benefactors. Two of these, The Polaroid Corporation and The John H ancock Company, visited the Museum in June and July to tour the galleries and enj oy receptions in the Spanish Cloister and the Rose Garden. The membership department was aided by part-time staff: Elaine H arrington, H ongYuen Zeng and intern M atthew H eins, \Yho assisted with entering the membership records on the computer.

Calendar of Events 1985 The Museum continued its full schedule of programs in 1985. Lectures, concerts, receptions, and domestic and foreign tours enhanced members' enjoyment of Mrs. Gardner's legacy. The season began with the continuation of the lecture series "The Pleasures of the Personal Collection, " giving insight into other small collections in America. The series "The Venetian Influence" (1985- 86) illustrated the history of Venice and the significance of that city to Mrs. Ga rdner and various artists.

M embers had the opportunity to join several tours during the year. Rollin Hadley, director, and Kristin M ortimer, curator, led a spring visit to private art collections, great houses and l. esser-known museums in and around London. In the fall Lois Starkey, staff lecturer, accompanied by Linda H ewitt, assistant director, took members to country houses and gardens in the north of England, a sequel to 198 4's trip to southern England. Domestic excursions included a day trip to M aine. Susan Sincl air, archivist, spoke on Sarah Orne Jewett, her work, and her fri endship with Mrs. Gardner en route to the Jewett H ouse in South Berwick, M aine. The tour continued to Portland where Amy Eshoo, membership coordinator, introduced the Portland M useum of Art and the speci al exhibition "John M arin in M aine" before a guided visit to the collection. A highlight of the fall season was the members' tour to W ashington, D. C. The director and curator accompanied members to the opening day of the "Treasure H o uses of Britain " at the N ational Gallery of Art, where they were met by Lord Norwich. This exhibition was of particular interest to those members who had travelled on the Museum 's three trips to England. The Museum continued its tradition of cooperation with oth er cultural institutions by co-sponsoring two programs. The New England Dinosaur Dance Company added movement and music to the architecture, sculpture, and flowers of the Court by giving three performances on a stage constructed over the Roman mosaic. During a special evening perfo rm ance, members watched the dancers from the balconies and cloisters and joined them afterward fo r a reception in the Tapestry Room. Then in October the Italian consul general of Boston and the Italian Institute of Culture in New York acted together in

Malcolm Frager at the Founder's Day Concert.

The Museum's new H amburg Steinway was dedicated at the Founder's Day Concert in April by pianist Malcolm Frager. Mr. Frager first presented a Sunday concert at the Museum in October 1959 and went on to become one of the most noted pianists of his generation. In December the Paratore Brothers, two of Boston's finest performers, played both the Museum's pianos in a special holiday concert. January 9 Benefactors' Evening Dinner in the Dutch Room. Performance by monologist Patrizia Norcia. January 16 The Yale Center for British Art, New Haven, Connecticut (The Mellon Collection) Duncan Robinson, director, The Yale Center for British Art. The third in the series "The Pleasures of the Personal Collection." February 13 The Walters Art Gallery, Baltimore, Maryland Richard Randall, former director, the Walters Art Gallery. The last in the series "The Pleasures of the Personal Collection. " March20/27 Performance of Dance and Music New England Dinosaur Dance Company.

March21 The Queen's H ouse, London Richard L. Ormond, Head, Department of Pictures, the National Maritime Museum, London. April 12-20 Arts London: tour for members. April 14 Memorial Service April 24 Founder's Day Concert and Reception: Malcolm Frager, pianist. May6 New Members' Welcome with tours of the collection and greenhouses. May18 Greenhouse Sale for members. May30 Raphael and Michelangelo J. A. Gere, former Keeper of Prints and Drawings, the British Museum, London. September7 Members' Excursion to the "Country of the Pointed Firs. "

Museum members on the Arts London tour at Penshurst, Kent.

September 12-28 j ourney to the North of England: tour for members. October 7 New Members' W elcome Introduction of The Gardner Museum Cafe Cookbook to members.

in-Peril. The first in the series "The Venetian Influence. " November 3- 4 "Treasure Houses of Britain " : opening day, National Gallery of Art, Washington, D. C.: tour for members.

October 16 Special Concert for members: II Giovane Qu artetto Italiano

November 13 Bene{actors' Evening Dinner in the Dutch Room. Concert opera.

October 19 Members' Gallery Talk on the special exhibition "Isabella Stewart Gardner and the Venetian Influence" Judith Hanhisalo, staff lecturer.

November20 The Making of Modern Venice Mario Valmarana, professor of architecture, Universiry of Virginia. The second in the series "The Venetian Influence."

October 30 A Thousand Years of the Republic The Viscount Norwich, chairman, Venice-

December 18 H oliday Concert and Reception Anthony and Joseph Paratore, pianists.

Membership

Honorary Benefactor

Patron

Mr. and Mrs. Elliot Forbes Mt. and Mrs. john L. Gardner Mr. and Mrs. Mason Ha mmo nd Mt. and Mrs. Francis W . Hatch Mr. and Mrs. Ja mes Lawrence Mr. and Mrs. M alcolm D. Perkins Mt. and Mrs. Ja mes L. Terry

Robert F. Birch Mr. a nd Mrs. Edwin D. Ca mpbell Ronald Lee Fleming M aynard Goldman Mr. a nd Mrs. Graham Gund Mrs. Virginia L. Kahn Donald L. Saunders Mr. and Mrs. Francis P. Sears Mr. a nd Mrs. Robert A. Sinclair Dr. and Mr . Arthur K. Solomon Jea nne and Do n Stanton Mr. and Mrs. Arthur E. Vershbow

Benefactor Judith and Joseph Auerbach Dr. Robert Ba rstow Dr. Leo L. Beranek Mr. and Mrs. Ronald Brown William G. Bullock Mr. and Mrs. Bertram M. Cohen Mrs. Gardner Cox Mrs. Frederick B. Deknatel Mt. and Mrs. F. Stanton Deland Watson B. Dickerman Mr. Paul Doguereau Mrs. William Rodma n Fay Mt. and Mrs. George P. Gardner, Jr. Mrs. G. P. Gardner Mt. and Mrs. Arnold Hiatt Mt. and Mrs. William White Howells Nicolas Johnson Mt. and Mrs. Gordon F. Kingsley Miss Christel McRae Noe Laine Mrs. Linda Noe Laine Gladys F. MacDonald Dr. and Mrs. Henry J. Mankin Mrs. john McAndrew* Mrs. Louville Niles Mt. and Mrs. William Poorvu Mr. and Mrs. Albert Pratt ]. E. Robinson Mrs. Benjamin Rowland Mrs. Jane Sibley Mr. * and Mrs. Donald B. Sinclair Mr. and Mrs. Ezra F. Stevens Ms. Nancy B. Tieken Mt. and Mrs. Roger Wellington Mrs. Robert Lee Wolff Anonymous (2)

Corporate Benefactor The Gillette Compa ny The Jo hn Hancock Company The Pola roid Corporation

Corporate Donor Applicon Bank of Boston Ca mbridge Trust Co mpa ny Dennison Manufacturing Company Frank B. Hall and Company of M assachusett , Inc. General Cinema Corporation Ho ughton Mifflin Co mpany The Mitre Corporation Properry Cap ital Trust Stewa rt Title Company Union Warren Savings Bank

Foundation/Trust Boston Globe Foundation Gardner Charitable Trust The Paine Charitable Trust Mr. a nd Mrs. Cha rles A. Pappas Anonymous (1)

Contributor Mr. and Mrs. C. F. Ad ams Mr. and Mrs. James B. Ames Mrs. E. Ross Anderson 0 fimothy Anderson Mr. and Mrs. Arthur C. Anton Prof. Lilian Armstrong Susan Bennett Mr. and Mrs. Paul Bernat Dr. Benjamin E. Bierbaum Wi lli am Bloom Mr. and Mrs. Samuel W. Bodman Mrs. Ralph Bradley Mr. and Mrs. Karl L. Briel

David Alan Brown Miss Dorothy A. Brown Mr. a nd Mrs. Kenn ett F. Burnes Mr. and Mrs. Thom as D. Cabot Mr. and Mrs. Stanford Ca lderwood Fr. George A. Carrigg Mr. Robert K. Cassatt Mr. and Mrs. Charles Chatfield Mr. and Mrs. Daniel S. Cheever Mr. Frederic C. Church, Jr. Jo Ann Citron and Cordelia Sherman Felicia Clark and Todd Lee Russell S. Codman,Jr. Mr. and Mrs. I. W. Colburn Willia m A. o les Mrs. W. G. Constable David Cook Mr. and Mrs. j ohn L. Cooper Dr. a nd Mrs. J. Holla nd Cotter Charles J. oulter M argaret R. Courtney Mary Crabtree Mr. a nd Mrs. Cha rles C. Cunningham, Jr. Mr. a nd Mrs. Rich ard B. Currier Dr. Chester C. d' Autremont Nathaniel T. Dexter Mr. and Mrs. Tho mas G. Dign an, Jr. Mr. and Mrs. William S. Edgerly Mr. and Mrs. Bradford M. Endicott Executours, Inc. Mrs. H arris Fahnestock Joseph R. Falcone and Karri L. Kaiser Mr. and Mrs. DeCoursey Fales, Jr. Charlotte Fellman Peter Fergusson Mr. and Mrs. Edwin I. Firestone Sheri Flagler Mr. and Mrs. Richard Floor Alexander C. Forbes F. Murray Forbes, Jr. Walters. Fox, Jr. Joseph and Cynthia Freeman Anne and Walter Gamble Ainslie Gardner Mrs. Lee D. Gillespie Mr. Stephen Gilman Mrs. Henry M. Greenleaf Mr. and Mrs. James H . Grew Ernest J. and Elizabeth L. Haas Mr. and Mrs. John S. Hamlen Fred and Judith E. Hanhisalo

Prof. a nd Mrs. Donald R. F. Harl eman Mrs. F. A. Harrington, Jr. Mr. and Mrs. George C. Ho mans F. Hom burger, M.D. Samuel Horowitz Th omas Milto n Hout a nd M ari on Janes Hou t Mr. and Mrs. David B. Ingra m Dr. and Mrs. Ja mes H . Jackson Mrs. Will ia m Kiekhofer George Kury, M.D. and L. Hedda Rev-K ury, M.D. Miss Ro amund Lamb Reggie Levine Ruth Joan n and Ca rlisle Levine Marye! and Laurence Locke Mr. and Mrs. Norman C. Logan Mr. and Mrs. Ca leb Loring, Jr. Mr. and Mrs. Cha rl es P. Lyman Mr. William H. M acCrellish, Jr. Mr. and Mrs.John F. Magee Joan M ayhew Mr. and Mrs. Louis A. McMillen Mr. and Mrs. Robert M. Melzer Mrs. M ary-Louise Meyer j ohn E. Miller Mr. a nd Mrs. j ea n Montagu j ohn Morison Mr. and Mrs. Robert]. Mortimer All en Moulton M arry F. M yer Anna Nathanson j ohn J. O'Donnell, Jr. Dr. and Mrs. Alexander O' Hanley Meriam C. and R. Wayne Oler Mr. and Mrs. Stephen D. Paine Richard S. Perkins, Jr. Mr. and Mrs. Da niel Pierce Robert S. Pirie Sam Plimpton and Wendy Shattuck Ellen M. Poss Mr. and Mrs. Joseph W. Powell , Jr. Mr. and Mrs. John W. Pratt Mr. and Mrs. Irving W. Rabb Mrs. Chandler Robbins JI Mr. and Mrs. Henry B. Roberts Alford P. Rudnick Mrs. Ralph P. Rudnick Joseph M . Saba A. Herbert Sandwen Drs. Daniel and Joan Sax John B. Schnapp Benjamin and Kira Schore

Dino aur Dance Company performing in the Court.

Marga rer F. Schroeder Mr. and Mr . Geo rge C. eybolr Fra ncis G. haw !rs. David W. kinner Dr. Frances Ha yward mirh Dr. Sidney B. rrnrh Dr. and Mr . Willi am D. Sohier David olo Vi vian and Lionel piro Ir. and 1r . . Roberr range Barbara and Burron rem !rs. Roberr G. Srone liss Eli za berh B. rorer Dr. and Mrs. omers H. rurgi 1r . ynrhta Sund erland Dr. and Mrs. Irvin Taube Ir. and Mr . W. ichola Thorndi ke Two 'I a hingron Friend Mr. and/\ Ir . Bela von Varsa ny Thoma and Evelyn Wall ace Mr. and Mrs. . D. Warren Mr . E.G . Weyerh aeu er Grace R. Whmaker Mr. and Mr . Oli ver 'I olcorr,Jr. Ir. and Ir . Mr hael Xeneli

Fa111ily/Dual Dr. and Mr . ile L. Albrr ghr !rs. Spindler Aldri ch and Ms. Claire Aldrich Andrew and Elinor An dersonBell Mr . Frederick A. Archibald, Jr. Ir. and Mr . Rodn ey Armsrrong 1r. and Mr . Perer R. A hjr an Mr . ynrhi a Bacon moki Bacon and Richard F. onca nnon Mr. and Mr . Willi am W. Bain Mr. and Mrs. Donald H. Baird Mr. and Mrs. Frederick Barsrow Moll y and j ohn Beard Mr. and Mr . G. d'Andelot Belin Joa n B. Berkowitz and Ro emary Marru ck Mr . j. L. Berhune Franklin S. Billings Ill Narhaniel Bissell Kare D. Blair Mr. and Mr . j ohn A. Blanchard Dr. and Mrs. Edward F. Bland Mrs. Henry M. Bli s Mr. and Mr . M. W. Bouwensch Dr. and Mrs. j ohn H. Brandr Mr. and Mrs. eorge W.W. Brewster Il l

Mr. and Mrs. F. G rh am Brigham, Jr. Mr. and Mrs. Wm . S. Brines Willi am Bromell Dr. and Mrs. Dav id . Brooks Mr. and Ir . King bu ry Browne Mr. and Mr . Geo rge B. Bull ck,Jr. Pauline Ho Bynum Louis W. Ca bot Dr. and Mr . Ellior arlso n David and Ra hel a per Alfred avileer,Jr. and Roberr P. avil eer Ir. and Mr .Jun elm /\Ir. and Ir .GeorgeA. hamberl ain Ill Mr. and lrs. Laurence I. hanning Mr. and Ir . An el B. haplrn Dr. and /\Ir . F. argenr heeve r aq a B. l10are Dolore H. ifrino Fabr a B. lo on and Addison W. lo on, Jr. Dr. and !rs. Geo rge H. A. lowe ,Jr. Mr. and !rs. John W. obb Sidney obb and Je sre j ne - obb Mr. and Mr . idney H. ohen Mary P. olleran and Katherine T. ro nin The Rev. and Mr . C. Blayney olmore Ill Marana and Mark onn aughron Dr. and Mr .John D. on rabl e Hamilron and Barbara oolidge Henry P. oo li dge Mr. and Mr . john Philip oolidge Mr. and Mr . lare M. Corron Wi lli am P. oues Mr. and Mr . Willi am G. oughl in Ms. Suza nne Courrrighr and Dr. haoul Ezekiel Pau l urri and We York Mrs. David Dalron Paul and Ph ylli Deane Ed ith and Ru ell deB urlo Mr. and Mrs. Anthony DeFlumeri Richard de Neufville and Virginia Lyons Hope Devenish and Chip No rton Mr. and Mrs. Parke r J. Dexter

Mr. Dougla W. Dodd , Jr. and A trrd Anderson Dodd Dr. and Mr . Leslie Pari Dornfeld Mr. and Mr . Edgar J. Dri coll, jr. James and Sandra Duza k uza nne and Leo Dwo rsky Leo n and arola Ei enberg Monik a and David Ei enbud all y Elli rr and Wil liam Moran Emm anuel ollege Library Kathleen Emrich and R berr Sherwood o rli and Ralph En gle Dr. and Mr . A.J. Erakli j ea n Fuller Farringron Mr. and Mr . Marrin Feld rein Mr. and Mr . pencer Field Dr. and Mrs. E. F. Finnerry Fl avin Famil y Th omas and Ursula F llerr Pro f. and Mrs. . J. Freedberg Dr. and Mr . Paul Frem nt- mith Ir. and Mr . Marc Friedl aender Ir. and Mrs. Alberr L. Fullerron, Jr. M . Frances I. Gabron Edward B. alligan' Mr. and !rs. Vincenr Gardner Kenn eth A. and Barbara B. Gee Dr. and Mr. Mich ael A. Gimbron e, jr. Ir Iron and Renee las Mr. and Mrs. A. B. Glidden j ohn and Sandra Gould Edga r A. Grabhorn Mr. and Mrs. Edward Greaves Lane regory and Dr. Michael Wiedma n Prof. and Mrs. Stephen A. Greyser Mr . . Eli ot Gui ld Edgar and Carol Haber Mr. and Mr . G. R. Hal l The Rev. and Mrs. Lyle . Hall Mr. and Mrs. Roberr T. Hamlin Cecelia Hard David and Lynne Harding Mr. j ohn C. Harkness j ohn and Mary Harney Anne Hartmere Deborah Hauser Mr. and Mrs. j ohn W. Haverry Mrs. Vin cent H. Haza rd Mr. and Mrs. Harry W. Hea ley, Jr.

Mr . Clydej. Hea rh The Rev. A. L. Hemenway Mr. and Mr . William W. Hennig Dr. and Mrs. Howa rd Hiarr James and Margaret Hodder Eli zaberh Hodgman and Sara o rnell Wi ll iam F. Hol t Perer and Nata ha Hopkin on Mr. and Mr .John S. Howe Mr. and Mrs. Guerard H. Howkin , Jr. Mr. and Mrs. Charles A. Hubba rd Nancy T. Huggi ns Mr. and Mr . Lawrence Hughes Mr. and Mrs.James F. Hunnewell Mr. and Mrs. Roger B. Hunt Mr. and Mrs. Chrisropher W. Hurd Mr. and Mrs. John K. Hurley Mr. and Mr . Kenneth L. Isaacs Mr. and Mrs. Henry B.Jackson Carol R.johnson Mr. and Mrs. Edwa rd C. Johnson Ill Mr. and Mrs. Richard I. Johnson Mr. and Mrs. Marius E. johnsron, j r. Mr. and Mrs. Michael Jolliffe Mr. and Mr. Miguel C. Junger Judith Cla re Kassman and Mrs. Herbe rt S. Kassman Andrew D. Katz and Lauren B. Katz Mr. and Mrs. Daniel W. Kennedy Su ie Kim and Fred Koener Mrs. Mary A. T. King Dr. and Mrs. Richard A. Kingsbury Barbara and Ted Kirkpatrick Mr. and Mr . Ca rl Koch Mrs. Gerriry Koch Mr. harl es A. Kury and Ms. Maria Borot Mr. and Mrs. Peter Lawrence Nancy and Maurice Laza rus Mr. and Mrs. Herbert C. Lee Mr. and Mrs. R. Wi ll is Leith, Jr. J. Joseph Leonard , Esq. Dr. and Mrs. Roberr V. Lewis Dr. and Mrs. Don R. Lipsirr Mr. and Mrs. Boardman Lloyd J. Anrony Lloyd and Marilyn Swartz Lloyd

Mr .* and Mrs. Fra ncis B. Lothrop Dr. and Mrs. Berna rd Lown Dr. and Mrs.John N. Lukens Mr. and Mrs. Victor A. Lutnicki Ernest and Ca rl a Lymo n Mr. and Mrs. M a rk R. M acConnell John and Sall y M ack Ms. Elaine M aclachl an a nd Mr. Da niel Duryea Mr. and Mrs. George M aco mber Myron and Ba rba ra M arkell Mr. Bradford Maxfi eld Mr. a nd Mrs. Joseph Maybank Ill Rich ard a nd M ary M cAdoo Joseph L. M cDonald Philip and Marguerite McDonald Mr. and Mrs. N. M . M cKinnell Mrs. Robert Mehlm an Mr. and Mrs. Thomas N . Metcalf, Jr. Lee and John R. Meyer Mr. and Mrs. W . Robert Mill Mr. and Mrs. David A. Mittell Mr. and Mrs. Robert P. Moncreiff Mr. and Mrs. Paul Monti e Barbara W. Moore Sandra 0 . Moose Mrs. John R. Moot

Mr. and Mrs. Daniel Mo rl ey Mr. a nd M rs. Mi chael Scott Mo rton John J. Murph y Darren N elson and R. C. N elson Mr. a nd Mrs. Albert L. N ickerson Pa ul a and Joel N oe, M .D. Mr. and Mrs. Bruce S. O ld Mr. a nd Mrs. Willia m B. Osgood Mr. Jerry P. O'Sulli va n Eli za beth M . Pappius and M a rc P. Lefebvre Mr. and Mrs. G. Kinnea r Pash Dr. and Mrs. O glesby Paul Antho ny N. Penna and Judith H. Penn a Mr. and Mrs. Faelro n Perkins, Jr. John and Dolores Perkins John C urti s Perry Dr. and Mrs. Arthur S. Pier Ro n a nd Joyce Plotkin Mr. a nd Mrs. Ja mes Pope Mr. and Mrs. Jerome H . Porton Dr. and Mrs. Stephen H. Powell Mr. and Mrs. Herbert W . Pratt Mr. a nd Mrs. Joseph 0. Proctor Berna rd and Suzanne Pucker Mr. a nd Mrs. Perry T. Rathbo ne Mr. and Mrs. Lin coln Y. Rathnam John and Al ette Read

M r. and Mrs. Emery Rice Dr. and Mrs. Edwa rd P. Richardson, Jr. Scott A. Ridlon Mr. and Mrs. James V. Righter Mr. and Mrs. La urance Roberts Mr. and Mrs. John Ex Rodgers Mr. and Mrs. Clem Roegge Ma rcy and H. James Rosenberg Paul and Barbara Rosenkra ntz Mr. a nd Mrs. Ma rk E. Rubenstein Mr. a nd Mrs. Samuel Rubinovitz Mr. and Mrs. David L. Ruggles Dr. and Mrs. Paul S. Russell Mr. and Mrs. Adel F. Sarofim Paul A. Schmidt Dr. and Mr s. John B. Sea rs M r. and Mrs. Willi am A. Shurcliff Dr. and Mrs. Richard L. Sidman Anne Blake Smith Robert and Barbara Solow Mr. a nd Mrs. M ark Emerson Spangler Mr. and Mrs. Burgess P. Standley Dr. and Mrs. Frederick]. Sta re Dr. and Mrs. George W. B. Starkey Tho mas D. Stewa rt, M .D. Dr. and Mrs. Albert Stone, Jr. Mr. and Mrs. Stephen Stone

Mr. and Mrs. Ed wa rd M. Streit and Famil y Mr. a nd Mrs. Rud ulfTalbot D r. and Mrs. Daniel T assel Davis T aylo r Mr . and Mrs. Willi a m C. Taylor, Jr. Dr. and Mrs. Britt A. Thedinger Arthur a nd Virginia Tho mpson Mrs. Marga ret W. Thompson Mrs. Ralph E. Thompson and Ms. Deborah H . Thompson Mrs. Richard H . Thompson Constantine Tsaousis and Ca rroll Wales Al an and Susan Tuck Mr. and Mrs. Al va n Tucker Carol Uhl-No rdlinger Hugo Uyterhoeven Soni a Valli anos Mr. a nd Mrs. W. E. Vander Velde Mary Crawfo rd Yolk Dr. and Mrs. Hans Waine Mr. and Mrs. Willi am A. Wald ron Mr. a nd Mrs. James A. and M argaret M. Wall Dr. and Mrs. Donald F. H. Wall ach Waltham College Clu b Mr. and Mrs. Howa rd H. Wa rd Margot Warner

Dr. and Mrs. Richard W a rren Mr. and Mrs. Francis C. Welch Mr. and Mrs. Frederi ck H. West Jerry Wheelock and M arion Scott Mr. and Mrs. John H. White Mr. and Mrs. Robert]. Whitehead Anne and Jeremy Whitney Pro f. John C. and Steph anie Whitney, Jr. Mr. and Mrs. Peter Wi ck Mr. and Mrs. Andrew F. Wi llis Elizabeth H . Wilson Frank E. Wi nn and S. Nancy Walton Winn 'Mrs. Katherine B. Winter Mr. and Mrs. Tho mas A. W inter Mrs. Frederick Witherby,Jr. Mr. and Mrs. N athan N. Withington Mr. and Mrs. Richard Wo lfe Mr. and Mrs. H arvey W . Wood M s. Frances R. Z ilkha Ors. Doroth y and No rm an Z in berg Mr. and Mrs, Zobel Anonymous (1)

Individual Mrs. Linda Abegglen Andrea Ackerm an Mrs. Weston W. Adams Mrs. Rebecca M . Ahern Mrs. Herbert K, All ard Bette Rea Allen Mrs. Edward P. Almy Chester A. Alper Russell W. Ambach

Mrs. Patricia Taylor Antonell i Sheelagh Anzoni Wi lli am S. Appleton Renee M , Arb Cra ig S. Armstrong Helen M . Attridge Dr. Ain a M . Auskaps Mrs. Francis Austin M rs. Raymond F. Baddour Mrs. W ill ia m A. Barron lll Miss Lucienne Bartfield M rs. E. M a u ran Beals Anne Beauchemin Leo M . Beckw ith M s. Susanna E. Bedell W . Bentinck-Smith M a ry Kathryn Bertelli Janet Beyer Barbara J. Bishop Stephen E. Blatz Cheryl Ann Blum Benno Blu menthal Holl is A. Bodman Judith Borit, M .D. John A. Boyd Cecily Bradshaw Mrs. K. P. Brewster Alexa nder M. Brofos Anne M . Brooks R. G. Brown lll Richard W. Brown Mrs. Blanche W, Browning Mrs. James Bruchs Mrs. Katherine F. Bruner Mrs. M ary B, Buckley Mrs. George P. Buell Mrs. Sylvia K. Burack Dr. Parris R. Burd

Mrs. Du nn Burnett Katharin e S. Burrage Frances K. L. Bushnell Robert N. Cable, Jr. Acheson H , Ca llaghan Miss H elen E. Call ahan Ca rl J. Camelo, Jr. Annema rie Cappiell o Ma rie Ca rgill Miss Muriel P. Carlson Miss Sarah M . Carothers M rs. John M . Ca rroll Ma rion H . Ca rter Ali ce E Casey P. B. Catchings Fay Chandler Dr. Liana Cheney Mrs. Jane D. Chisho lm R. M o rton Claflin Lando n T . Clay Mrs, E, M. C lemons Selma L. Cohen Katherine Coleman CO LLEEN Jill A. Colpak Enilda F. Column a Mrs. John P. Condakes Thomas F. Conno lly Daniel J. Cooli dge Mrs. H arold]. Cooli dge 路 Lawrence Coolidge Mrs, M . C. Co rnwell M a rie T. Cotter Eleanor G. Coughlin John Crandall M o rna E. C raw ford Mrs. John F. Cremens Mrs. U, H askell Crocker Wa rd]. Cromer

Ka ren C. Croxton Constance Cullina ne Claire Curtiss Jeannette Cu ruby Mrs. M yer L. Cutler Pa ul N . Dadarri a Mr. A. Stainton Dane John Dane, Jr. Mrs. Nelson J. Darling, Jr. Mrs. R. Clement Darling Fellowes Davis Susa n S. Davis Mrs. Freeman I. Davison, Jr. R. H . Davison Miss Bertha Ann Deleon Susa n Delong Simon P. Devine, D.M.D. Ray DeVoll Wendy Dewire Levo Di Bona Mrs. Robert I. Diamond Ann Young Doa k Dr. James E. Doan Neva rt Dohanian Mrs. Alfred F. Donovan Anne Do novan Andres Drake Joseph M. Dubin Edna A. Duncan Dr. Richa rd W. Dwight AnneDyrud Elea nor Earle Do rothy Eastman Mrs. Ono Eckstein Carrie Edwa rds Mrs. Joseph Edwards M rs. Philip Eiseman Mrs. Alexander Ellis, Jr. Rebecca P. Ellis

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Museum member on a tour o f the Po rtland Museum of Art.

Mrs. Walter T. St. Goar Peter H. Stone Constance H. Strohecker Mrs. H a rborne W . Sruart Mary Fra nces Sullivan Mrs. Henry Swaebe Mrs. Priscilla R. Sykes Margaret W. Taft Miss Priscilla M. T atro Helen T. Taylor T ere Tedesco Katherine A. Terzi Susa n Dunca n Thomas George W. Thorn, M .D. Ms. Ma rgaret L. Tiernan M. Patricia Tierney Mrs. Cha rles Townsend Mr. William A. Truslow Douglass Sh and Tucci Jonatha n B. Tucker Christopher R. Tunna rd Paul Wesley T yler-Mendez Frederick D. Valenzano Alex Vanderburgh Ms. June Van Dyke-Farrell Alexander F. M. J. van Geen Joa n E. Virgile Mrs. M arga ret W. Wa lker Mrs. B. Gring Wall ace Willi am K. Walters Ma ry Luke Wanthal Lynne F. Warren Mrs. Albert Wechsler Dr. Gail S. Weinberg Mrs. Alida Weisberger Mrs. Stephen Wheatland

Mrs. Wa lter Muir Whitehill Ms. Katherine T. Whitty Mr.John W. Willoughby Winchester Publi c Library M s. Debra S. Wish Eliza beth V. Wood Karin Ya risal Miss Arpine M. Zovickian Ro bert Zy kofsky Anonymous (1)

National Mrs. Marth a L. Barr Jane F. Bisel Mrs. Benj amin F. Corn wall Georganna Daley Esther B. Davidow itz Georgann Sahaida Dunn Mr. and Mrs. Steven Epstein Jea nne M. Fitzgerald To m Fukuya Mrs. James Gardner Jea nne M. Gleason Nancy P. Herron Olivann R. Hobbie Mr. and Mrs . Fritz R. Huntsinger Lucy Johnson RurhS . King Steven Maryanoff Mrs. orma n Pa ul M eyn Dr. and Mrs. James B. Morrison Patricia H ampton o land Asa Standley Porter, M.D. Virginia A. Pratt Shei lah J. Procto r

Lawrence G. Pucciarelli S. B. Purdy William A. Reasoner Eliza beth D. Reed Eugene Robbins Julia n B. Schorr, M .D. Dr. Serena Stier Sandra L. Swi nbur~e Mrs. R. Amory Tho rndike Mr. L. Trabul i Theodo re . Voss Mrs. Libby K. White Mr. and Mrs. Ro bert H. Willo ughby

Honorary Lifetime Benefactor Mr. H arry El lis Dickson

Publications

New Pub lica tio n Textiles I Isabella tewart Gardner Mu seum Adolph S. ava ll o, 1986 A la vi hly illu trated volume featuring th e tape trie a nd many o ther textile , we tern and ea tern , in the collecti on: furniture cover , ve tment a nd ecul a r co tume, lace a nd openwo rk , and embro idered and woven fabric , includin g eldo m-v iewed pi ece fro m th e torage coll ecti o n ; 224 pp., 286 bl ack and white, 3 1 colo r illu tratio n . Paperbo und $32.50; Clothbo und $49 .50; Po rage and packing $2.20 (do me ti c) $4 .75 (intern ati o nal).

14 pp., 3 7 black a nd white illu tratio n ; colo r cove r. Boo kl et $ 1.00; Po rage and packin g $1.20 (do me ti c) $ 1.70 (intern atio nal).

The Gardner Museum a(e ookbook Lo i McKitchen o nroy, 1985 A collectio n of the autho r' favorite o up, qui che and luncheon pie recipe accompani ed by reproduction of drawing , ph otograp h and ob ject fro m th e Mu eum 's collecti o n; 149 pp., 30 black and white illu tratio n . Pape rbound $8.95; Po rage and packi ng $1.20 (do me ti c) $2.10 (intern atio nal). The Gardner Museum Cafe ~COOKBOOK ~

A Brief Tour of the Isabella Stewart Gardner Museum 1985 A booklet describing the gall eries in the M useum and highl ighting Isabella Stewa rt Gardner's fi ne collectio n ; biographi cal sketch, fl oo r pl an, concert and cafe hours;

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Guide to the ollectio11 An ill u trated gu ide fo r vi itor , with a brief ketch of the founder. Revi ed 2nd edition; 116 pp. Paperbound 3.00; Po rage and pack ing $1.20 (dome tic) 1.70 (international ). Oriental and Islamic Art in the Isabella Stewart Gardner Museum Ya uko Horioka, Mary lin Rhi e and Walter B. Denn y, 1975 A full y illu rrared cata logue; rhi mall collection includes culprure, paintings, ceramic , lacquer ware, miniature and ca rvi ng ; 136 pp., 113 bl ac k and white il lustratio n . Paperbo und $3 .50; Po rage and packing $1.20 (domestic) $2.10 (internationa l). Sculpture in the Isabella Stewart Gardner Museum Co rneliu C. Yermeule, 111 , Wa lter Cahn and Ro llin van N. H ad ley, 1977 A ca talogue of the sculpture co llectio n, which includes exa mpl es fro m the cl assica l and medieva l periods through the Renaissa nce to the modern era; 188 pp. , 264 black and white illustrations. Paperbound $ 10.00; Clothbo und $15.00; Postage and packing $1.70 (dom estic) $3.50 (internationa l).

The Isabella Stewart Gardner Museum 1978 A hand omely illu trated book with e says on the founder and the co ll ection by the di rector and prominent cho lar ; 80 pp., 24 co lo r pl ate . lothbound 12.95; Po rage and packing $2.30 (dome ti c) 4.00 (internationa l). European and American Paintings in the Isabella Stewart Gardner Museum Philip H end y, 1974 A de crip ti ve cata logue, with biographie of the artist and reproductions of a ll painting ; 316 pp., 282 black a nd white illu tration ; 38 color plate . lo thbound $20.00; Postage a nd packing 2.20 (dome tic) $4.75 (intern atio na l). Drawings I Isabella Stewart Gardner Museum edited by Ro llin va n N. H adley, 1968 A mall group of notabl e drawings ranging in date from th e late fifteenth century to the ea rl y twentieth century; 67 pp., 38 illustrati o ns, front i piece in color. Paperbound $2.00; Postage and packing $1.20 (domestic) $1. 70 (international ).

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A heck list of the orrespondence of f sabella Stewart ardner at the ardner Museum Writer , c mpo er perform r , p liti cia n , hi tori an , and fri nd from the 1860' to th e 1920' , numbering over J 000 na me , w ith a guide to the lo ation of collected letter in the Mu eum ; J 2 pp. Pamphlet .10; Po rage and packing .25 (domesti c) $.45 (intern ationa l).

Fenway ourt Illustrated articl e on the collection and archives, including a two-part essay on Titian ' Rape of Europa, articles devoted to rare books in the Mu eum, and a selection of tex tiles at Fenway Court. Annual reports for 1973, 1975, 1979 and 1980 are availab le for $2.00; 1981 , 1982, 1984, 1985 are avai lable for $3.50. Paperbound ;

Librarie and other educati na l 111 tirutio n a re ffered a 40 % di count on mo r item. M a il o rder will be hipped third cl a , book rate (dome tic) r urface ra te (internation al). Plea e addre co rre pondence to the ale de k and ma ke check payable to the I abell a Stewart Gardner Mu eum . Manu cripts on ub ject related to the collection will be considered fo r publica tion . Plea e send proposals to the curator.

Report of the Treasurer Isabella Stewart Gardner Museum

Statements of Net Assets as of December 31, 1985 and 1984 1985

1984

Ne t Assets Investment (Note 1): Bonds, at market (cost $7, 107,086 in 1985 and $4,052,862 in 198 4) Stocks, at ma rket (cost $8,124,744 in 1985 and $8,478,13 1in1 98 4) Sh ort-term investments, at cost which approx im ate mar ket T otal investments, at market All owa nce for unrea lized appreciatio n Total in vestments, at cost Cash Prepai d Expen es and Oth er Asset Accrued Income Taxe ( o re 1) Museum Property (Nore 1): Museum building and underl yi ng land ontents o f mu eum building Greenhouse and underlying la nd Oth er museum property afe (net of depreciation) Net Assets

$ 7,471,190 12,886, 176 914,893 21,272,259 (5, 125,536) 16,146,723 $ 286,394 48,466 (58,544) $ 276,3 16

$ 4,149,102 12,046,864 1,923,670 $18, 119,636 (3,664,973 ) $14,454,663 $ 142,39 1 6,600 (3 4,931 ) $ 114,060

366,400 4,0 15,000 560,507 27, 188 11,456 $4,98 0,551 $21,403,590

366,400 4,015,000 560,507 29,659 12,706 $ 4,9 84,272 $19,552,995

$ 17,88 1,540 1,584,093 87,362 $19,552,995

Fund Balance Opera ting ( ore3 ): General Maintenance and Depreciatio n ( o res 1 and 3) Building Impro ve ments (Nore 4)

210,696 19,3 49, 741 1,568,368 274,785 $2 1,403,590

The accompanying notes are an integral part of these financial statements.

Statements of Cash Receipts and Disbursements for the Years Ended December 31 , 1985 and 1984 198 4 (See no te 1)

1985

Operating Receipts In vestment in come: Interest Di vidends Grants T otal operating receipts Operating Disbursements M aintenance and security Administration Care of collections and paintings Ga rdening and gro unds Music Pro fessional serv ices Pension and deferred compensa tion (No te 2) Insurance Federal inco me taxes (Note 1) Catalogue expense Equipment purchases Boston Fenway Progra m Miscellaneous expense Tota l operating disbursements

53 0,9 16 453,216 123,119 9 1,369 77,843 54,076 41,11 6 53,869 24,965 32,985

5,000 5,32 1 $ 1,493,795 $ (164,974)

Net O pera.ting Disbursements No noperating Receipts: Contributio ns for bldg. improvs. (Note 4) Visito rs' contributions M embership appeal Other receipts and contributions Net ca fe receipts Net sales desk receipts T otal nonoperating receipts Nonoperating Disbursements: Membership appeal expense General building care Expenditures for building improvements To tal nonoperating disbursements

$ $

$ $ $

Net No noperating Receipts Tota l cash receipts in excess of disbursements Transfer to building improvements fun d (No tes 1and4) Total cash receipts in excess of disbursements, net of transfer

The accompanying notes are an integral part of these financial statements . 89

675,567 5 18,953 2,968 $ 1,197,488

745,458 5 16,68 1 66,682 $ 1,328,821

199,727 225,493 165,658 22,383 22,73 1 35,8 45 67 1,837

500,176 394,922 106,662 80,8 46 70,718 44,701 41 ,680 32,890 22,948 18,567 21,376 5,000 4,920 $ 1,345,406 $ (147,9 18) $

72,097 $ 15,725 36,647 $ 124,469 547,368 $ 38 2,394 $ (224,070) 158,324 $

197,452 126,445 16, 173 26,381 33,774 400,225 42,823 17,979 8,037 68,839 33 1,386 183,468 (79,899) 103,569

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Statements of Changes in Fund Balances for the Years Ended December 31 , 1985and1984

Ba lance, December 31, 1983 Total cash receipts in excess of disbursements, net of tra nsfer Net realized ga in on investments (Note 1) Maintenance and deprecia tion allocation (Note 1) Building imp rovements allocation (Note4 ) Transfer to building improvements (Note 4) Transfer to maintenance and depreciatio n (Note3 ) Balance, December 31, 198 4 Total cash receipts in excess of disbursements, net of transfer Net rea lized gain on investments (Notel ) Maintenance and depreciatio n allocation (Note 1) Building improvements allocation (Note 4) Transfer to building improvements excess from cash receipts over disbursements (Notes 1 and 4) Balance, December 31, 1985

OQerating $558,346 103,569

Genera l $17,397,523

Maintenance and DeQreciation $ 914,141

Building lmQrovements $ 15 ,500

484,017

484,017 (17,979)

17,979

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8,037

79,899

$ 87,362

$19,552,995

687,93 1

(687,93 1) $17,881,5 40

$1,58 4,093

15 8,324

15 8,3 24

1,468,20 1

1,468,20 1 (15,725 )

15,725

(36,647)

36,647

$210,696

Total $18,885,510 103,569

$19,349,741

$1,5 68,368

Th e accompanying notes are an integral part of these financia l statements.

224,070

$274,785

$2 1,403,590

Notes to Financial Statements December 31 , 1985 and 1984 1 Summary of Accounting Policies The Isabella Stewart Gardner Museum , Incorporated (Museum Corpo ratio n), the sole trustee under the w ill of Isabella Stewart Ga rdner, is the owner of the property which is located at 2 Palace Road, Boston, MA., and Mrs. Gardner's art collectio n contained therein. The more significant accounting policies of the Museum Corpora tio n not covered elsewhere in this report include the fo llow ing: A Basis of Presentatio n - The Museum Corporation prepares its financia l statements on a modi fi ed cash basis of accounting. Under this method, income and expenses are recognized when cash is received and pa id rather than when earned or incurred, except for federa l income taxes which are recognized when incurred. B Investments- The Museum Corporation carries investments at quoted ma rket price, less an allowance fo r unrea lized appreciatio n. No change in unrealized appreciation is recognized for financial statement purposes. H owever, th is information has been included below the Statement of Cash Receipts and Disbursements for purposes of additio nal analysis and is not a required part of the basic financial statements. Gains and losses from sa les of investments are calculated on the first-in, first-out basis. C Museum Property-Museum property is stated at appraised values established o n December 24, 1936. Additions made subsequently are stated at cost. The Museum Corpora tio n has consistently followed the practice of charging reno vatio ns to expense rather than providing for depreciation o f Museum property, except for the cafe and piano, which are being dep re~ i a ted over their estimated useful lives. Allocations to the M a intenance and Dep reciatio n Fund are credited thereto when autho rized by the Trustees. D Federal Income Taxes- Under the Interna l Revenue Code, the Museum Corporation is classified as a private o perating foundation, and, accordingly, required to pay a tax o f2 % on net " investment income", as defin ed. The Museum has received a favorable determin atio n letter from the Internal Revenue Service regarding its request to change from private

foundation status to public fo undation status if certain conditio ns are met over a five year period commencing J anu ary 1, 1982. A public foundation is exempt fro m the 2% tax; however, the Museum has elected to continue to pay the tax during the five yea r period. If at the end of the determination period, the Museum qua lifies as a public fo undatio n, the taxes pa id plus interest w ill be refunded . E T ransfers to Building Improvements FundAmounts seg regated by vote o f the trustees for improvements to the Mu seu m building (See Note 4) a re shown in the accompanyi ng statements of cash receipts and disbursements as reductions in total cash receipts in excess o f disbursements, net o f transfer. F Certain 1984 balances have been reclassified for consistency with the 1985 presentatio n. 2 Employee Benefit Plans The Museum Corporation has a pension pla n, which covers substanti ally all full-time employees who meet certain age and employment requirements. The Museum Corporatio n's policy is to fund pensio n costs accrued. The pension expense includes amortization o f past service costs over 15 years. Pension expense was $20,672 in 1985 and $22,843 in 1984. 198 4 1985 ---Actuaria l present value of accumula ted plan benefits Vested Employees $350,804 $299,842 Non-Vested Employees 12,933 13,685 $364,489 $3 12,775 Net assets avail able for pl an benefits $712,775 $635,968 The weighted average assumed rate o f return used in determining the actu arial present value of accumulated plan benefits was 6.5% for 1985 and 1984. The Museum Corporation also has a deferred compensation plan for key Museum employees and makes supplementary annuity payments to former employees not included in the above pension plan. Costs charged to o perations in 1985 and 1984 for these items were $20,444 and $18,837 respectively.

3 Restriction on Operating Surplus The Trustees are directed under the will of Isabella Stewart Gardner to pay to certain designated hospitals any surplus of income which, in the o pinion of the Director and Trustees, will not be needed for the proper and reasonable maintenance of the Museum. These a mounts, if any, are payable at the end of successive fiv e-year periods, the next of which ends December 3 1, 1989. At December 31, 1984, the accumulated surplus for the fi ve yea r period then ended was transferred to the M aintenance and Depreciation Fund to prov ide fo r future Museum renovations. 4 Building Im provements Fund Balance Museum members are asked to donate fund s in addition to their annual fees to fin ance imp rovements to the Museum building. In 1985, $199,727 was contributed. The trustees have voted to segregate these funds and certain additional amo unts in a separate fund balance to be used specifically for Museum improvements. T ransfers to this fund in 1985 and 198 4 amounted to $224,070 and $79,899, respectively. Cash disbursements from this fund a mounted to $36,647 and $8,037, respectively.

To the Trustees of The Isabella Stewart Gardner Museum, Incorporated, Trustee Under the Will of Isabella Stewart Gardner: We have examined the statements o f net assets of The Isabella Stewart Gardner Museum, Incorporated (a Massachusetts corporation, not fo r profit), Trustee under the will o f Isabell a Stewart Gardner as of December 31, 1985 and 198 4, and the related statements of cash receipts and disbursements, changes in fund balances and changes in net assets fo r the yea rs then ended. Our examinations were made in accordance with generally accepted auditing sta nda rds and, acco rdingly, included such tests of the accou nting records and such other auditing procedures as we considered necessary in the circumsta nces, including confirm ation o f securities owned at December 31, 1985 and 198 4 by correspondence with the custodian. As described in Note 1, the fi nancial statements are prepared on a modified cash basis of accounting. Under this method, income and expenses are recognized when received or paid rather th an when ea rned o r incurred, except fo r federa l income taxes which are recognized when incurred. Accordingly , the accompanying financial statements are no r intended to present the financial position, results of operations and changes in net assets in conformi ty with generall y accepted accounting principles. In our opinion, the fin ancial statements referred to above present fairly rhe net assets of The Isabella Stewart Gardner Museum , Incorporated, Trustee Under rhe Wi ll of Isabell a Stewart Ga rdner as of December 31, 1985 and 1984, and the cash receipts and disbursements, and rhe changes in irs ner assets and fund balances for the years then ended, on the basis of accounting described in Note 1, applied on a consistent basis. Arthur Andersen & Co. Februa ry 7, 1986.

Trustees The Isabell a Stewart Ga rdner Museum , Incorporated, Sole Trustee under the will of Isabell a Stewa rt Gardner

President M alcolm D. Perkins Vice-President and Treasurer john L. Gardner Secretary James L. Terry

Advisory Committee

Chairman Mrs. Gordon F. Kingsley Mr. Mr. Mr. Mr.

Gordon F. Kingsley and Mrs. Arnold Hi att and Mrs. Willi am Poorvu and Mrs. Roger Wellington

Ell iot Forbes M ason H ammond Francis W . Hatch, Jr. James Lawrence

Staff:Âˇ

Administration

Maintenance

Director Rollin va n N. H adl ey

Supervisor of Buildings John F. Niland

Assistant Director Linda V. H ewitt

Maintenance Foreman John Colleran

Curator Kristin A. M o rtimer

Shop Technician Mi chael Finnerry

Archivist/Administrative A ssistant Susa n Sinclair

Bal Moka nd Kapur Patrick Naughron

Administrative Assistant H ope Mel. Cool idge

Security

Assistant Curator Karen E. H aas Membership Coordinator AmyH. Eshoo Secretary to the Director Sylvia Yount Photographer Greg H eins Director of Music Johanna Giwosky Docents M a rie L. Diamond Judith E. H anhisa lo Ada Logan Lois Starkey . H enry Augustine Tate Carole Ta ynton Sales Desk Manager El izabeth Brill Sales Desk Assistant J ill Abatemarco Printer Michael Conroy

Conservation Chief Conservator j ack Soultanian Conservator of Paper Caroline Graboys Conservator of Textiles M a rjorie R. Bullock Assistant Conservator of Textiles Betsy F. Gould

Chief of Security Lyle Grindle Security Foremen Charl es Heidorn David Moss W atch El aine Dell ande Robert French James Ha rtm an Philip Ril ey Pieter Va nderbeck Karen Winter Th omas Z ucker-Scharff Guards Robert Brackett Katherine Ca ldwell Marc Chabot Pa ul Daley Thomas Fahey Dennis Fitzgerald David Glass Timoth y Gosnell James H aley Alfred Hazoury Kenneth Kelly Richa rd Lehmann Dana Lirrle Roberta Miller Naomi Palmer Bradley Perm ar Mark Peterson Joseph Rajun as Dona ld Saaf Mi chael Shea Harriet T ay lo r Louis Yachetta

Assistant, Textiles Lisa Lesniak Ada Loga n M ary Ford Kingsley, chairm an of rhe Advisory Committee.

â&#x20AC;˘ On regu lar dury 3 1 December 1985

Gardening Head Gardener Robert M. M acKenzie Gardeners Stanley Koza k Cha rles P. Healy, Jr. Joseph F. Kia rsis

Cafe Cafe Supervisor Lois McKitchen Conroy Assistant Cafe Supervisor Suzanne La Rocca

Calla lilies in the Museum's entry at the New England Flower Show.

Museum Office 2 Palace Road Boston, Massachusetts

02115