Fenway Court: 1988 by Isabella Stewart Gardner Museum

Fenway Court

Fenway Court 1988

Isabella Stewart Gardner Museum

Published by the Tru tees of the Isa bella Stewart Gardner Museum, Incorporated 2 Palace Road Boston, Ma sachusetts Copyright 1989 Photographs by Greg H eins Printed by Meriden-Stinehour Press Designed by Christopher Kuntze

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l a and b Impost block, Ravenn a o r surroundings, mid-six th century, limestone, Inv. No. S12n3, Isabell a Stewa rt Ga rdner Museum (shown in o rigin al o rientatio n).

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or,1t1on make 1t dear thJt 1t 'tern' from the 1:-arl) B) 1ant1ne world of the ea~tern and central 1\.led1terranean. ft, decora non -J cro~' flanked b~ half .1canthu' lea'e' - ''a~ commonh. u,ed 1n the hfrh .rnd '''th cenrune~ aro'und the 'hore~ of the B,1 lbn pe111mula -from on,CJnrinople through The~'alo111k1, t\then,, and onnth-and Ill the northern dn .ltl at Ra enna Jnd R1m1I11 1n nc,rtheJ~t ern ft,11>. porJd1c o currence' 1..an be found e\ en farther Jhcld-p.1rt1LL1larl} Ill "a !\ I Ill Or. Tiiroughout 1t areJ of d1ffu~1on, the 1..ro,~-and-half-J1..Jnrhm-le,1f 1..hem~ 1 1mpo~t blo1..b "1th a h1 •hly ~tandarJ11eJ Je1..oratl\ e approach. In all 1...1~e , O\ erlapplllg form~ are a' 01JeJ; the

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cun lllg polllt of the lea' e' 'pre.1J out in the plane and pre ~ up agJlll~t ~urrounJ lllg border co reare negarn e parcerm chat are a 1mporrant a the leaf form~ chem,eh e,.

Jr might be n t d th at impl ge mernc relation hip apparentl y govern the expan ion of th e impo t blo k; allowing fo r the roughne of thi kind fa r hitectural work, the narrow end i enlarged fro m to 5 module while the long ide i expanded from 3 to 7 module . The dim nion , therefore, may n t have been di rated entirely by th e dimen ion of the building for which it wa made. The Gardner Mu eum 's impo r bl ock lacks a provenance, but it form and dee-

Mr,. ardner' arra hment ro Ital} ugge r that the pie e "a purd1a,ed at the we~tern end of the imp< 't blo k · normal range, and a do~1..r e-.amlllJt1on make 1t po 1ble to confirm th1 hyp the 1 anJ ro date the block 111 the mid- 1xth centuf}. Tiie ~pec1al treatmenr f the acanthu leJ\e make 1t likeh chat the ardner 1mpo t blo k "a mad~ b a to ne an•er a nve 111 the n rrhern dn' ti -p r babl · ne ba ed Ill R ~I\ enna. Tiie leave have been t} lizeJ 111ro a gr up f I ng, ick le-like p 111r , and eJch half leaf 1 rganized into rw I be ; the ma iler lower I be 1 a nghtl) ) mmetnal three-po111 r group rhru nng up belo" the arm of the ro wh ile the upper I b gr up of fi e p int . The i aI p int ur e down to th e lobe belo" , reach in towa rd the ro an d pre aga in t th e upper border of th e blo k. Tiii nvo-lobed arra ngement i fami lia r a Imo t excl u i ely fr m the imp t blo k f Ravenna. The impo t blo k in the ga l-

2 Compos ite capital and im post block, San Vitale, Ravenna. Drawi ng fro m Deichmann, Ravenna, II : Kommentar, 2 (below, note 3 ), fig. 26.

leries of San Vitale (fi g. 2) have this design,3 as does the nea rl y identica l impost block stemming fro m the destroyed church of Sant' Agata re-erected in the courtyard of Palazzo Rasponi delle Teste at Ravenna (fig. 3).4 Th e architectural marbles of San Vitale a re datable between A.D . 537 and 544. 5 Several oth er impost blocks in Ravenn a and its neighborhood have aca nthus leaves with two lobes, but the lea ves are less massive and prickly. O ne of the fin er examples of this second group is pa rt of an ionic impost capital in the M useo Nazionale in Ravenn a (fig. 4).6 Closely related pieces a re p reserved in th e sa me museum ,7 and in the abbey church of Pomposa. 8 An impost block incorporated in a medieva l constructi on attached to th e outer wa ll of San Vitale (fi g. 5) also has two-lobed acanthus lea ves.9 The leaves on these impost blocks, however, almost invari abl y have upper lo bes w ith only three points. 10 In the "San Vitale-Ga rdner group," the upper lobes have fo ur o r mo re po ints. All members of the second group w ith less massive upper lobes have been dated to the second half of the sixth century-a chronology th at seems justified by the very simplified for m of ioni c capital that the impost surmounts. 1 1 The piece on the exterior of San Vitale (fig. 5) could be a mong the latest, perhaps dating from cl ose to A.D . 600; its rough and empty look reca lls the latest sarcoph agi at Ravenna 12 and impost blocks tha t have been dated to the sixth or seventh centuries. 13 It seems pro bable that the pieces in the Ga rdner M useum and Palazzo Rasponi delle Teste are -like San Vitale somewhat earlier: perhaps from the 540's or shortl y therea fter.

3 Impost block, mid-sixth century, Pa lazzo Raspo ni delle Teste, Ravenna.

4 Ionic impost capital, Museo Nazionale, Raven na.

Whi le the two- lobed aca nthus lea f on impost blocks is well-known from Ravenna, it is not a design th at was limited exclusively to Ravenn a and the workshops based there. The impost blocks with this 8

5 Impost bl ck, la te 1xth century, reused in an Virale, Raven na .

6 Capital and impo r block from a window pier, econd half of the six th century, Corinth Museum.

Two-lobed acanthu lea e are a l o u ed o n impo t block at orinth in outhern reece; the b t pre erved exampl part of a window pier w ith a very imple fo lia te capita l, ha leave wi th on ly two lobe of three point each -the typica l cheme of th e econd ha lf of the i th century at Raven na (fig . 4 and 5 ). 16 t Corinth the de ign may a l o have been imported from o n tantinople initia ll y, but there roo it made it elf a t home路 the execution of most orinthian piece i clearl y local. While the ba ic de ign of th e Gardner Mu eum impost block ha conne tion with Consta ntinop le a nd Co rinth , it seems clea r that the block it elf wa carved in the northern Ad riatic. o n lu -

7 Impost block, third quarter of the fifth century, Museo Civico, Rirnini .

sive for the attribution of the Gardner piece to Ravenna is the material used: not marble but li mestone. 17 Limestone-perhaps from !stria, according to Olivieri Fario li-is the materia l of the impost in Palazzo R as po ni delle Teste in Ravenna (fig. 3), and limesto ne was also employed for an impost bl ock of the third quarter of th e fifth century in Rimini (fig. 7). 18 Tn the time of the Ostrogothic king Theoderic (A.D. 493-526), limestone p layed a role in the architecture of Ravenna that ca nno t be paralleled in o ther centers w here Constantinopolitan decoration was generally avai lab le. The material was used bo th for the ambo of the Arian cathedral, now Santo Spirito, 19 and for the mausoleum of Theoderic himself. 20 In both of th ese projects, it has been identi fi ed by Deichmann as Istrian limesto ne. On analogy, it seems likely that the Museum 's impost block is also Isrrian sto ne, since it has fine pores, as does the material described by Deichmann. An additiona l feature that tends to connect it to Ravenna is the a bsence of a plain band at the base of the block. Such a band or lower plate raises the decorated field above th e abacus of th e capital and is a feature of most Constantinopolitan and Corinthi an impost blocks (for example, fig. 2).2 1 The impost block on the ex-

terior of San Vitale (fig. 5 ), o n the other hand, also lacks a lower plate, and this block too seems likely to be local work; the vegetal forms are extremely stylized and distorted by Constantinopo litan standards, and its low relief and tooled surface closely resemble modest sixth-century sarcophagi in Ravenna. 22 It may even be ca rved of limesto ne, judging by its porous appea rance. Another group of impost blocks in Santo Spirito lacks lower pl ates; these blocks might be th e products of a no rth Itali an workshop, like the rest of the marblework in the ea rl y-sixthcentury church. 23 To be sure, the Museum's impost block is not identical with the typologically similar pieces in Ravenna, and its idiosyncracies give it a distinctive place in the decorati ve sculpture of th at city. The cross, for example, has a central disc that is much more pronounced th an at San Vitale or Palazzo Rasponi delle Teste (figs. 2, 3), and o n the reverse face of the block the central disc has an inscribed circle. Just this embellishment ca n be found o n the ionic impost cap ital in the Museo Nazionale at Ravenna (fig. 4). The ca rving is extremely deep on the front of the Gardner block, where the background is recessed a full 2 cm. (on the block's opposite face, the background is set back o nly

0.8 cm. ). Th e ioni c impost capital in th e Museo N azionale, however, also has emphatic relief, and the monograms on the lids of some sa rcoph agi at Ravenn a stand o ut with equ al strength. 24 An apparently unprecedented feature is th e way the cross and the leaves overlap the upper border of th e sloping fi eld. The aca nthus leaves of the Gardner piece, moreover, have lost the broad substance of the San Vitale or Palazzo Rasponi delle Teste impost blocks; as a result the long, sicklelike points seem to cling to th e edges of the block. Much the same effect appears in the impost blocks reused on the exterior of San Vitale (fi g. 5), and , as noted above, the latter is probably also the work of a loca l atelier. Most remarkable is the exceptio nally anti-naturalistic trea tment of foliage o n the Gardner Museum block ; to a degree that is unusual in sixth -century Ravenn a or Constantinople, the leaves have patterns of lo bes and veins th at emph asize surface pattern over natural growth . In each leaf, a point of the upper lo be curls down to touch a point of the lower lobe in a pincer-like arrangement. Norm ally in Ravenna- or for that matter, Constantinople-foliage grows outward and upward. In another, even more ino rganic, variation from stand ard practice, veins do not rise up from the ground-line. A vein from the innermost po int curves around into the upright of the cross, and a vein from the next point curves around to the center of the cross's lower end, forming a pattern of concentric arcs. Small triangular hollows appear at the base of the inner po ints and at the foot of the cross, detaching the for ms from their natural connection with the base.

8 Corinthi anizing colonnette, sixth century, Museo Nazionale, Ravenna. Drawing by Yvonne M arkow itz.

the capital, curving instead from point to po int, and a triangul ar ho llow detaches th e lobes from th e central stem. Because of these stylizations, O li vieri Fario li has proposed a date in the seventh o r eigh th century for th e capita l, but such decorati ve variations are probably possible in the fifth and sixth centuries as wel l. The Gardner impost block, in any case, seems too firml y anchored in the sixth century for such a late chronology. It is not clear whether the co lonnette capit31 in the Museo Naziona le was imported fully fini shed from Constantinople or wa carved loca lly in impo rted marble. Similar corinthianizi ng colonnettes have been discovered in a shipwrecked ca rgo of marble products exported from sculptor ' workshops in the Proconn esus or Constantin ople and excavated from the sea bed off Marzamemi in Sicily, 26 and a piece th at is almost identica l to those

A similar decorative and inorganic approach appears in a marble corinthianizing colonnette in the Museo Nazionale at Ravenna (fig. 8).25 The veins of the acanthus leaves are cut off from th e base of

fro m M a rza memi appea r in the Mu eo Naziona le at Ravenna. 27 The unusual decora ti ve ty lizations of th e fi rst colo nnette (fig. 8) are, in fact, para lleled in a splendid impost block of the ea rl y sixth century in the Museo azionale in Rave nna, which has been attributed to Constantinople by Deichm ann ; o n the side (th ough no t on the front ) veins curve aro und into adj o ining forms in concentri c arcs. 28 All in all, it seems most prudent to consider the co lonnette capita l (fi g. 8) an impo rted piece. The decorati ve variatio ns on orga nic form s seen in the Gardner impost block, then, wo uld appea r to have precedent , if not actua l inspiration, in piece imported from rhe Proconnesus. Thi kind of stylizati on, it should be no ted, i not limited to Ravenna or to Con ta ntinopolitan expo rtation to the city. A imil a r phenomenon is wide pread in south ern G reece. The pier capital in Corinth is a typica l exa mple (fig. 6); as in the Ga rdner Museum impost block, veins curve from the innermo t po ints of the leaves into the upright of th e cross, and in additio n, vei ns swing from point to point with in th e leaves themselves. In anoth er more fragmenta ry version of th e compos itio n also in orinth (fi g. 9 ),29 the poi nts of adjo ining lo bes bend toward one another like pincers, just as in the Gardner piece; the sty lizatio ns are simil ar enough to make Corinthian influence on the Gardner block very likely.30 The carver may even have been a migrant fro m o uthern Greece. The deviati on fro m standard Ravenn ate, or even Corinthian, practice in the Gardner impost block make it necessary to leave open th e p ossibility that the block was carved at a certain distance from Ravenn a itself-whether elsewhere in the Po delta or o n the northern or eastern Adriatic coast. Stylizations also appear in the impost fro m Rimini (fig. 7); the upper lobes of leaves attach themselves to the

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upper border of th e impost. Two impost block in Verona, it might be no ted , a re very similar to the one in Rimini and a re probably by th e ame wo rksho p.3 1 The ana logies between the Ga rdner and th e Corinthi an pieces might inclin e o ne to favo r a southern and eastern origin for the Ga rdner impost bl ock-even though firm point of reference are a pparentl y miss ing on the Dalmati an coast.

Importation and Local Work at Ravenna In his comprehensive presentatio n of the a rtistic culture of Ea rl y hristi an/Ea rl y Byza ntine R avenna , Deichmann has brought o ut th e dominant role th at Contantinople a nd its quarries on the island of Proconnesus pl ayed in the rea lm of marblework at Ravenn a. Whether in sa rcophagi, liturgical furnishings or architectural sculpture, Ravenna i essenti ally a provincia l outpost of Constantinopolitan style in the fifth and sixth centuries. 32 Essentially all of the marble used in Ravenna at this time was quarried in the Proconnesus, and most of the basic types and stylistic concepts ca n be traced back to Constantinople. While much of this architectural ornament and church furniture was imported entirely prefabricated from the Proconnesus, it is likely that at other times carvers trained in Constantinople came with cargoes of marble to

9 Ionic impost capital, midsixth century, Co rin th Museum .

10 Side view of fig. 1.

the northern Adri atic city. Surely some of the sa rcophagi, church fittings and architectural marbles were carved in workshops firml y based in Ravenna itself, but Deichmann frequently notes how difficult it is to determine the extent of this loca l activity. Olivieri Farioli, who experienced the sa me difficulties in assessing the Ravenn ate contribution, is inclined to attribute work that is more schematic and impoverished to local workshops. 33 Impost blocks seem to demonstrate much the sa me kind of dependency that every other category o f marblework does. For Deichmann , the impost blocks of Ravenna are Aegean in inspiration, and carvers fro m Constantinople could well have been responsible for the execution of most of the surviving pieces. Impost blocks made of loca l stone ra ther than imported Proconnesian marble, however, are surely the products of locally-based carvers, and they can help to establish a picture of what these workmen were capable. It does seem clea r that such local craftsmen basica lly reproduced imported models; the limestone impost block in Palazzo Rasponi delle Teste (fig. 3) is essentially a copy of the design in San Vitale (fig. 2). M odels, however, can be interpreted in livelier and more stylized terms. The Rimini-Verona group (fig. 7) is a more exuberant reflection of fifth-century

Constantinopolitan designs, and unexpected inorganic details emerge (for example, th e adhesion of the upper lobe to the upper border).34 The Gardner M useum impost block (fig. 1) has a different, Corinthian source, and its stylizationsparticularly its " detached " fo li age - are even more anti-natural than th ose known from Corinth . Some para llels for the va riations can be fo und in Consta ntinopolitan work in Ravenna itself, as in the colonnette in the M useo Nazionale (fig. 8), but the Gardner piece is an independent synthesis. The Gardner impost block, then, adds precious new evidence both for a new source of influence and for a relatively independent side to stone carving fo r architectural purposes in Ravenna or in the upper Adriatic more genera lly.

A Reconstruction of the Impost Block's Setting The slots in the sides of the Gardner Museum piece (fig. 10) are unusual and puzzling fea tures, and they ra ise the question of how the block was installed in its earlier history. The slots or channels are cut vertically, being 4-4.5 cm. wide, 8.5 cm. deep at their upper end and 1 cm. deep below. They indicate th at panels of some sort projected out from the block's sides. The best explanation for this arra ngement is provided by multiple win-

dows separated by stone or marble piers o r columns (which often ca rried impost blocks); wooden w indow frames holding glass panels usuall y fl anked these stone supporting and dividing elements. Severa l such windows survive in the mid-sixthcentury church of the Panagia Katapoliani on the Greek island of Paros (fi g. 11 ),35 and others are preserved in Early Christian churches in Rome, Ravenna, Grado and Thessaloniki. 3 6 It might be noted th at the window fram es used in Early Christi an Ravenna were light wooden structures supporting sma ll rectangular panes of glass hardly different fro m th e modern glazing in the church on Paros. 37 In Early Ch ristian or Early Byza ntine times, window frames were not no rma lly set into slots; in the most common arra ngement, the wooden fram es abutted uno rnamented bands running up th e side of a base, column , pier, capital or impost block.38 The impost block in Rimini o ffers an exa mple of this standard arrangement (fi g. 7); o n each side the rich decoration is interrupted by a plain ve rti ca l band where the impost was abutted by the w indow frame. On the other hand, slots we re occas io nally used to fix windows in place. Such slots are found most often in the capitals of colonnaded wi ndows. Chan neled capita ls -usually co rinthi an or corinthi ani zing - can be fo und th ro ugho ut the Byza ntine sphere o f influence. Th ey appea r in a fifth century bath (fig. 12) and in a church of aro und A.D . 500 at M eriamlik on th e south coast ofTurkey, 39 and in the nearby six th-century church of Alahan Ki lisse, where the slotted capitals still stand in their original w indow. 40 An exa mple from the fourth century exists in Jerusa lem 4 1 and another from the fifth o r sixth century in Ca iro .42 An ionic capital in Rome data ble to the fourth century has slotted bo lsters, 43 and a Justinianic impost capital in Italy has channels in its

44 sides. Another slotted window support appea rs in the Gardner Museum itself; a stocky colonnette made o f stronglyveined Proconnesian marble has channels cut in two opposing sides o f both its corinthianizing capita l and its Attic base (figs. 13a and b). 4 5 T he aca nthus decoration makes it cl ea r that the colonnette dates fro m the fifth o r six th centuries and was carved in the Proconnesus o r in Constantinople.

Impost blocks w ith channeled sides are rath er rare, but examples ca n be foundusually with slots less deep th an those of the Gardner Museum impost block. An impost block of the second half of the fifth centu ry reused in a theological school at Sivas, Turkey, shows this ar14

11 Colo nnaded window, mid-six th century, south transept, Panagia Katapoliani, Paros, Greece.

th at of the Sivas piece (fi g. 15).4 7 The most illumin ating exa mpl e of thi kind of slo tted impost block a re th ose in th e entry po rtico of th e Panagia Ka tapo li a ni , where th ey remain in their o rigina l sixth century context (fi g. 16).48 At o ne time the po rtico was clea rl y shut o ff fro m th e o utside with w indo ws and a centra l door. Th e chann els a re cut into the upper edges of th e impost blocks (which here fun cti o n as th e capita ls of piers) so th e wooden fra mewo rk could rise verti ca ll y into th e so ffit o f the a rch.

12 Window capita l, fifth century, bath at Meria rnlik , Turkey. Drawing from Herzfeld and Gu yer (below, note 39), fig. 83.

The ev idence of the Katapo lia ni portico uggest th at th e depth o f the channels in an impo t bl ock is determined by th e et back a bove it; in o th er words, th e distance between the inner edges of the slot i determined by th e foo t of th e a rches ca rried by the block. Evidentl y, th e foo t of the a rch surmounting the Ga rdner Museum impost block was very na rrow, since th e distance between its channels was a mere 19.3 cm. ; the foo t of the a rch was even narro wer th an the lower w idth of the impost block (21.4 cm. ). There i an illogica l element to this situ atio n; the who le purpose of an impo t, a no ted above, wa to expand the surface of upport for the foot of an arch , but here, if these deep slots are a guide, the lateral expansion of the impost block was entirely for ornamen ta l effect.

ra ngement (fig. 14).4 6 The richly decorated block was clearly intended to stand in a window since it has an undecorated vertical band in the middle of its long side that a window frame cou ld have abutted . The slot cut into the upper p art of the band presuma bl y served to fas ten the frame where it rose upward into the original archway. An undecorated impost block in the so-ca lled Bishop 's Palace at Aph rodisias also has a slot in it much like

This anoma ly of th e Gardner Museum impost block can be explained in part by further consideration of the slo tted Early Byzantine colonnette in the same co llection (figs. 13a and b). The dimensions of the lower urface of the impost block fit the upper surface of the colonnette almost perfectly. The slots line up nea rl y to the millimeter. 49 The w idth of the channels is essentially the same. In fact, the unusual channels in the two pieces fit together so well that they must have been created together; the Gardner Museum impost block must o nce have surmounted this

13a Corinthianizing colonnette, Con tantino po litan, fifth or six th century, Proconnesian ma rble, Inv. No . S1 2w21, West Clo ister, Isabella Stewa rt Ga rdner Museum .

13 b Deta il o f side o f fi g. 13a.

14 Impost block, second half o f the fifth century, M edresesi Muza fer Barucirdi, Sivas, Turkey.

15 Impost block, fifth or sixth century, so-ca lled Bishop's Palace, Aphrodisias, Turkey.

16 Entry po rtico, mid-sixth century, Panagia Katapoliani, Paros, Greece.

neighboring colonnette (fig. 17a). The co lonnette and the Renaissance lion50 now mounted on it were purchased together as a unit in Venice from the dealer Francesco Dorigo in 1899. While no mention is made of the impost block in old acquisition records of the Museum, it must have come from the sa me source. Since Dorigo united the lion with the colonnette, it is likely that he separated th e impost block from it Identification of the original support for the Gardner Museum impost block helps to explain the deep slots in its sides. The vertical alignment of the channels was established by the diameter of the Muse-

urn 's colonnette. T he association of the two pieces also makes possi ble a reconstruction of how they might have been installed in a window -pres umably that of a church (fig. 17a). The question remains, however, if the channels fo r the wooden frames were cut when the Ga rdner M useum impost block was first created. As noted above, the deep slots make the block's lateral expansion illogical fro m a fun ctional po int of view. Furthermore, Ea rl y Christian impost blocks carrying a pair of arches with a very narrow foo t were usually given vertica l sides to accommodate the uprights of the window frames and to make deep channels unnecessa ry. Sixth-centu ry exa mples of these vertica l-sided window imposts survive in the Panagia Katapoliani (fi g. 11 ) and in Sta. M ari a delle Grazie at Grado on the no rthern Adriati c coast of ltaly.5 1 Thus, if the Gardner Museum impost block had been conceived fro m the beginn ing to carry arches w ith such a narrow foot, its base sho uld have been made two or three centimeters narrower and its sides should have been made vertical to avoid the channels that emerge in the upper surface of the capital. It therefore seems likely that the block was first made to ca rry a pair of arches with a wide foot and th at no accommodation was planned fo r glazing (fig. 17b). Only in a second ph ase did the block (and its colonnette) carry a pair of arches with an elega ntly narrow foot,

and onl y at th at time was glazing added (fi g. 17a). Phys ica l evidence tends to support the idea that the channels in th e sides of the two Gardner Museum architectural members were carved after the pieces were first created. Du ring an exa min atio n under ultra-violet light conducted by Barbara Mangum, the Museum 's o bjects conserva to r, the channels in th e cap ital of th e colonnette appea red to have been created after the necking ring, the leaves and o ne corner of the capital had been damaged. No di crepancies appeared between the surface of the impost block and its channels, but this ho mogeneity cannot in itself prove that the slo ts were no t cut somewha t later. The colo nnette, it is true, might have been made fifty o r a hundred yea rs ea rlier th an the impost block (as, indeed, seems likely o n the basis of its style), but it seems mo re pro ba ble that the damage to the colonnette reflects a moment when the impost block and the co lonnette were dismo unted fro m their positi on togeth er in a first window before being reused in another window of somewhat different design. Finally, it might be mentio ned th at the decorated face of the impost block now turned to the wall has an indentatio n at the top that extends into and obliterates the upper part of the cross (8 cm. wide, 1.5 cm. deep). While somewhat shallower, this intrusion resembles the chan-

1 ?a Reconstruction of the Gard ner Museum co lon nette and impost block in a window (second phase). Drawing by Yvon ne Markowitz and John Herrmann.

1 ?b Reconstruction of the Ga rdner Museum colonnerre and impost block in a window (fi rst phase). Drawing by Yvonne M arkowi tz and John H errma nn.

nels in some of the impost blocks examined above (fi gs. 14-1 6). It clearly reflects an ancient adaptation o f the block, but its purpose is uncertain. The Gardner Museum colonnette lacks any corresponding slots in its rea r face.

to some degree tentative. In any case, enough ca n be glea ned fro m the oth er cuttings to ma ke it clea r th at the block belonged to one of the most ornate Ea rl y Byzantine window suppo rts known fro m the upper Adriati c.

Since this fun ctional cutting remains unexplained, the reconstruction of th e impost block's use must be considered

j ohn ]. Herrmann, Jr.

1 The paga n precurso r th at comes closest to Ea rl y Christia n solutio ns is th e forica (latrine) o f the West Bath s at Cos; see L. M o rri co ne, "Scavi e ricerche a Coo," Bollettino d'arte, 35, 1950, 23 1-233, fi gs. 5 1, 55; F. W. D eichmann , Studien zur A rchitektur Konstantino-

pels in fiin ften und sechsten j ahrhunderten nach Christus (Deutsche Beitrage zur Altertumswissenscha ft, 4 ), Baden-Baden, 195 6, 142; J. H errm ann , Studies in Ravennate Impost Blocks, unpublished M.A . th es is, New York Universiry, 1964, 24-25 , pl. 15, a, b ;

idem , The Ionic Capital in Late Antique Rom e, Ro me, 1988, 176. 2 Inv. o. S12n3, provenance unknown. An entry in the Museum 's Inventory and Notes states th at E. 0. C hristi ansen (ass ist ant director, 1937- 3 1) sa id it was a modern imitation of th e N o rth Italia n sryle o f the ninth to eleventh centuries beca use o f its "sharp lines and rather slovenly carving." 3 A. Colasa nti, L'arte bizantina in Italia, Milan, 1923, pl. 4 6, upper left; R. Oli vieri Farioli , Corpus della scultura paleocristiana, bizantina ed altom edioevale di Ravenna III, La scultura architettonica, Ro me, 1969, fi g. 3 8; Deichmann , Ravenna, Hauptstadt des

spdtantiken Abendlandes, II : Kommentar, 2, Wiesbaden, 1976, 100, fi g. 26; o n the G reek monogram s o n the imposts, see ibid ., 206ff. 4 Olivieri Fario li, Corpus III, no. 188, fi g. 157. 5 Deichmann, Ravenna, Hauptstadt des

spdtantiken Abendlandes, I: Geschichte und Monumente, Wiesbaden, 1969, 226-227; Deichmann, Ravenna , II: Kommentar, 2, 10, 229-230.

6 O li vieri Farioli, Corpus III, no. 63, fig. 62. 7 O livieri Fa rio li, Corpus lll, nos. 64-67. 8 C. Erra rd and A. Gayer, L'art byzantin

d'apres !es monuments de l'ltalie, de /'Istrie e de la Dalmatie, III, Paris, 1911, p l. 9; M. Salmi , L'abbazia di Pomposa, Rome, 1936, fi gs. 45 , 168; H errm ann , Studies in Ravennate Impost Blocks, 38- 39, pis. 27, 28 b. 9 Apparentl y unpubli shed . The p iece was inserted as a bracket below a fo ur-lobed colo nnette in conn ecti o n with the now-vanished medieval porta l. For the locatio n, see F. W. Deichm ann , Friihchristliche Bauten und Mosaiken von Ravenna, Baden-Baden, 1958, pl. 282. A so mewhat si m ilar piece was reused in th e bell towe r of SS. G iova nn i e Pao lo: see M. M azzoni, " La Basilica dei SS. G iova nn i e Paolo in Ravenn a," Corsi di cultura sul/'arte ravennate e bizantina, 1971, 363, 365. 10 The lo wer lo be o f th e best Museo N az io na le piece has four po ints (fi g. 4 ). ln a piece in the ca mpanil e of San Fra ncesco, which may be a fragment of an io nic impost capital, o ne o f th e upper lo bes has fo ur po ints: Olivieri Fario li, Corpus III, no. 20 1, fi g. 169 . 11 The church of St. Jo hn at Ephesus might serve as a reference po int for the chrono logy o f such simplified io ni c impost capita ls; its ca pitals, which are data ble sho rtl y before the middl e o f the sixth centu ry, are fa r pla iner than top qualiry Constantino po litan pieces, but the ionic element is never atrophied to th e degree seen in this Museo N azionale-Pomposa group; Forschungen in Ephesos IV, 1951 , 121-133, pis. 3 0-33; o n th e date o f th e capitals, see also R. Krautheimer, Early Christian

and Byzantine Architecture, H armondswo rth , 1975, 257; B. Brenk et al., Spiitantike und friihes Christentum, Propylaen Kunstgeschichte, suppl. 1, 1977, 163, no . 122. 12 That of Archbishop Felix; see Deichmann,

Ravenna, I: Geschichte und Monumente, 86, fig. 175. 13 O livieri Fario li, Corpus III, 10, nos. 193196, fi gs. 162-165.

tribution o f th e impost blocks to Co nstantin op le); D eichm ann, Ravenna, II : Kommentar, 2, 208-209, fi g. 47 (monograms o n shafts). 24 See, fo r exa mple, two sarcop hagi in Sant' Apollinare in Classe: Deichmann, Ravenna, I: Geschichte und Monumente, figs. 148, 155. 25 Olivieri Farioli, Corpus III, no. 93, fi g. 92.

15 Deichmann, Ravenna, II : Kommentar, 2, 222-230.

26 G. Kapitan, "Elementi architettoni ci per una Bas il ica dal relitto navale del VI secolo di Marzamemi (Siracusa)," XX VII Corso di cultura sull'arte ravennate e bizantina, Ravenna, 1980, 94-95, fi gs. 14-15.

16 R. Scranton, Corinth, XVI: Mediaeval Architecture in the Central Area of Corinth,

27 Olivieri Farioli, Corpus 111, 49, no. 85, fig. 84.

Princeton, 1957, 113, no. 89, pl. 27, Inv. No. AM377. Several oth er damaged pieces must also have had two- lobed leaves: Scranton, nos. 71and96.

28 Olivieri Farioli, Corpus 111, no. 184 ; Deichmann, Ravenna, I: Geschichte und Monum ente, 68 , fig. 28; J.-P. Sodini, "Un chapitea u ' mix te' d 'epoq ue pa lfoc hretienn e a Delphes," H ommages Charles Delvoye, 1983, 330, note 25.

14 Deichm ann, Ravenna, II: Kommentar, 2, 206, tab le 1.

17 M ateri a l identifi ed most recently by Lorenzo Lazzarini. 18 P. Angiloni Martinelli, "Un ca pitello inedito de! Museo Civico di Rimini," Felix Ravenna, ser. 4 , nos. 5-6, 1973, 107-112, figs. 1-4. 19 Deichm ann, Ravenna, I: Geschichte und Monum ente, 226-227; ill. in Deichm ann, Bauten und Mosaik en, pl. 247. 20 Deichmann, Ravenna, I: Geschichte und Monumente, 213. 21 An unu sual and probably ea rl y group of impost blocks decorated with pa lmettes in th e ga rd en o f H agia Sophi a and in the neighborhood o f th e Archaeological Museum seems to present th e onl y exa mpl es without lowe r p lates in Istanbul. 22 The closest co mparison is with the exceptionally low relief and tooled surface of the sa rcophagus lid in the piazza in front of San Francesco: Deichmann, Ravenna, I: Geschichte und Monumente, 86, fig. 176. On th e transplantin g of this Consta ntin opo litan style to th e no rthern Adriatic, see Deichmann,

Ravenna, I: Geschichte und Monumente, 91-92. 23 Deichmann , Bauten und Mosaik en, pl. 248; Deichm ann, Ravenna, Hauptstadt des spiitantiken Abendlandes, II: Kommentar, 1, Wiesbaden, 1974, 249-250 (favoring an at-

29 Scranton, 113, no. 96, pl. 28, Inv. No. AM26. On the very stro ng and independent local tradition in so uth ern Greece, see Sodini, " Rema rques sur la sculpture architecturale d' Attique, de Beatie et du Peloponnese a l'epoq ue pa ifochretienne," Bulletin de correspondence hellenique, 101, 1977, 423-450 ; V. Deroche, "L'acanth e de I' Arc d'Hadrien et ses derives, " Bulletin de correspondence hel/enique, 111 , 1987, 425-453. 30 It is uncerta in how much influence the architectural sculptors of so uthern Greece had beyo nd th e borders of their own regio n in Earl y Christian tim es; see Sodini, " Remarques sur la sculpture a rchitecturale,'' 446-448. It seems clear o nl y th at semi -fini shed io ni c capita ls were exported to Ro me路 Herrmann The lonic Capital, 99-101, 125..'..126, fi gs. 1'33 _ 187, 244-252. 31 ln the cloister of S. Zeno and in the soca lled Chapel of S. Benedetto; A. K. Porter, Lombard Architecture, New Haven 1917 Ill 529, pl. 227, 1. The materia l is uns~ecified. ' 32 Deichm ann, Ravenna, I: Geschichte und Monumente, esp. 64, 70, 81, 91. See also O livieri Farioli, Corpus III, 9-10. 33 Olivieri Farioli, Corpus IJI, 10. 34 Angiloni Martinelli has justl y co mpared the Rimini piece to the io ni c impost capita ls 20

of th e Studio hurch in onstaminople (11 0, fig. 5). In unpublished piece in the Studio church, the imilar ity become even grea ter, including at least one case where a lobe of foliage ad here to rhe upper margin. The cro s i nor, however, united with the fo li age a in Rimini . 35 H . Jewell and F. Ha luck, The Church of Our Lady of the Hundred Gates (Panagia Hekatontapyliani) in Paras, London, 1920, figs. 35-37, 46 (befo re the reopeni ng of the upper wi ndow in th e so uth transept), pl . 4-6. On the church in ge nera l and its date, see R. Kau tzch, Kapitellstudien, Berlin and Leipzig, 1936, 180-181, pl. 36, no. 584; A. Orlandos, " La forme primitive de la cathedrale palfochreti enne de Paro ," Atti def VJ ongresso lnternazionale di Archeologia Cristiana, Ravenna, 1962 (Studi di antichita crisri a na, 26, 1965), 159ff.; Krautheimer, 267-268; C. Mango, Byzantine Architecture, New York, 1976, 86, fig. 123. 36 Deichma nn , Bauten und Mosaiken, pis. 281,285,287,3 11 ,333,377-378; Deichmann, Ravenna, I: Geschichte und Monumente, 56, fig. 23; Deichmann, Ravenna, II: Kommentar, l , 98-99, fig. 69; Deichmann, Ravenna, II : Kommentar, 2, 100-103, figs. 44-45; Deichmann, Ravenna, Hauptstadt des spiitantiken Abendlandes, ll ; Plananhang, Wiesbaden, 1976, plan 28; P. L. Zovano, Mosaici paleocristiani de/le Venezie, Udine, 1963, 152-154, figs. 157-158; R. F. Hoddinott, Early Byzantine Churches in Macedonia and Southern Serbia, Lo ndon, 1963, pl. 25, figs. 61, 66, 69; Krautheimer, 105, 132-135, 181,figs.51, 79-81, 133. 37 Deichmann, Ravenna, II : Kommentar, 2, 239-240, fi gs. 116-117. 38 For a comprehensive presentation of th ese arrangements, which were also used to fix doors in place, see Sodini, " Un chapireau ' mixte'," 328-334. 39 E. Herzfeld and S. Guyer, Monumenta Asiae Minoris Antiqua, II: Meriamlik und Korykos, Manchester, 1930, 75-76, 86, figs . 67-69, 83-84; A. O rl andos, l xylostegos palaiochristianiki vasiliki tis mesogeiakis lekanis, Athens, 1954, 11, fig. 390, 1. 40 G. Forsyth, "Architectural Notes on Ci licia," Dumbarton Oaks Papers l 1, 1957, 228- 233, fig. 30.

41 Mo nastery of Sr. Stephen: Ka urzsch, 106, pl. 20, no. 305; odini, "Un chapirea u 'mixre'," 33 1, dated to the la te fourth o r ea rl y fifth centu ry. The cap ital is generall y clas ica l enough to be pre- o nstantinia n. 42

optic Museum: Brenk, 249, pl. 276e.

43 ourtyard of Sta. Maria dell' Anima (second qu arter of the fourth centu ry): Herrm ann, The Ionic Capital, 94, fig. 170. 44 Fo rm erl y on rhe arr ma rker in Florence: Mostra m ercato internazionale antiquariato 10, 1977, 86; Sodini, " Un chap ireau ' mixre'," 334, pl. 35, fig. 9. 45 Inv. No. SJ2w21. In enrrie in the Mu eum' Inventory and Notes, it i a cribed ro twelfth-century Venice by A. Gold chmidr a nd E. 0. Christi a nsen. H. 11 8 cm.; malle t width of a bacus 21.1 cm.; di ranee between lots 19.4 cm.; width of slo t 3.5-4 .0 cm. A econd exa mple, In v. o. Sl2wl8, i nea rl y identica l but lack the la teral channels. 46 Deichmann, " Erge bni e einer kleina ia richen Reise," Archiiologischer Anzeiger, 53, 1938, 216, fig. 11 ; odini, "Un chapireau ' mixte'," 330, note 26. 47 The impost block seems to appear in K. Erim, Aphrodisias, City of Venus Aphrodite, New York and O xfo rd, 1989, 72, between th e first two columns at the left. The size and shape of the block seems to suit the column of the portico better tha n the rectangular pier for doors or wi ndows also found in the complex. Ir is not known if the channel is repeated o n th e opposi te face of th e block. 48 The original facade was uncovered abo ut 1960 and has been conjectura ll y attributed to a pre-justiniani c phase of the building; ee Orlandos, " La for me primitive," 166-167, fig . 8, 10. 49 The distance between the channel in th e lower surface of the impost block i 19.2 cm., in the upper surface of th e capital, 19.4 cm. 50 C. C. Vermeule III, W. Cahn and R. van N. Hadley, Sculpture in the Isabella tewart Gardner Museum, Boston, 1977, no. 156. Said to have come from the Palazzo Conrarini-Fasan (Casa Desdemona), Venice. 5 1 Zovatto, 152-154, figs. 157-158.

1 Well-head, Venetian, fi rst qua rter of the ninth century, grey limestone, 60 x 85 cm., Inv. No. SGc8, Monks Garden , Isa bella Stewa rt Gardner Museum.

An Early Venetian Well-Head in the Isabella Stewart Gardner Museum 1

2 The wel l-head in the garden at Fenway Court, ca . 1902.

3 The well-head in the shop of the antique dealer Rietti in the Palazzo Giustiniani, Venice, 1889.

Among the many Venetian wo rks of art in the Isabella Stewart Gardner Museum is a well-head that deserves more attention than it has hitherto received; 2 it is situated in the Monks Garden, just below the steps leading into the Chinese Loggia (fig. 1). Mrs. Gardner acqu ired it, together with other antiqu ities, during one of her last visits to Venice. The invoice, drawn up by th e renowned Venetian antique dea ler Moise dalla Torre & Co., bea rs th e date 23 August 1899. 3 The price of the well-head was 750 lire; it is described as a "pozzo bizantino antico (riparato)," that is, as an "o ld Byzantine well-head, repaired ." As Mrs. Gardner's biographer, Morris Carter, reported, "The business of these two months was the purchase of columns, capitals, ironwork and furniture" 4 in order to complete her museum at Fenway Court. From her biographer we also learn th at she collected works of art in a conscious attempt to design her house like a Venetian palazzo. So it is no surprise that she also included severa l wellheads in her collection .5 Early photographs (ca. 1902) indicate that she placed this one in its present location soon after the Museum was fini shed (fig. 2 ). The well-head was first mentioned by Ferdinando Ongania in his famous book Raccolta delle vere da pozzo, which appeared in 1889 (fig. 3).6 Ongania states that it originally came from the house of the Pegroni fam ily in Mira, a village near Venice. From Ongania we also learn that in 1889 the well-h ead was owned by the well-respected Venetian antique dealer Rietti. Ongania saw the original and got his information from Rietti so there is no doubt about the provenance of the M useum 's well-head. Later Rietti's firm was bought up by Moise dalla Torre from whom Mrs. Gardner acquired it in 1899. In the fo llowing decades the traces of the well-head were lost; Gino Voltolina illus-

trated it in his book o n Venetian wellheads, w hich was published in abo ut 198 1, reproducing the photo fro m O nga nia and labelling it "p resent whereabo uts unknown." 7 Th e cylindrical well-head is 60 cm. high and has a diameter of 85 cm. It is made of a grey limestone th at pro bably ca me fro m the qu arries of Aurisin a, a small village near T rieste in northern Italy. The stone fro m these quarries was used as materi al fo r many buildings and works of art during the Middle Ages. 8 A po rtion of its body has been restored ; otherwise the co ndition of the piece compares favora bly both with exa mples still in Venice and with those now located in other museums.9 The exterior is carved with decoration di vided into three distinct bands. The uppermost consists of two intertwined rows of oval-shaped wave-patterns o r guilloche, each made up of three stra nds. The middle zone is decorated with a lozenge pattern, which also contains three stra nds knotted at their adj oining parts. Another knotted, circular pattern is integrated into thi s lozenge pattern . The lowest and widest band is characterized by the most complex pattern : both between two knotted circles and within th e circles are two stylized and antithetically arranged vineleaves. The photo in Ongania shows clea rly that at the bottom of the wellhead there is a fo urth band decorated in nearly the sa me way as the band on the top. Unfo rtunately it is now invisible due to its present placement in a concrete base (see also fig. 2).

monuments in order to o btain a system that can allow us at least to ascertain approxim ate dates fo r these o bjects. 11 O ur firs t po int of reference is the ciborium of St. Eleucadius in Sant' Apollinare in Classe, Ravenn a. 12 Its date can be determined by an inscription, in which a certain Petrus presbyter states that he made this ciborium during the time of Archbishop Valerius, who presided fro m 806 to 816. 13 The archivolt of this cibo rium (fig. 4) is decorated in a fas hio n strikingly simila r to o ur well-head . In comparing the middle band of the wellhead with th e lowest one of the archivolt, one finds th at both are decorated with a circular and knotted pattern. Intertwined with these is another pattern in the form of simple lozenges on the well-head, and hexagons o n the archivolt. 14 The relatio n-

4 Ciborium o f St. Eleucad ius, ca. 806-8 16, Sant' Apollin are in Classe, Ravenna.

The structure and appearance of the decorative patterns of these three bands suggest an ea rly date. 10 H owever, it is no easy matter to date ea rly Venetian wellheads since neither inscriptions nor archival documents exist. Thus it is necessary to construct a relative chronology based on style comparisons with other dated 24

5 Sarcoph agus lid fro m the Monastero del Senatore, mid-eighth century, Museo Civico, Castello Visconteo, Pavia.

ship between th e decoration and the background of the relief is the same in both cases; the ornamentation does not dominate but rather draws attention to the structure of the obj ect. Thus each pattern draws the viewer's eye to th e optical center of the well-head; it is situ ated directly above the stronger vine-leaf frieze that decorates the lower zone of the well-head. The guilloche of our well-head can also be usefully compared to the orna mentation of a sarcophagus located in the Museo Civico in Pavia (fig. 5). Kautzsch has suggested that this was a product of the early phase of mature Lombardic art, while Panazza reports that it originally came from the Monastero del Senatore near Pavia. 15 A document gives the year of foundation as 714, so that this can be regarded as a terminus post quem for the construction of the sarcophagus. Surely it would not be unreasonable to date it in the middle of the eighth century. The longer sides of the sarcophagus are decorated with the same circular, knotted pattern that can be seen on the middle band of the Gardner Museum well-head. But in the case of the sarcophagus, the ornamentation dominates the ground, carrying its own optical weight. A similar difference characterizes the vine-leaf friezes. On the sarcophagus this ornarnenta tion is heavy and conceals the body, while the well-head's pattern is elegant and light. A fragment from a ciborium in the Museo Arcivescovile in Ravenna (fig. 6), which probably was made at the turn of the eighth century, 16 shows the same tendency toward pictorial decomposition that we can see in the lower zone of the well-head. In both cases the vine leaves have been carefully crafted to convey a sense both of physical substance and structural delicacy. The similar conception of plasticity underlying these 25

two p ieces suggests their approxim ate contempora neity.

6 Fragment o f a ciborium, late eighth or ea rly ninth century, Museo Arcivescovile, Ravenna.

Among Veneti an well-heads the most striking parallel to the Museum 's pozzo can be fo und located in the lapidario of the Museo Correr in Venice (fig. 7). 17 The vertical bands of the main side of this well-head are decorated with the sa me circular and lozenge-shaped pattern . On both pi eces th e guilloche is separated into three strands and emphasizes the substanti aliry of the well-head's body. It underscores the well-heads' propo rtions and creates an opti cal effect that loosens up the structure. The guilloche of the wellhead in Venice is arranged at a steeper angle and is thus " tighter" than on the Bosto n well-head. This observation leads us to conclude that the piece in Boston might have been made a bit later th an the one in the Museo Co rrer. But the difference is no t so great as to refute dating them both to the first quarter of the ninth century.

7 Well -head, first quarter of the ninth century, Museo Co rrer, Venice.

A well-head now in a private collectio n in Surrey, England (fig. 8) 18 has an upperedge zone with the sa me ornamentation as the Boston pozzo, but its middle zone contains more complicated decoratio n, such as arcades and figurative symbo ls (peacocks, a tree of life, etc. ) and thus it should be given a later date-probably in the second quarter of the ninth century. 19

8 Well-head, second quarter of the ninth century, pri vate collection, Surrey, England.

Another well-head in Surrey, at Charterhouse in Godalming (fig. 9), 20 must also be later than the Boston example, since it is no table for an advanced system of decoration. Beca use of its gentle and slender for ms it belongs to the middle of the ninth century, which is proba bly also true for the well -head in the Ca' Contarini dal Bovolo in Venice (fig. 10).2 1 From all these comparisons it is reasonable to assign the Boston well-head to the first quarter of the ninth centu ry, an assumption th at is reinforced by looking at some other pieces fro m that period that

9 Well-head, mid-ninth cenru ry, Scholar's Cou rt at Charterhouse, Goda lm ing, Surrey, Engl and.

10 Well-head, mid-nimh century, Ca' Conra rini dal Bovolo, Venice.

11 Pluteo, first quarter of the ninth century, Museo Nazionale Pa leocristiano, Aquileia, Ita ly.

have been dated with the help of archi va l o r archeologica l sources. First there is a pluteo in the Mu eo Nazio nale Paleocristiano at Aquileia in northern Italy (fig. 11 ).22 It must have been ca rved at the turn of the eighth century when the patri arch Maxentius bega n " to recon truer in its previous spl endo r th e cathed ra l of Aquileia which was deserted and desolated out of fea r or beca u e of the cunning of th e Goths, Avars and o ther tribes," as Charlemagne put it in a document concerning the do nation of some property to the ca th edral. 23 Maxentius wa patriarch between 810 and 838, 24 and th i pluteo surely belongs to the pieces th at he had made to decorate his new cathedral. The guilloche of the upper edge correspond exactly in th e division of space, in structure and in appearance with th e gui lloche found on the midd le zone of our well -head. Close inspection of a fragment (in the museum of the mona tery of St. Jo hn in Mi.istair, Switzerland) decorated with a wave-shaped pattern leads us to th e ame conclusion (fig. 12). Documents and chronicles housed in the mo nastery mention extensive building activity at the time of Bishop Remedius, who directed the monastery's affairs between 790 and 806. 25 Even if the decorative structure differs from that on our well-head (the treatment of the gui lloche is much more complex), we sti ll encounter th e sa me relationship between ornamentation and body when we look at the well-head's middle zone. Another piece that helps to confirm our dating is a fragment from the abbey of San Co lombano in Bobbio, northern Italy, which had been founded in the seven th century (fig. 13 ). From documents and other written sources we lea rn that the abbey underwent a great dea l of rebui lding. One of those projects took place in the late eighth and early ninth 27

centuries, 26 and there is no doubt that the piece illustrated in figure 13 belongs to that particular phase. Th e guilloche divides the space in the sa me way as o n our well-head, and the appearance of the guil loche a lso corresponds to the sa me band on the well-head.

12 Fragment of a pluteo, !are eighth o r ea rly ninth century, museum of the monastery of St. john, Mi.isra ir, Switzerland.

Two fin al exa mpl es from Murano, an island very close to Venice, should support the attribution of our well-head to th e first quarter of the ninth century. The pluteo shown in figure 14 was once in cluded o n the right side of the exterior of the cho ir of the cathedral of SS. Maria e Donato. Early ev idence shows th at this cathedral already existed in the seventh century, undergoing numerous changes 27 until it ass umed its present form at the beginning of the twelfth century. 28 The pluteo is divided into two la rge quadrants connected by an ornamented band that is decorated with a knotted, circular guilloche, which includes another knotted lozenge frieze. The parallel to th e central band of o ur well-head is very close.

13 Fragment of a pluteo, late eighth o r ea rly ninth centu ry, Museo dell' Abbazia di San Colom bano, Bobbio, Italy.

The sa rcophagus shown in fi gure 15 was found in 1867 while the cathedra l was being restored, and Rahtgens has convincingly dated it to th e third quarter of the eighth century.2 Its upper edge is marked by a guilloche simil ar to th at o f the upper edge of the well-head, but th e greater age of the sarcophagus can be seen in th e difference of this ornament' structure. While the guilloche rakes the form of a wide loop and lies rather lifelessly o n the surface, th e guill oche of the well-head is raised mu ch mo re forcefull y and is much " tighter. " It rises steep ly, breaking up sharply at its climax and curving downwa rd in a similarly steep and sharply angled fashion. The well-heads had to supply Venice with drinking water. As late as the sixteenth century, the famous Venetian historian Marin Sanudo the Younger described Venice as a town " in acqua et non ha

14 Pluteo, first qu arter of the ninth century, cathedral of SS. M aria e Donato, Murano, Iraly.

15 Sarcophagus, thi rd quarter of the eighth century, cathedra l of SS. Maria e Donato, M urano, Italy.

16 Well-head, once in the house of the Bo rell a fa mil y at Contrada di S. Cassiano, Venice, present whereabouts un known. Drawing by Giovanni Grevembroch, 1761, M useo Correr, Venice.

acqua" - "Venice is in water and (yet) has no water. " 30 Since drinking water was essential to the Veneti ans from the eighth century on, these well-heads were decorated w ith Christian symbols (the cross, tree of life, rosettes, etc.) th at also signified " life." The motif of the knotted guilloche connotes a sense of complexity. It can be fo und between Spain, Scandinavia and Greece; during the period of w idespread migrations it was bro ught to northern Africa, and fro m Byzantium it extended as far as Georgia in the Ca ucasus_31Thus one can, w ithout exaggeration, describe the motif as a " universal migratory art of the fifth century." 32 The guilloche reached its zenith with Celtic book illuminations,33 conveying a sense of the cosmic, boundless domain of Christian ity.34 The early Venetian well-head in the Isabella Stewart Gardner M useum is the only known well-head that has survived w ith such a complete decoratio n of lozenge patterns and guilloche. There is one other well-head with a very similar decoration but it is known only through a drawing in one of the sketchbooks of the Dutch painter Giovanni Grevembroch (fig. 16), now in the archives of the Museo Correr. 35 Although these moti fs are very common -they can be fo und on doors, columns, sarcophagi, plutei, etc. the M useum's well-head is a un ique piece

and therefore of greatest importance to our knowledge of the ornamental structure and appea rance of Venetian wellheads. Only a small number of these wellheads still exist; every piece we rediscover contributes to our comprehension of those remote times.

Gerd-H. Zuchold

1 I am very grateful to Susan Sincl air o f the Isa bell a Stewa rt Gardner Museum , w ho helped w ith archi va l in vestigatio ns, and I also th ank th e administratio n for a llo wing me to publish the res ults of my resea rch in the Mu seum 's annu al repo rt. Last but not least I am indebted to my colleague, Pro f. David E. Barclay o f Kalamazoo College, Mi chiga n, w ho kindly looked th ro ugh my Engl ish tra nslati o n of th e text and corrected it. 2 It was no t published in C. C. Vermeule III, W. Ca hn , and R. van N. H adley, Sculpture in the Isabella Stewart Gardner M useum, Bosto n, 1977. 3 The in vo ice is in th e archi ves of the Isa bell a Stewa rt Gardner Museum . 4 M . Ca rter, Isabella Stewart Gardner and Fenway Court, Bosto n, 1925 (1972 ed. ), 178. 5 The o th ers (In v. Nos. S5s38 and SGc3 ) w ill be the topic o f a future paper. 6 F. Onga ni a, Raccolta delle vere da pozzo (marrni puteali) Venezia, Venice, 1889, p l. 3 1. 7 G. Vo lto lina, Le antiche vere da pozzo venetiane, Veni ce, n.d. (1981? ), 28, fig. 18.

Ravenna, I, Ro me, 1968: P. Angilo ni Martinell i, A ltari, amboni, cibori . . . , 36£.; M. Mazzo li, La basilica di Sant' Apollinare in Classe, Va tica n C ity, 1954, 215 ££. (Studi di antichita cristiana, XXI ); A. H aseloff, Die vorrornanische Plastik in Italien, Berlin , 1930, 56f., pl. 53. The Latin inscriptio n, AD HONO RE M o (omi ) Nr r(e) H(s) v xr r ET s (a n)c( t) I ELEV CHAD !l SV B TEMP (o re) DO M(in i) VALE RI AR CH IEP(iscopi ) EGO PET RVS PRES B(yter) FECIT, ca n be translated as " In ho no r o f the Lord Jes us C hri st and St. Eleucadiu s I, Petrus presbyter, made th is during th e time o f the Archbi sho p Va lerius."

13 0 . H o lder-Egger, ed ., Agnelli Liber Pontificalis Ecclesiae, H annover, 1878, 386 (M onumenta Gerrnaniae H istorica. Scriptores rerum longobardicarum et italicarurn ); H . L. Gonin, Exerpta Agnelliana. T he Ravennate Liber Pontificalis as a Source for the H istory of Art, Utrecht, 1933, 122 ££. 14 R. Kautzsch, " Die lango bard ische Schmu ckkunst in Oberitalien," in Romisches ]ahrbuch fur Kunstgeschichte 5, 1941 , 40, fi g. 43.

8 L. Lazzarini , " I materiali la pidei delle vere da pozzo veneziane e la loro conservazio ne," in A. R izzi, Ve re da pozzo. I puteali pubblici di Venezia e de/la sua Laguna, Venice, 1982,

15 Kautzsch , 36, ill. o n 39, no . 42; G. Panazza, L apidi e sculture paleocristiane e preromaniche di Pavia, Pav ia, 1950, 255f., no. 64, p l. XCVII.

371 ff.

16 Angilo ni M artinell i, 35, no . 30a, fi g. 30a .

9 This paper is based o n resea rch co ncerning Veneti an well-heads that I cond ucted in th e summer of 1985 in Veni ce w ith a grant fro m th e Centro Tedesco di Studi Veneziani. I discovered th e Gardner Museum exa mp le o n a visino Bosto n in June 1987.

17 A. Rizzi, 17, fi g. 7; Venezia e bisanzio, Pa lazzo Ducale, Veni ce, 1974, no. 18 ; R. Polacco, Marrni e mosaici paleocristiani e altornedioevali de/ Museo Archeologico di Venezia, Ro me, 1980, 12ff. , no . 2 ; Vo ltolina, 21, fi g. 11 .

10 T he dates o f the well-heads menti o ned belo w are taken fro m G.-H . Z uchold, Fruhe venezianische Brunnen. Studien zur Entwick lung und Bedeutung einer Denkmiilergruppe zwischen dem 7. und 12. ]ahrhundert (Early Venetian Well-H eads: Developm ent and Meaning of a Group of Monuments Between the 7th and 12th Centuries), forthco ming, probably in 1990.

18 See P. H eth eri ngton, "Two M edieva l Veneti an Well-heads in England " A rte Veneta VXXXIV, 198 0, 9 ff. ' '

11 The constru ctio n of a solid relati ve chronology is o ne of th e aims of th e book no ted a bove. 12 G. Bovini, ed ., Corpus de/la scultura paleocristiana, bizantina ed altomedioevale di

19 The dates are taken from my fo rthcoming boo k; see note 10. 20 H eth eringto n, 9££. 21 Rizzi, 13 . 22 D. dalla Barba Brusin and G. Leorenzoni, L' Arte de/ Patriarcato di A quileia dal secolo IX al secolo X III, Padua, 1963, 26£. , fi g. 5 8 ; A. Tagliaferri , ed., Corpus della scultura altomedioevale, X: Le diocesi di Aquileia e

Grado, Spoleto, 1981, 183 ÂŁ., no. 275, pl. LXVIII, fig. 275. 23 E. Mu ller, ed., Die Urkunden der Karolinger, Berlin, 1956 (2nd ed. ), (Monumenta Germaniae H istorica. D iplomatum Karolinum ), no. 21 4, 285ÂŁ., lines 1925 : "lgitur notum it omni um fidelium nostrorum magnitudini praesentium scilicet et futurorum , qualiter vir venerabilis M axentius patriarcha serenitati nostrae suggessit, eo quod sedem, quae in Aquilegia civitate priscis temporibus constructa fuerat et ob metum vel perfidiam Gothorum et Ava rorum seu ceterarum nati onum derelicta ac destituta hactenus remanserat, diebus nostris divini amoris face accensus Christo protegente una cum nostro adiutorio construere argue reparare ad pristinum honorem cupiebat."

33 For examples see: Irische Kunst aus drei j ahrtausenden. Thesaurus Hiberniae, Staatliche Museen Preussischer Kulturbesitz, Berlin and Cologne, 1983. 34 P. Reutersward, The Forgotten Symbols of God, (Acta Universitatis Stockholmiensis. Stockholm Studies in the History of Art), Uppsala, 1986, 48ff. 35 Supplimenti alle antichita delineate alle varie venete curiosita sacre e profane ed alle Cisterne qui ed'altrove scoperte, ed esquite dal Giovanni Grevembroch, Museo Correr, Venice, Sign. Gradenigo-Dolfin, Ms. 108, 8; Ongania, pl. 238; Voltolina, 215, fig. VIII.

24 W. Lene!, Venezianisch-Istrische Studien (Schriften der Wissenschaftlichen Gesellschaft in Strassburg, 9), Strassburg, 1911, 165 . 25 I. Muller, Geschichte des Klosters Mustair. Von den Anfiingen bis zur Gegenwart, Disentis, 1982 (2nd ed. ), 14ff. 26 For th e history of th e monastery in Bobbio see V. Polonio, [/ monastero di S. Colombano di Bobbio dalla fondazione all'epoca carolingia, Genoa, 1962; C. Cipolla, ed., Cadice Diplomatico de/ monastero di S. Colombano di Bobbio fin o all'anno MCCVIII, Rome, 1918 . 27 R. Cattaneo, L'architettura in Italia dal VI. secolo fino al mille circa, Venice, 1899, 265ff. 28 R. Wagner-Rieger, in H. Fi ll itz, Das Mittelalter I (Propyliien- Kunstgeschichte), 1969-1972, V, 211 , no. 211a; H. Rahtgens, S. Donato zu Murano und iihnliche venezianische Bauten, Berlin, 1903, 35 ff. , figs . 27, 51. 29 Rahtgens, 41, fig. 36. 30 Rizzi, 18. 31 See, for instance, Lexikon der Kunst, I, Leipzig, 1968, 721, under " Flechtband"; W. H olmq uist, Kunstprobleme der Merowingerzeit, Stockholm, 1939. 32 I. Bona, Der Anbruch des Mittelalters. Gepiden und Langobarden im Karpatenbecken, Budapest, 1976, 55. 31

1 Simone Martini , The Madonna and Child with Saints, ca. 1320, tempera o n pa nel, Inv. No. P15 e4, Early Ita lian Room, Isa bella Stewart Gardner Museum.

Introduction to Issues of Simone Martini's Workshop: the Boston Polyptych and its D erivations

Author's Preface and Note When the topic of Simo ne Ma rtini's workshop was proposed to me by my fri ends organi zing this symposium, I immedia tely pointed out th at the theme of his shop is, in my opinion, one and the same with th e th eme of Simo ne himself and therefore worth y of occupying the entire three days of the symposium. For this reason we decided to limit my contri bution to [the introdu ction below]. In as much as I have already expressed th e sum of my understanding of the problem in my introdu ction to th e catalogue of the recent exhibitio n in Siena, Simone Martinie "chompagni," to avoid repeating myself I w ill confine my discussion to a few issues mentio ned in the catalogue and meant to be developed furth er in the notes th at I did not have time to write. The text published here was recorded du ring the symposium in M a rch 1985, and later only minimally reto uch ed to avo id repetition. The drafting of th e notes was done in O cto ber 1986 during my stay at the Center fo r Advanced Study in the Visual Arts at th e Natio nal Gallery of Art in Washingto n, D. C. as a M ellon senior visiting fellow. For their help during my stay in th e United States I would particula rly like to thank David Brown of th e N ational Gallery, Keith Christiansen of The M etropolitan Museum, and Rollin van N . H adley and Kristin M o rtimer of th e Isa bella Stewart Ga rdner Muse um .

Editor's Note For parts I and III of the article referred to above, see L. Bellosi, ed., Simone Martini atti del convegno, Centro Di, Florence, 1988, 151- 166. The text of part II as published here was translated by Jennifer Cook, a n art historian based in Florence. For th e translati on of th e footnotes, the assistance of Rollin H adley and Sarah Hadley is gratefully acknowledged. A few obvious "slips of the pen " have been corrected in the English version. The Museum wishes to th ank Alessandra M archi of Centro Di for permissio n to publish from the book cited above, and Signo ra Previtali for kindly agreeing to release the original photographs fo r reprinting. Giovanni Prev itali's untimely death was a great loss to the profession ; in sharing his words on th e Ga rd-

ner M useum Simone with o ur rea ders, we hope to pay tribute to his memory.

I would like to concentrate on the Isabella Stewart Gardner M useum 's polyptych, which has been relatively underestimated, 1 perh aps fo r psychological rather than substantive reasons. The panel was evidently still in Italy not so long ago since Anderson's partial ph otograph (fig. 2) clearly shows a label reading "p roprieta del Comune del Orvieto." 2 Perhaps this has p rompted a certain tendency to accentuate its poor condition rather th an the high quality of the altarpiece. When I saw the painting twenty years ago, unaware of any question of p rovenance, I was greatly impressed; I was convinced th at it was a splendid wo rk by Simone himself, as I believe everyone agrees now that the painting has been clea ned (1979). However, the task remains to compare the Boston polyptych to other works like the Orvieto Dominican polyptych (detail, fig. 3) which, though signed by Simone, is undoubtedly more Giottesque in character ; it is more solemn , the figures are more frontal, and the use of line (note Mary's left hand) is different from the fluid, sinewy Gothic style that Simone had already demonstrated in the Pisa polyptych of 1320. In fa ct the Boston polyptych, with passages like the long pointed fingers of the Virgin 's left hand, the active pose of the child 's legs, and the extraordinary movement in the child 's hand touching his mother's chin, appea rs more Gothic and in the spirit of Simone than the Orvieto polyptych with its solemn Caesar-like child and structural design closer to the ponderous Giottesque style of M emmo's [da Filippuccio] workshop (fi g. 4). Sandberg-Vavala made this same observation some years ago, expressing surprise at Simone's apparent regression immediately following the 1320 polyptych of Sta. Caterina at Pisa. 3 In spite of Simone's signature, should we

2 Simone Ma rtini, The Madonna and Child with Saints (dera il o f the three centra l pa nels in an ea rl y photogra ph fro m the Museo Muni cipa le, O rvieto, see fig. 1), Isa be Lia Stewart Gardner Museum.

3 Simone M artini, The Madonna and Child, ca. 13 22 , Museo dell 'Opera de! Duomo, Orvieto .

4 M emmo di Filippuccio, The Madonna and Child, San Fran cesco, Pisa.

not th en consider, as do the mo re sensible critics applying a stylistic logic, the possible collaboration of Lippo M emmi ? We know that fo r the layman a sign ature is the ultimate proof of authorship, but as historians of medieva l art we have learned to doubt absolute truths since we know th at signatures then did not hold the sa me meaning fo r artistic autho rship that they do today. Based on our knowledge of medieval shops, it seems legitimate to question to what extent a signature, for example Giotto's, signified th at the painting was executed by his hand, or rather that it was a work of his bottega done with his consent, which is something a bit different. 4 If so, we can conclude that the Orvieto polyptych was such a product of Simone's shop ; I would go one step furth er and suggest that it is a bea utiful piece done in great p art by Simone himself. We cannot, however, dismiss the issue without asking ourselves if Lippo Memmi didn 't play a much greater role - even in Simone's signed works-than we have thus far wanted to admit. It seems obvious to me that the style applied in the Boston polyptych (figs . 1, 2, 8 and 14) is more consistent w ith Simone's rhythmic, linear Gothic manner since it is this one that predominates in his later works in Avignon . Thus traditional reasoning requires us to accept that Simone painted in two distinct modes, applying them to works of a similar nature and destination. But perh aps it is more reasonable to consider that his "second style" was due to the documented fact that there was an artist of no small talent working at his side. And here I point out [again] that the San Gimignano Maesta, fundamentally inspired by Simone's first Maesta, but by no means of the same magnificence, is nevertheless a great masterpiece. Apropos of the workshop problem, I would like to take a closer look at The

Madonna and Child in the church of Sta. Maria Maddalena in Castiglione d'Orcia, attributed to Simone by Serena Padovani a few years ago (fig. 5).5 To my eye it is a typi cal example of what we call a "workshop product "; that is, a relati vely modest work commissioned by someone able to pay considerably less th an th e Dominicans of Pisa and Orvieto or the patron of the Boston polyptych.6 Several facts lead to this conclusion: first, the background is silver instead of gold- evidence of a desire to economize; and second , the Madonna, the head of the child, and the pleat in his neckline are di rectly copied fro m the Boston panel. In an autograph work a great master like Simone usually introduces variations or new ideas, whereas an identical replica is usually the sign of a diligent shop assistant cha rged with copying a master's original. At the outset then we can surmise th at the Castiglione Madonna was a work of secondary importance, deriving in large part from the Boston polyptych and therefore of a later date. This notwithstanding, from a for mal point of view certain elements are strongly reminiscent of dugento morphology: fo r example, the Virgin's bifurcated hand, which doesn't really sustain the child 's weight, and the child's left hand, which clutches a goldfinch, in its turn stiff and wooden (like a carved toy, it is closer to the birds in the St. Francis cycle in Assisi than the late date would lead us to expect). By comparison, the Madonna in the Wallraf-Richartz M useum in Cologne (fig. 7), probably the center of a pentaptych fro m the Memmis' hometown of San Gimignano, 7 displays more modern, "M artinian" elements: the child 's hand grasping the bird and the Virgin's hand supporting the child ; the bird twisting to peck the child's finger in an extraordinary episodic Gothic vari ation; the Virgin 's hand with long tapering fingers that grip the child's body, subtly fingering the edge of his tunic; and

5 Workshop o f Simone,

The Madonna and Child, Sta. M a ria M addalena, Castiglione d 'Orcia.

6 Li ppo M emmi (a nd Simo ne Ma rtini ?), The

Madonna and Child, Church o f the Servites, Siena.

7 Simone M artini , The Madonna and Child, Wa ll raf- Richa rtz Museum, Co logne.

8 Deta il o f fig. l.

the complex and subtle depi ction of drapery fa lling from the child 's left shoulder that inevitably ca lls to mind several sa ints in the sottarco of the chapel of St. Martin at Assisi. It seems likely then th at if Simone painted works like the Boston and Cologne Madonnas in that period, the Castiglione Madonna could have come from the sa me workshop, but as a rare example that was clea rly and significantly not painted by Si mone himself. A final confirmation of this can be seen in the well-known "signed " Madonna by Lippo Memmi in th e church of the Servites, which restoration has revealed as an undeni able masterpiece (fig. 6), and which is probably a little later than the Cologne Madonna. At this point Lippo adopts the unusual device of the lively fluttering bird, anything but wooden, and the Simonesque hooked hand, proving himself more up to date and M artinian than the a rtist of the Castiglione Madonna. The source for the archaisms in the latter is easily identifiable in works like The Madonna and Child in the church of San Francesco at Pisa (fig. 4), given to Memmo di Filippuccio by Longhi ,8 who dated it "early in the first decade of the fourteenth century." Many of the sa me elements are present: the child drawing the Madonna's mantle toward him (an idea taken directly from the dugento), the baby's hand clutching the wood-like robin, and the Virgin's right hand, extending across the composition, seemingly resting on the child's knee but without a clear purpose. H ere we have the revival of conventions of twenty years ea rlier - obviously a function of a workshop system providing for the conservation of material for future reference. The Boston polyptych was definitely, if less obviously, also the prototype for another polyptych (first noted as such by De Nicola in 1912), whose central panel with The Madonna and Child (fig. 10) is

presen tly located in th e Pin acoteca in Siena (no. 595 ).9 This connection sheds further light on our understand ing of workshop methods in th at it attests to th e practice of proposing, after a certain time lapse, the reproduction of a master's composition, executed by a different hand, for a second patron. The iconography of the Boston panel further reinforces this theory. In the catalogues of the Isa bella Stewart Gardner Museum the polyptych is fr~quently cited as "the only large and complete altarpiece by Simone outside Italy," 10 but a carefu l analysis of its physica l attributes contrad icts this statement. The presence of St. Paul without St. Peter breaks with longstanding tradition, as does, to a lesser extent, the absence of St. John the Evangelist in the presence of St. John the Baptist. This, together with its proportions similar to those of the Dominican polyptychs of Pisa and Orvieto, should lead us to suspect that the Boston polyptych was also originally composed of seven panels, leaving room for two additional saints (Peter and the Evangelist). As fate would have it, precisely these two saints once fl anked the Madonna of the Siena/Montepulciano polyptych (figs. 9 and 11 ); 11 and just as in the St. Paul and St. John the Baptist panels in the Boston altarpiece, there are trumpet-blowing angels in the pinnacles (fi gs. 9 and 11 ), a far from common theme that underscores the iconographic link between the two polyptychs. Furthermore, each contains a Christ figure (figs. 10 and 14)-not of the blessing type left over from an Ascension - but of an apocalyptic nature, one hand reaching out to gather the saved and the other raised in condemnation, in total harmony with the trumpeting angels of the Last Judgment. The association is so obvious that we can venture an ideal reconstruction of the Boston polyptych to include the prototypes for the two surviving 37

9 Workshop of Simone, St. john the Evangelist (from the Conservarorio of San Bernardo, Montepulciano), present location unknown.

10 Workshop of Simone, Th e Madonna and Child (from the Conservato rio of Sa n Bernardo, Montepulciano), Pinacoteca Nazio nale, Siena.

11 Workshop of Simone, St. Peter (from the Conservarorio of San Bernardo, Montepulciano), present location unknown.

sa ints in the Siena/Montepulciano painting. We can conclude that in its original state the Boston work also contained the two figures of St. John the Evangelist and St. Peter, in keeping with iconographic practice in the early trecento in central Italy, particularly Siena. The original juxtaposition of the sa ints is somewhat more problematic to determine. Our first step must be that suggested by Steinweg in 1956 12 -the placement of St. Lucy and St. Catherine at the far ends, as in the Pisa model, opening up two possible hypotheses. If we opt to di vide the sets of male saints, coupling them symmetrically on ei ther side of the Madonna (from left to right: Lucy, Paul, John the Evangelist, th e Madonna, John the Baptist, Peter, Catherine), the line-up would follow iconographic customs of the period but would create asy mmetry in the trumpeting angels, who would be turned inward

toward one another on the right and outward away from one another on the left. A favora ble arrangement of the angels necessitates a different coupling of the sets of male sa ints, i.e. side by side fl anking the Virgin in one of two equally possible arrangements: the two St. Johns to the left of the Virgin (Lucy, Evangelist, Baptist, Madonna, Pa ul, Peter, Catherine), hence the two couples of angels converging inward toward the center; or the two St. Johns to the right of the Virgin (Lucy, Paul, Peter, Madonna, Evangelist, Baptist, Catherine) resulting in the angels facing outward away from the center. The fin al solution seems to me the most convincing as it would conform to an iconographic ordering of an established tradition in Siena, based on the fa mous dossal attributed to the circle of Guido da Siena (figs. 12 and 13 ). 13 In all honesty I must admit th at, notwithstanding such a noteworth y precedent, there is

12 Guido da Siena, The Madonna and Child with Saints, Pinacoteca Nazionale, Siena.

13 Simone Martini, The Madonna and Child with Saints (author's reconstruction), Isa bell a Stewart Gardner Museum .

a flaw in this suggested reconstruction, namely that if the positions of Peter and the Evangelist within their panels as seen in the Siena/Montepulciano polyptych were also derived from the originals, then the sa ints would have their backs turned on the Virgin a bit too decidedly. For this reason I prefer to imagine them more like the frontal figures in the Colle Val d'Elsa polyptych executed a few years later. 14

the Siena/Montepulciano panels hold instruments of the Passion as well, ass uming the iconographic role played by the two non-trumpeting angels in the Boston polyptych. We also cannot be certai n that (as is suggested by the posture of the surviving figures ) the order of the prototype was not inverted as in the case of Meo da Siena's replica of Duccio's apostle series. 15

Moreover, we cannot exclude the possibility that the Siena/Montepulciano altarpiece, partially reconstructed by Steinweg, was a reduced derivation of the Boston work, containing five compartments, especially since the trumpeting angels in

The derivative character of the Siena/ Montepulciano polyptych is confirmed by certain technical considerations (the widespread use of silver), and by a pictorial execution unlike th at in th e Boston painting. 16 The rather showy, striated 39

14 Detail of fig. 1, apocalyptic Christ in the central pinnacle above the Madonna and Child.

outlines used in modelling, and the summary treatment of the chiaroscuro even on the most Martinian types, suggest the style we usually associate with Barna, and which was to Simone what the Mannerist style was to Michelangelo-a sort of approximation superimposed on the fundamentally defined style of the great masters of the preced ing generation - in this case, Simone and Lippo in the most litera l sense. 17 In conclusion then, in an attempt to set up a first working hypothesis, we can perhaps affirm, as research progresses,

that the typology of polyptychs produced in Simone's workshop was less varied than we had previously believed, allowing fo r basically just two fundamental types: the smaller one with five sections like the polyptychs in San Gimignano at Sant' Agostino, in Casciana Alta, and in the Master of the Palazzo Venezia Madonna; and the larger size with seven sections such as those of Sta. Caterina at Pisa, of Orvieto, of San Paolo a Ripa d' Arno, and of Colle Val d'Elsa. 18

Giovanni Previtali

1 See the recent museum ca ta logues (P. H endy, European and American Paintings in the Isabella Stewart Gardner Museum, Boston, 1974; R. va n N. H adl ey, The Isabella Stewart Gardner Museum, Ft. Lauderdale, 1981 , 20-21 ), and o ne issue of the museum journal, Fenway Court 1978, Bosto n, 1979, th at includes: "Simone M a rtini 's Altarpiece at Fenway Co urt, a Note on Co nserva tion," 12; S. A. Fehm, Jr., "S imone and the Francisca n Zelanti," 3-6; and J. Brink, "The Origina l Ca rpentry of Simone's Altarpiece," 7-13 .

Maria dei Servi in Orvieto, where rhe altarpiece, already reduced to its present dimensions, seems identifi able with "ci nqu e pezzi di quadri vecchi, con la Madonna et altri sa nti " listed as in the sacresty in the lnventario di tutto ii mobile de / convento di santa Maria dei Servi di Orvieto fa to /'anno 1671 a' di 20 maggio (B. Fredericksen, " Documents for th e Servite origin of Simone M artini 's Orvieto Po lyptych," Burlington Magazine, CXXVlll,

2 H endy, cited above, states th at " Mrs. Gardner's altarp iece was bought about 1860 by Cavaliere M azzocchi from San Francesco at Orvieto, where it was exhibited in th e Opera del Duomo until 1899. From his heirs it was bought by Berenson, who sold it in April to Mrs. Gard ner. H er attention had been called to it by Richard Norto n in 1898," 238. L. Fumi, in Orvieto (no. 28 in the series Italia artistica), n.d. (soon after 1914 ), cf. 44, reproduced th e po lyptych as though it could still be found in the Opera del Duomo, 128.

o f Sant' Agostino in San Gim ignano as th e work of Lippo M emmi, may be assigned instead to Simone Martini, according to Borghini. The other parts of this altarpiece were, besides the Madonna in rhe WallrafRichartz Museum, the Sts. Gem ini ano, Michael and Augustine in the Fitzwilliam Museum, Ca mbridge, and a Sr. Catherine in a priva te collection. Fo r a summ ary of th e cri ticism and a proposed reconstruction, ee C. De Benedicris, Simone Martinie "chompagni," no. 4. But to me, the dimensio ns of the panels exclude the possibili ty o f a polyptych of seven panels (as held by De Benedi ctis, seconding a proposal put fo rth by B. Kl esse in Katalog der italienischen, franzosischen und spanischen Gemiilde bis 1800 im Wallraf-Richartz Museum, Cologne, 1973, 74). The present reconstruction wi th five known panels must therefore be accepted, w ith th e exception of the lost pinnacle on th e cen tra l panel, as complete.

3 E. Sandberg-Vava la, Sienese Studies, Florence, 1953. In so much as it considers the co mmission and the iconograph y of this polyptych, the Sta . Caterin a altarpiece at Pisa and rh at of Casciana Alta (from the Chapel of Sto. Stefano in the Duomo at Pisa), it is necessary to cite the article by J. Cannon, " Simone Martini, the Do minicans and the Earl y Sienese Po lyptych," j ournal of the Warburg and Courtauld Institutes, 45 , 1982, 69-93. 4 For a more in-depth discussion of th e meaning of th e signature in the arti stic culture of the late Middle Ages, allow me to cite my introduction to the catalogue o f the exhibition in Siena, Simone Martini e "chompagni," Florence, 1985, 12. 5 S. Padovani, "Una tavola di Castiglione d' Orcia restaurata di recente," Prospettiva, 17, April 1979, 82- 88; E. Avanzati, Simone Martini e "chompagni," no. 6, 54-55. 6 In departing from G. Paccagni ni 's monograph, Simone Martini, Milan, 1955, 123, it is often claimed, without rea l foundation, that the Gardner Museum polyptych came from the church of San Francesco. Recently published eighteenth-century documents show, however, th at it came from the church of Sta.

1986, 592-597). 7 The panel, reco rded by Vasari in rhe church

8 R. Longhi, "Qualita del ' M aestro di San Torpe'," Paragone, 153, September 1962, 10-15. 9 From th e Conservatorio of San Bernardo at Montepulciano (see G. Damiani, Simone Martini e "chompagni," no. 14, 90-93).

10 H endy, 237: "These panels form the onl y large and co mplete altarpiece by Simone outside Ital y."; H adley, 20: "This polyptych, his o nly complete altarpiece outside o f Ital y.... " 11 The two panels, in priva te collecti ons, were first published by K. Stein weg, "Beirriige zu Simone Martini und seiner Werkstatt," Mitteilungen das Kunsthistorischen Institutes in Florenz, XVII, 1956, 161-168 (164-165 ). They are also reprodu ced in Simone Martinie "chompagni," 92-93.

12 Steinweg, 166, note 15 . The suggesti on seems to me acceptable, beca use the placement of the female saints at the ends is the most common (see, for example, th e polyprych by Duccio in the Pinacoteca, Siena, no . 47, or that of Ugolino di Nerio reconstructed by L. N. Amico in " Reconstructio n of an Early Fourteenth-Century Pentaprych by Ugolino di Ner io: St. Catherine Finds Her Niche," Krannert Art Museum Bulletin, V, no. 1, Universiry of Illinois, UrbanaChampaign, 1979, 13-30, and it is adopted by Simo ne in the po lyprych at Pisa an d in San Francesco in Orvieto. Steinweg also calls attention to th e gesture of St. Jo hn the Baptist pointing to the Madonna and C hild as he does in the polyprych of the Maestro di Ovile in the collecti on Chi aramonte-Bordonaro at Palermo, in Ambrogio Lorenzetti's altarpiece in the Pinacoteca in Siena, no. 77, in Pietro Lorenzetti's St. j ohn the Baptist in the Norton Simon Museum in Pasadena, and in another altarpiece in th e Pinacoteca in Siena, no. 82. But in this, as in the majoriry of cases, it seems to me that it is merely a blessing "alla greca." 13 P. Torriti, La Pinacoteca Nazionale di Siena, i dipinti dal XIf al XV secolo, Genoa, 1977, no. 6, 32. The work actua lly appears in five individual panels (Sr. Paul, Sr. Peter, the Madonna and C hild, Sr. John the Evangelist, and Sr. John the Baptist), but the catalogue rightly observes that the dossal " manca delle due estreme figure laterali di Santi." 14 It seems likely that the new rigid an d frontal rype of St. Peter seen in th e later polyprych for the church of San Francesco at Colle Val d'Elsa (which at first glance wou ld appear to have been revived from a hieratic medieval rype), is actu all y the result of a com promise between two demands equally observed by th e artists of the time: to keep the traditional united " diprych" of Sts. Peter an d Pau l on the one hand, and to insert them, on the other, into the modern concept of the sacra conversazione. For this reason, the sa int on the o utside, St. Paul in our case, maintains the traditiona l inclination of th e head toward the center, whi le the oth er, wanting, as it were, to remain si mil arly posed without losing the respect of the Madonna, assumed a strictly neutral attitude, looki ng directly ahead. Perhaps it would be worth re-examin ing the many ac-

tu al pairings of th e two saints : for exa mple, their positions wo uld certa inl y change relative to those in whi ch they appea r in the catalogue of th e Siena Pinacoteca (nos. 72-74, 133, Maestro di Ovile and nos. 90-314, 127, Arnbrogio Lorenzetti) and the position of the saints that are paired in the Ugolino di Nerio polyprych in the Castello Ricasoli would be inverted (reproduced by L. B. Kanter, "Ugolino di Nerio: St. Anne and the Virgin," National Gallery of Canada Annual Bulletin, 5, Ottawa, 1983, 9-28, fi g. 7).

15 Meo di Guido da Siena, a signed pentaprych in the Galleria Nazionale dell 'Umbria in Perugia (reproduced in F. Santi, Galleria Nazionale dell'Umbria, Rome, 1969, and a lso in E. Ca rlo, La Pittura senese de/ Trecento, Milan, 1981, fig. 94). The same must follow, in my view, with the original arrangement of the noted series of half figures of apostl es, now divided between The Metropo litan Museu m of Art, New York (Matthias, Thomas, Bartholomew and Andrew), the National Gallery o f Arr, Washington, D.C. (Matthew, James th e Major, Simon and Thaddaeus) and two private collections (James the Minor and Philip), the actual pairing of which reflects on ly the commercial desire to set up a series of well-matched "diprychs." 16 A simila r hypothesis to that put forth for the Boston and Montepulciano polyprychs will, I hope, help in finding a solution to the problem of reconstruction of th e polyprych of San Francesco in Orvieto. M. Lonjon, in his proposed reconstruction ("Quatre med aillo ns di Simone M a rtini et la reconstitution du retable de l'eglise San Fra ncesco a Orviero," La revue du Louvre, 1983, 3), is certainly correct in maintaining (unlike]. Brink in "Simone Martini's St. Catherine of Alexandria: An Orvietan Altarpiece and the Mystical Theology of St. Bonaventure," National Gallery of Canada Bulletin, 3, 1979-80, 37-56) that the polyprych must have had seven panels, of which the four tondi now in th e Museum of the Petit-Palais, Avignon formed a part. Nevertheless, what few are convinced by in his reconstruction is the inserti on (already proposed by De Benedictis and rejected by Brink) of the two sa ints in th e Berenson collection, which, judging from what little remains, were paired, from a sry listic point of view,

differen tly from the St. Catherine in Ottawa and th e Madonna in Orvieto an d were similar to the group of the so-ca lled " Master of the Palazzo Venezia Madonna" (a work by one of the "chompagni" of Simone). Iconographically, on the other hand, they wo uld determine the assembl age of a so rt of feminine Paradise witho ut precedent in a Francisca n church (a nd a lso, as was noted, a duplication of the St. Cath erine). If the two saints in th e Berenson collectio n, rather th an forming part of th e San Francesco polyptych a t Orvieto, with which they do show notable similarities, constituted instead th e rest of a second polyptych derived from the for mer (with reversals, also in this case, in th e direction of th e two St. Catherines) all of the incongruities wo ul d be eliminated.

lieve, more correctl y in my view, that the polyptych seen by Vasa ri could instead have been th e one (generally attributed to Barna) constituted by the "Santi in fa ldistorio" (for wh ich see Lonjon in the catal ogue of the exhibitio n L'art gothique siennois (Avignon), Florence, 1983, no. 43, 142-143 ). On th e polyptych of Colle Val d'Elsa, see M. M a llo ry, "An Altarpiece by Lippo M emmi Reconsidered," Metropolitan Museum j ournal, 9, 1974, 187202; M. Laclo tte, Retables italiens du X llle au XVe siecle, Paris, 1978, 19-20; an d K. Christiansen, "Fourteenth-Century Al tarpieces," The Metropolitan Museum of Art Bulletin, summer 1982, 24-27.

17 I say "himself " because, as has been noted, I am advancing the theory th at "Ba rna" is no ne other th an Lippo in a later period. The theory is not unfounded and the only perplexity in accepting this thesis co mes from the consideration th at a cha nge this palpable would seem to involve a generati onal leap. Thus it appears difficult, if not biologically impossible, th at a person of th e older generation like Lippo could have changed so profoundly; no t impossible, but less probable compared to the obvious possibility that it involves o ne of the students of th e yo unger generation. Note that Ca nnon misunderstood the state of the discussion on th e problem when he sa id th at the attribution to Barna, made by L. Bellosi (Buffalmacco e ii Trionfo della M orte, Turin, 1974, 94) of the Casciana Alta polyptych, has been " rightly rejected " by De Benedictis and Caleca . Given th at both Caleca and Bellosi consider Lippo Memmi and Barna to be the same person, the apparent difference in opinion between th e two on the artist of th e Casciana Alta po lyptych is purely no minalistic.

18 In the past, the polyptych th at we know came from th e church of San Francesco at Colle Val d'Elsa was identified with that signed by Lippo M emmi, cited by Vasa ri as in San Paolo a Ripa d' Arno in Pisa (see also B. A. Bennett, Lippa Memmi, Simone Martini's 'fratello in arte': the image revealed by his documented works, University of Pittsburgh, 1977); but now the tendency is to be43

Susan Cornelia Warren. Frontispiece from Cornelia Warren, A Memorial of My Mother, 1908 (Photo courtesy of rhe Boston Arhenaeum).

Mrs. Gardner~s Rival: Susan Cornelia Warren and her Art Collection

"You have fo rbidden me to bring yo u into rivalry with anyone else," wrote Bernard Berenson to Isabella Stewa rt Gardner on 10 May 1896, explaining how he had come to alert another Boston collector to the impending sale of Titian 's masterpiece, The Rape of Europa. "(But] now as you ca n not have Th e Blue Boy I am dying to have you get the Europa .. . If yo u cable as soon as possibly you can make up your mind after receiving this, your decision will in a perfectly bona fide way come before Mrs. Warren's and then the Europa shall be yours . . .. please do not speak of her to anyone until she reaches you, so as to spare me with Mrs. Warren." 1 Mrs. Gardner cabled, her bid arrived before Susan Warren's, and the Titian was hers for twenty thousand pounds. Two years later, Mrs. Gardner's and Mrs. Warren's interests overlapped once aga in, when Berenson recommended to Warren the purch ase of Fra Filippino Lippi's Holy Family with the In fant St. j ohn and St. Margaret. Berenson wrote to Warren's son Ned that if they did not take the Lippi, he was sure Mrs. Gardner would buy it for six thousand pounds. This time, the Warren fa mily preva iled. 2 Today, however, the Warren collection and the family that built it are little known, while the legends and legacy of Mrs. Gardner remain. The Warrens' holdings were dispersed at auction in 1903 . There is no enduring memorial to it, no monument such as Mrs. Gardner's Fenway Court to enshrine the taste and talent of its fo under. But the rediscovery of Susan Warren's achievements reveals her to have been one of Boston's major collectors, a rival to Mrs. Gardner in both the splendor and the diversity of her purchases. 3 Susan Cornelia Clarke Warren's "passion for pictures" developed rather late in her life; she was in her fo rties when she made her first purchases in the earl y 1870's. By

that time she had borne six children and was the mistress of homes on Beacon Hill in Boston and in the Wa lth am countryside. As the wife of Samuel Dennis Warren, a wealthy paper manufacturer, she had a comfortable amount of disposable income, although she had neither Mrs. Gardner's resources nor her predilection for conspicuous consumption. In fact, her background provides an interesting counterpoint to Gardner's, for Mrs. Warren's history is typically Bostonian: private, thrifty, and unassum ing. Born in Blandford, Massachusens on 3 March 1825, the daughter of a Congregationalist minister of limited means, Susan Clarke was educated in Boston at the Temple School, George B. Emerson's School, and Hubbard Winslow's School. In 1847, she married Warren, then a partner in the paper vending firm of Grant, Daniell and Company. By 1854, the Warrens were planning the construction of their country house, to be called "Cedar Hill," and her husband had purchased a small paper manufactory nea r Portland, Maine, which he renamed Cumberland Mills. The mill later made th e Warrens' fortune. 4 Like many collectors, Mrs. Warren's first purchases served to embellish her home, and consisted mostly of furniture, china, lacquer, and glass. The decorative arts collection was never completely catalogued, and the 562 objects itemized in the estate sale represent a tremendous variety of interests, from Fl em ish tapestries to Greek pon ery, Japanese copper teapots to an English transfer-ware pitcher commemorating Thomas Jefferson. "My mother collected for some twenty-five years," reported her son E. P. (Ned) Warren, "partly at home, partly on her travels in Egypt, Turkey, Greece, Italy, Germany, France, England, Spain, and Mexico." 5 It is possible that Mrs. Warren 's taste for exotic objects grew from her visit to the Centennial Exh ibition in

Philadelphia, fo r her ea rliest recorded acquisitions date from about that time. 6 This enthusiasm for o bjects soon gave way to a greater one for paintings. Like most of her contemporaries, Mrs. Warren favo red the works of the Barbizon School, an appetite th at had been cultiva ted in Boston by the painter Wi lliam Morris Hunt. Hunt had developed an appreciation for the broadly painted, subdued landscapes of the Barbizon painters du ring his studies in France. H e had worked fo r several years in Thomas Couture's Paris studio; in 1851 he began to study in Barbizon with Jean-Franc;ois Millet, whose pictures Hunt considered to " have infini ty beyond them. " 7 When he returned to Boston in 1855 and married Louisa Perkins, daughter of a wealthy loca l merchant, Hunt attained a unique position as Boston's tastemaker, able to influence not only the artistic style of his students and admirers, but also the buying habits of the city's upper class. Hunt's p roselytizing on behalf of Millet do ubtless led Mrs. Warren to one of her first major purchases, Millet's monumental Young Shepherdess of about 18 70-73 (fig. 1). This ro mantic figure study, Millet's most signi fica nt attempt to blend in a single figure the realism of modern rural li fe and the timeless virtues of myth, was left in the artist's studio at his death in 1875. Mrs. Warren purch ased it fro m Du ra nd-Ruel galleries later th at year. 8 Mrs. Warren kept the Young Shepherdess for only two years ; in 1877 she donated it to the newly opened Museum of Fine Arts, the first major Millet to enter the Museum 's collectio n.9 She went on to acquire more Millets, including The Shepherdess (current location unknown; related sketch in Museum of Fine Arts, Boston), Peasant Woman and Child (purchased 1888), Coming from the Fountain (purchased 1891 ), Killing the Hog (purchased 1892, given to the

Museum of Fine Arts, Bosto n), and The Goatherd (pastel, purchased 1892). Warren also bo ught paintings by the other Barbizon artists, including Corot, Daub igny, Decamps, Diaz, Dupre, Jacque, Rousseau, and Troyon. Indeed, in a single year, Warren bo ught over $20,000 worth of paintings fro m Vose Ga lleries, one of the principal suppliers of French paintings to Boston collectors. ' 0 American p ainters in the Barbizon style were also praised by Hunt and appreciated by Bosto n patrons, who felt that in the works of artists such as George Fuller,]. Foxcroft Cole, John Lafarge, and Hunt himself th ey were finding a native expression of Millet's heroic subject matter. These paintings were inspiring for their mo ral content, their literary associatio ns, and their manifestations of an Emersonian belief in the power of nature. Hunt's own paintings were perh aps the most clea rly stylistically derived fro m Millet. Warren owned three such compositions, Sleeping Mother and Child, Head of a Spanish Woman, and Wood Interior, Artichoke River. She also owned three paintings by George Fuller, who had sp ent many years as a farmer in Deerfield , Massachusetts, before dedicating himself to an artistic career in 1876. Fu ller's thick, crusty canvases were acclaimed for their rural va lues; he was seen as an American Millet, a painterfarmer whose mystical landscapes and figure studies invited comparison with another local hero, Washington Allston. The poetic mysticism that so preoccupied the aesthetic tastes of Boston collectors was also to be found in the work of Hunt's protege, Jo hn Laf arge. Warren bought more than a dozen of his paintings, including three N ewport landscapes, nine watercolors of the South Seas, and several allegorical studies for the parish house at Trinity Church-a selection that parallels, but outnumbers, Mrs. Gardner's hold-

1 Jean-Frarn;o is Millet, Young Shepherdess, ca. 1870-73, 162 x 11 3 cm., M useum of Fine Arts, Boston. Gift of Samuel Dennis Wa rren.

ings. The exoticism represented by the South Seas pictures was not only an indication of an intense interest in the Far East shared by many prominent Bostonians, but it also reflected the fascination with nonwestern civilization that had enticed European collectors since the

time of Delacroix. This, perhaps, is most pertinent to Mrs. Warren's collection, fo r she owned many such orientalist works, including Charles Bargue's Turkish Sentinel (Museum of Fine Arts, Boston), Alexandre Deca mps's Bazaars in Cairo and Sunset, Tombs Near Cairo (Walters

Gallery, Baltimore), Delacroix's Fight Between a Lion and a Tiger, Eugene Fromentin 's Arabs at the Fountain, and two bronzes by Antoine Lo uis Barye. Altho ugh he is known for simila rly exotic images, Jean-Leon Gerome was represented in the Warren collection not by a seraglio scene, but by an historical subject. Painted in 1873, L'Eminence Grise is a masterpiece of his highly fini shed, tightly painted academic style (fi g. 2). Gerome depicts Frarn;:ois de Clerc du Trembly, called the "Gray Cardinal," descending a staircase in the Chatea u Richelieu, indiffere nt to the ingratiating bows of the courtiers to his right. Gerome meticu lo usly recreated the grand staircase of the chateau (which had been destroyed during the French Revolution) and gave no less ca re to the lustrous display of costumes and tapestry. Immediately upon its completion, the painting was sold to

James H . Stebbins, a major American collecto r. Mrs. Warren acquired it from the Stebbins auction in New York in February 1889; it was the first major painting by Gerome to enter a Boston collection. 11 The Gerome was joined by a small genre scene by a no ther exempl ary French academician, Jean Auguste Do minique Ingres. His Cardinal Bibbiena Espousing His Niece to Raphael of 181 3 was believed to h ave been commissioned by Queen Caroline Murat of Naples; Mrs. Warren acquired it so metime after 18 82. Ingres had planned a series of paintings on the life of Raphael, an artist he idolized not only for stylistic reasons but also for the Renaissance system of patronage he had enjoyed. H e completed only two pictures of th e series, Mrs. Warren's, now known as The Betrothal of Raphael, and the better known Raphael

2 Jean-Leon Gerome, L'Eminence Grise, 1873, 68.5 x 101 cm., Museum of Fine Arts, Boston. Bequest of Susan Cornelia Warren.

3 A wa ll of Mrs. Warren's pi ctu re ga llery in her Mt. Vernon Street home showing the Dau mier and Ingres paintings at center (Photo courtesy of the Massachusetts Historical Sociery, Boston ).

and the Fornarina of 1814 (H arvard Univers ity Art M useums, Ca mbridge; there are severa l o ther versio ns). The co mposition of the Betrothal is based upo n Raph ael's own Marriage of the Virgin (Brera Co llectio n, Mi lan); th e p a inting's appeal for Mrs. Warren was thus twofo ld, based upon her respect for the French academic style and upon an admira tion for Rap hael th at she sha red with her contemporaries. Raph ael 's work was eagerly sought after by American collectors. Mrs. Gard ner had acq uired the first apparently a uth entic painting to reach this country, Raphael's Portrait of Tommaso lnghirami, and was dri ven to possess "a heavenly Raphael M ad onna," a goal she never achieved. 12 In the Warren collection, the Ingres perhaps was a substitute for a Raphael; works by the Renaissance master were difficult to come by and the competition for them included not onl y Mrs. Gardner, but also such collectors as ]. Pierpont Morgan and H enry Walters, for whom money was not a question. 13

Su a n Warren steadied th ese elega nt, academic pictures with a down-to-earth genre cene by H onore Daumier, then titled The Prison Choir, in w hich three yo ung men chant o ut a tune from a sheaf of music set before them o n a podium. 14 Now in the collection of the Walters Art Ga llery and ca lled Les Chanteurs au Lutrin, the painting was included in th e o nl y exhi bition of Daumi er' painting held during his lifetime, at Durand-Ru el in Pari in 18 78. Mr . War ren pu rcha ed it in Paris in th e 1890' ; at th at time it already had suffered from the arti r's u e of bitumen and had been retouched . 15 The tension Warren created between th e a ri tocratic pai ntings of Gerome a nd Ingres and the socia l rea lism of Daumier and Millet was deliberate, for the Daumier hung directl y over the Ingres in Mrs. Warren's Mt. Verno n Street picture ga ll ery (see fig. 3 ). Warren fou nd the contra t in tructional, and she invited students from loca l art choo l to stud y her collection. 16 These paintings, impressive a they a re, do not mark Mrs. Warren' holding as particularly distinctive, for many collectors in Bosto n shared a imil ar enthu siasm for nineteenth-century French and American art in the Barbizon style. Nor indeed do they indicate th at Mrs. Wa rren and Mrs. Gardner wo uld co mpete to acquire o bj ects. But in fact th eir tastes were not mutu ally exclusive. Mrs. Warren loved many of the sa me orts of pa intings th at Mrs. Gardner adored, and Warren purchased both Ita li an and Dutch pictures. She owned an interior by Pieter de H ooch (Museum of Fine Arts, Boston ), purch ased at a bo ut the same time th at Mrs. Gardner bo ught her Vermeer; both artists were w idely admired in Bosto n. There is evidence to suggest th at Mrs. Warren, th rough her son Ned, purchased the Carlo Crivelli Pieta that ca me to the Museum of Fi ne Arts partly as an anonymous gift in 1902 (fig. 4). 17

4 Carlo Crivell i, Pieta, 1485, 88 .5 x 52.6 cm., Museum of Fine Arts, Boston . James Fund and Arionymous Gift.

Possibly once part of a large altarpiece, the distorted perspective and the anguished lines of th e Crivelli are emotionally compelling and expressive. Berenson admired it greatly, although he agreed with M rs. Gardner that the technica l condition of the panel was not as fine as that of Gardner's own Crivelli, St. George and the Dragon. Berenson described St. George as "a gorgeous thing ... drawn as if by lightn ing." 18 It was purchased in 1897, some three yea rs before the Warren acquis ition, although it did not arrive in Boston until 1899. The jewel of th e Warren collection was Filippino Lippi's rondo, Holy Family with the In fan t St. John and St. Margaret, now in the Cleveland Museum of Art (fi g. 5). Firs t attributed to Ghirlandaio and singled out fo r special mention in John Murray's Handbook for Travellers in Southern Italy, the p anel was identified as a Lippi in 1864. 19 The pa inting was in the collection of the Caraffa fa mily, in the Castel Sant' Angelo in Naples, and it is likely that the rondo had descended in that fa mily fro m the time of its completion in the 1490's.20 The painting was bro ught to the Warrens' attention by Bernard Berenson, who had learned by June 1898 that the Sant' Angelo collection was for sa le thro ugh a Milanese dealer, Ignazio Virzi. Berenson wrote to N ed Warren, who was acting as his mother's agent, that a few of the available paintings were worth considering: "The S. Angelo Collection is a bad pudding, with a few plums. The Filippino is genuine, unquestionably authentic, & so far as I know, his third best work in existence. To the person who ultimately will possess it, it would be cheap fo r ÂŁ6000. I am pretty certain that Mrs. Gardner would have it at that price." 2 1 That statement may have spurred M rs. Warren to action, fo r the loss of the T itian to Mrs. Gardner must have been fresh in her mind . The purchase was negotiated

qui ckly, and as Berenson later noted to Mrs. Gardner, " they would not sell th at picture alone, [and the Warrens] had to buy a number of others, the least bad, as well." 22 The Wa rrens were not at a complete disadvantage, however, fo r the other paintings included Michael Wohlgemuth's Death of the Virgin,13 Vincenzo Carena's Madonna, Brusasorci's Lady in Brocade, and David Teniers's Marine. They paid 160,000 lire for the entire group and the paintings were shipped to Boston in October. 2 4 These pictures all para lleled Mrs. Gardner's interests; indeed she had bought a Brusasorci the previous yea r (now designated as "anonymous Neapolitan, 1610-1650" ), and in 1895 had purchased Carena's Delivery of the Keys to St. Peter. H er reaction to the Warrens' acquisitions, especially of the Lippi, and to Berenson's participation in the transaction, is unknown. She never acquired a painting by Lippi ; the most compara ble object in her collection is Sand ro Botticelli's exquisite Madonna of the Eucharist, which was not purchased until 50

5 Filippino Lippi, H oly Family w ith the Infant St. j ohn and St. Margaret (Th e Warren Tondo), ca. 149096, 155.5 cm. diamerer, The Cleveland M useum of Art. Delia E. Ho lden Fund and Fund Donated as a Memo rial to M rs. H olden by Her Children: Guerdon S. Holden , Delia Holden Wh ite, Roberta H olden Bole, Emery Ho lden Greeno ugh, Gertrude Ho lden McG inley.

1899, after the Lippi had arrived in Boston (the Gardner picture remained in London until 1901 ). When Berenson published the Lippi in 1900, he had revised his estimation of its importance, calling it the artist's most significant painting: "This picture which, if it were in the Uffizi or any other famous public gallery, would certainly add great lustre to the master's name, is in a private collection in the United States. The fortunate owner of this masterpiec:e is Mrs. S. D. Warren of Boston ... . It would be difficult to find a more fascinating composition." 25 Berenson's assessment has not lost its currency, fo r the rondo is still considered to be one of the greatest Italian Renaissance pictures in the United States. Admired for its elega nt composition, which perfectly suits the circular format of the panel, and fo r its delicate, measured drawing and jewel-like colors, the painting was lost to Boston in a com-

plex series of events that began with Mrs. Warren's death in 1901. Rather than leaving any specific paintings to the Museum of Fine Arts (of which her son Sa muel was a trustee and President), Susan Warren left the institution $60,000 to be used to purchase items from the collection. Now the property of the fou r surviving Warren children, the paintings were exhibited at the Museum in April 1902. But the Lippi was mentioned only briefly as "an extremely important example of the native Italian school, in excellent condition" in Willi am H owe Downes's review of the show, while several paragraphs were dedicated to Corot, Dupre, and the other French paintings.26 The Museum, too, seems to have been ambivalent about the acquisition of the Lippi. In July, the director Edwa rd Robinson wrote to local artists and collectors and asked them to tell him which Warren paintings would be of 51

greatest interest to the Museum 's collection. M rs. Ga rdner, Arthur Tracy Ca bot (an impo rtant trustee), John Briggs Potter (Keeper of Paintings and a friend of M rs. Gardner's), and Sarah W yman Whitman (an impo rtant donor who admired ea rly Ita lian art) wrote in favo r of th e Lippi . But ma ny others were aga inst it. T ypica l was Frederic Porter Vinton, a well-known local painter and a teacher at the M useum School: You will notice that I have not put down the Lippi, nor the other large "Museum pieces," for the reason that, a a pa inter, th ey do not interest me very m uch. T hey do not seem to me to be vital, nor to have any message for me, which a good photograph fro m them wi ll not give in a much more convenien t and economical form. Where the history of arr may be tudied as in the Louvre, and in Belgium and H o lland, in Ita ly, and elsewhere, in the fine collections, uch paintings a re of importance; but as conditi on are now in America I should be incl ined to buy good art, rather than old a rt. 27

This attitude, along with in creasing disagreements between the M useum and the Warren fa mil y over the purchase price, th e preserva ti on of the pai nting, and the app ropriate clim ate controls necessa ry to ensure the panel's safety, led to a complete impasse, alth ough the a uctio n catalogue of the Warren collection published in Janu ary 1903 states th at the Lippi had been presented to the Museum . 28 In March 1903, Co rnelia Wa rren wrote to her bro ther Sa m that th eir broth er Fiske now felt that " Mrs. Gardner's hou e i the most fit setting fo r th e Filippino." Fiske p roposed making th e panel a gift to Mrs. Ga rdner. 29 Sa m agreed to the idea, tho ugh he added, " I have stro ng reason to believe that Mrs. Gardner will not accept the gi ft . . . if it is to be offered to her, G retchen [Fiske's wife] is th e best one to do it. " 3 Co rneli a repo rted th e o utco me to Sa m in a letter of 16 April :

째

This morni ng at last Gretchen saw Mrs. Gard-

ner by app oi ntment. The latter was mu ch affected by the offer,-even to tears. Owing to questi ons alrea dy p ut to her, she had felt th at so me proposition as to the Fil ip pino was at hand, an d she had gone a bo ut her house carefull y, co nsidering if anything co uld be done, as it was a pictu re one co ul d not thin k of putting in an infe ri or p lace. She had fa iled to fin d the right place free for it, taking into account wh at was on its way to her, and th at she proposed to keep the ho u e homelike and not fi lled as a museum must be. Wh en she lea rned the te rm of o ur offer, she said it was somethi ng she sho uld remem ber thro ugh li fe: being ho unded and fou nd fa ult wi th as she wa so constamly, and havi ng to defend herself fro m imposition, this was an experience very pleasa nt to meet. 3 1

To Berenson, M rs. Gardn er wrote, " I shall not take the Warren Filippin o. It o ught to go to the Fine Arts Museum. Sam Wa rren is President of th at, and is part owner, as heir, of the p ictu re. And they all ado re it I believe. Will yo u still keep yo ur weather eye o ut fo r my Raphael Madonna?" 32 "The M useum wo uld do a fine thing to ho ld together a cho ice collection to honor the memory of the no ble wo man who too k such pride in ma king this o ne which bea rs her name ... ," wrote Frederic Vinton.33 But the Wa rren collection, save fo r the Lippi and a few other pa intings which we re held by the fa mily, was sold at auction in N ew Yo rk in Janua ry 1903. Warren's ri valry with Mrs. Ga rdner came to a poeti c conclu io n with the offer of th e Lippi to Fenway Co urt. By refu sing it, Ga rdner reserved co mpletely for hersel f the distinction of being the greatest woman collecto r in Boston . H er palace is a shrine not onl y to the masterpi eces it contains, but also to the artisti c acco mplishments of wo men in turn-of-thecentu ry Boston , a legacy which surely must also include Susan Cornelia Warren.

Erica E . Hirsh/er

My th anks a re due to Lee-Anne Famolare, Martin Green, Marci Rockoff, Carol Troyen, an d especia ll y to Karen H aas. M y interest in Mrs. Warren has grown from my short article "The Great Collectors: Isa bell a Stewart Gardner and H er Sisters," in Pilgrims and Pioneers : New England Women in the Arts, A. Faxon and S. Moore, eds., New York, 1987, 24-31. 1 R. va n N. H adley, ed., The Letters of Bernard Berenson and Isabella Stewart Gardner, Bosto n, 1987, 54- 56.

8 Mrs. Warren 's purchases are often credited to both Mr. an d Mrs. Warren; however th e so urces indicate clea rly that the decisions were Susa n Warren's, altho ugh th e checkbook was her husband's. See for exa mple Cornelia Warren 's Memorial, w hi ch sta tes "Another and better known insta nce of my mother's self training was her collection of paintings ... My fa th er encouraged her to make purchases as opportunity served, in London and o n th e Co nrinen~ " 154-155.

2 See M . Secrest, Being Bernard Berenson, New York, 1979, 213, and note 11 below. The Lippi rondo is now in the collectio n of th e Cleveland Museum of Art.

9 Young Shepherdess was preceded only by a sma ll unfinished pai nting given by Martin Brimmer. By 1918, there were 65 paintings and pastels in th e collection.

3 Mrs. Warren's collecti on is revealed by studying auctio n cata logues, correspondence, loa n records, and the provenance of the objects she once owned. She had wel l over 150 pa intings; o nly a selecti on ca n be discussed here. For an almost co mplete listi ng, see th e small catalogue " Special Ex hi bition of Paintings From the Collecti on of the Late Mrs. S. D. Warren," Museum of Fine Arts, Boston, April 1902.

10 The year was 1889. See C. Troyen, Th e Boston Tradition, New York, 1980, 34.

4 Chronicles of th e Warren fami ly ca n be found in C. Warren, A Memorial of My Moth er, Boston, 1908 and Samuel Dennis Warren: A Tribute from the People of Cumberland Mills, Cambridge, Mass., 1888. 5 E. P. Warren, "Note," Catalogue of the Collection of the Late Mrs. S. D. Warren of Boston Massachus etts Comprising Oriental and European Porcelain, China, Glass, Pottery, Bronzes, Lacquer, Silver, Tapestries, Silks, Embroideries, O ld Jewelry, Fans, Ivories, Watch es, Miniatures and Furniture Which Are To Be So ld at Auction by Order of the Executors, Beacon Art Ga lleries, Bosto n, 9 December 1902. 6 At the exhibition itself, Mr. and Mrs. Warren bought several antique swo rds and oth er weapons from the Norwegia n Comm ission. See surviving correspo ndence relating to the 1876 purchase in th e Archives, Museum of Fine Arts, Boston. 7 Quoted in S. Fleming, "The Boston Patrons of Jea n-Fran<;:ois Millet," in A. R. Murphy, Jean-Fran~ois Millet, Boston, 1984, x .

11 A. R. Murphy, "French Paintings in Boston: 1800-1900," in Corot to Braque, Boston, 1979, x lvi. 12 Letter from Isabella Stewa rt Gardn er to Bernard Berenson, 11March1901, at I Tatti. The auth enticity of the lnghi rami portrait is now under debate. For the American enthusiasm for Raphael's work (including a discussion of Ingres's ro le in th at interest), see D. A. Brown, Raphael and America, Na tio nal Ga llery of Art, Washington, D.C., 1983. 13 Walters, in fact, was the first American collector to acq uire a Raphael Madonna; see Brown, 72-79. That price was an obstacle to Mrs. Warren is revea led in her letter to General Cha rles G. Loring, director of the Museum of Fine Arts, regard ing the avai lab ili ty of a Rembrandt, in whi ch she confides, "not th at I have any idea of buying so expensive a painting as it must be ie. unl ess it should go for less mu ch less than its value, which is not probable," (12 January 1895, Archi ves, M useum of Fine Arts, Boston). 14 The background of the painting, however, does not seem particu la rly prison-like, for it is lined with pai ntings and drawings. 15 The painting is now in a ruinous state, havi ng suffered severely from overcleaning. See K. E. Maison 's Honore Daumier: Catalogue Raisonne of the Paintings, Watercolours, and Drawings, I, Boston, 1968, in which the painting is included in the section

" Painting with re to ra tio ns so extensive tha t they may have decisive ly altered th e a ppea rance o f part o r th e w hole o f a co mpositio n," and w h ich include a pho togra phic histo ry o f it conditio n (10-11 , 200). 16 See u an Wa rren to Genera l ha rl es G. Lo ring, 18 February 1892, Archi ve , Mu eum o f Fine Art , Boston . The belief in the educatio na l po tenti al o f g rea t art wa typ ical o f Bo to ni ans, and was in fact o ne o f th e o bjecti ve in th e fo rm ati o n o f th e Muse um o f Fine Arts. Warren a l o lent her painting fo r thi purpo e; fo r exa mpl e in 1898 he exhibited her Geo rge Fuller, The Q uadroon, " to give p leaure to the inmate o f th e Ho pita!," a t Waverl ey, M a achu ett . averley wa the site o f M cLea n' H o pi ta ! ( ee u an Warren to Mi s ray, n.d . [189 ], Archiv , Mu eum o f Fine Art ). 1 The mu eum ' fil e do no t reveal the identi ty o f th e ano n mo u do no r o f the pa inting now ritl ed Lam entation over the Dead hrist. H owe er Walter uir Whitehi ll pecul ate upo n a Warren connecti n in his Museum of Fine Arts, Boston : A entennial History, am bridge, la ., 1970, 190. Bern ard Berenon co rre po nded w ith Mr . Ga rdner a bo ut the ri vell i in the Wa rren o llectio n (30 June and 12 Ju ly 1902, quo ted in H adley, 29 1294 ; H adley no te th at th e Wa rren ri velli i tl1 e Mu eum o f Fine rts' Pieta), and ed Wa rren, in a letter to hi brother Fi ke, ta ted, " Wh y no t do th e rea ll y generou thing a nd give o mething the Mu eum would no t be wi e eno ugh to bu y? Wh at tr ub le I had to get the ri vell i into th e Mu eum! " (22 J uly 1902, Department o f Painting fi le , l u eum o f Fine Arts, Boston ). 18 Bern a rd Beren o n to Isa bell a tewa rt Gardn er, 24 ovember 1897, qu o ted in H ad ley, 10 1- 102. 19 Murray's boo k wa published in Lo ndon in 1868 . He ev iden tl y wa un awa re of the 'change o f amibuti o n sugge ted fo ur year ea rlier by j. A. rowe and G. B. avalca el le in A N ew History o f Painting in Italy, Lo ndo n, 1864-1866, 450. For furth er in fo rm ati o n o n the to ndo, see European Paintings Before 1500, The leveland Museu m of Art, 1974, 76-79. 20 European Paintings Before 1500, 76.

2 1 Bern ard Berenson to Ed wa rd P. Wa rren, 6 J un e 1898, cop y in Departm ent o f Paintings fi les, Mu eum of Fine Arts, Boston. 22 Bern ard Berenson to Isa bell a Stewa rt Gardn er, 25 February 190 1, quoted in H adley, 249. 23 This pa inting, now in th e Muse um o f Fine Art , Bo to n, ha recentl y been ascribed to Wo hlgemuth 's wo rk ho p. ee Department o f Paintings fi le , M u eum o f Fine Arts, Bo to n. 24 The sales co ntract between th e Sant' Angelo fami ly and Ignazio Virzi, dated 25 Ju ly 1898, and a letter reco rding th e price pa id by the Wa rrens to Virzi and discussing the shipping a rra ngements (J o hn M ar hall [a n asocia te o f ed Warren] to Sam uel Warren , 21 O ctober 1898) are pre erved in the Department o f Pa intings fi le , Mu eum o f Fine Art , Bo ton. 25 Bern ard Beren o n, " Un hef-d 'oeuvre inedit de Filippino Lippi," Revue archeologique, XXXVl I, 1900, 238-243, repri nted in Berenson' 't11dy and riticism of Italian Art, Lo ndo n, 1902 (2nd er. ), 9 1- 93. 26 W. H . Dow nes, "The Wa rren Co llecti o n at the Lu eum o f Fine Art ," un identi fi ed clipping, Depa rtment o f Paintings fi le , Mu eum o f Fine Arts, Bo ton . 27 Vinto n co ntinue , " T he ma ter o f 1830 a re beco m ing ra rer every da y. T his Warren co llection wa la rge ly co llected by Me sr . H unt, o le, and Ro binso n [all American Ba rbi zon-style pa inters], and co nta ins picture w hich ca nnot be replaced. T he Museum wo ul d do well to obtai n as man y as it i possible to pu rcha e from thee tate unde r th e co ndi tio n imposed ." (Frederic P. Vi nto n to Edwa rd Ro binson, 19 Jul y 1902). Joseph Li ndo n mith , ano th er pa inter a nd Museum intimate, w rote "T he large circul ar panel in the 'Warren Collecti o n' attributed to Lippi, does no t po sess, to my mind, th e best cha racteristi cs of th at master . . . it is pleasing as a pictu re, fo r its colo r, a nd it compo itio n, w hi ch a re bea uti ful , but as a ' Li ppi' I ca n no t feel that it we ll represent him. " (Jo eph Lindo n Smith to Edwa rd Robinson, 8 September 1902). " M y own fee ling is th at w hat the Museum needs especiall y i modern stuff .. . ," wrote Phi lip H ale, a pa inter, instru cto r at the Mu eum

School, and a lecturer on a rr histo ry (Philip H a le to Edward Ro bin o n, n.d. [ umm er 1902]). Other parti ci pants in th e survey, no ne of whom advoca ted th e Lippi, were Frank Benson, Willia m Sturgis Bigelow, Walter Gay, Denma n Ross, and Edmund Tarbel l. Their replies are a ll preserved in th e Depa rtm ent of Pa intings fil es, Museum o f Fine Arts, Bosto n. 28 There is vo lumin o us co rrespondence concerning th e di position of the Lippi in th e museum' a rchives and in th e Depa rtm ent of Pa intings fi les. The introduction to the auction catalogue wa written by critic Cha rles H . Caffin ("The Collecti on o f the Lare Mrs. S. D. Warren," American Art Galleries, New Yo rk, 1903). 29 Cornelia Wa rren to Samuel Warren, 29 March 1903, Department of Pa intings files, Museum o f Fine Arts, Bosto n. 30 Samuel Warren to Pussy [Cornelia Warren], 6 Apri l 1903, Depa rtment of Pa inting files, Museum of Fine Arts, Bosto n. Gretchen Osgood Warren was, at just this moment, itting for John Singer Sa rgent's po rtra it o f her with her daughter Rachel in the Gothic Roo m of Fenway Court (now in the MFA ), and thus had a special tie to Mrs. Gardner.

32 Isabella Stewart Gardn er to Bern ard Berenson, 19 M ay 1903, quoted in H adley, 3 15. Berenson had written to Mr . Gardner o n 3 M ay: "I ho pe yo u have bought th e Warren Filippino. It i a very beautiful picture, and l believe, his masterpiece" (H ad ley, 315 ), but a pparentl y Mrs. Gardner was single-mi nded in her desire for another Raphael. She turned down several of Berenso n's offers at this time, stating " M y last few do llar must be kept. They are reall y th e la t a nd it mu t be for so me very great thing .. . Yo u mu t get me th e A No. 1 Raph ael Madonna ... ," (Gardner to Berenso n, 17 Jun e 1903; Had ley, 3 17). The Lippi never ca me to the Museum of Fine Arts. Instead , it passed into the hands of Ned Warren at Lewes Ho use in England, although th ere is correspondence as late as 1914 discu sing its potenti al disposition to the Mueum. When Ned died in 1929, th e rondo passed to H. Asa Thoma , and then to The Cleveland Museum of Art. 33 Frederic P. Vinton to Edward Robi nson, 19 Ju ly 1902, Department of Pa intings fil es, Mu eum of Fine Arts, Bo ton.

31 Cornelia Warren to Samuel Warren, 16 April 1903, Department of Paintings fi les, Museum of Fine Arts, Boston.

The Isabella tewart Gardner Museum, Incorporated ixty-fourth Annual Report for the Year Nineteen Hundred and Eighty Eight

Report of the President

Ca ring for the Gardner Museum is very di fferent from what it used to be; 1988 has been a most eventful year: In June, Ro llin H ad ley an no unced, after 25 years of distinguished service to the Museum , th at he wo uld like to relinquish his post as director. Under his leadership the Museum fl ou rished. Attendance grew, scho lars hip was encouraged, new pub licatio ns appeared, a successfu l membership progra m was instituted, a new series of lectures began, conserva tio n was strengthened, a cafe for visitors was in stalled, pecial exhibitio ns were pre-

sented, and the concerts and fl oral displays were better than ever. Since Ro llin H ad ley's an no uncement, Kristin Mortimer, the deputy director, and with her the key members of the staff, have been taking increasing res po n ibility fo r running th e Museum ; and a ltho ugh several positio ns are vacant, which puts them under pressure, they have do ne a magnificent jo b. Kristin Mortimer was named acting director after H ad ley left on 31 December. A Search Committee, consisting of Ann Gund, Arnold Hiatt, J ames Terry, Emily

Founder's Day dinner in the Spanish Cloister.

The ~tenJel"ohn mng Qu.mer.

or c nmarc \\a~ higher rhan rhe la t, and tr be amc 111 rea~1ngl) doubtful char an adequarc addmon could be builr \\ 1rhur undue rt k ro rhc 1\ Iu~cum' finan 1al ~rrength.

Thi~

ha n \\ been onfirmcd b\ a rh r ugh rev1C\\ f rhe 1\ Iu cu~' fururc need , "ht h ~howcd that:

By rhe end f I tr had b me ev1denr char rhe urvival of rhe u eum 111 g d healrh w uld require more w rk from member f rhe Board rhan had e er been rhe ca in rhe pa r. Ma n Hamm nd' reriremenr lefr one va ancy, and rhe 1ze of rh Board wa increa ed from e en to eleven making r m for fi e new T ru ree . Arn Id Hi arr, Mary F rd King ley, William P rvu Li nel piro and mi ly Vermeule were elected, and rheir ubsran rial conrriburi n already have proved rhe wi dom of doing o. Lack of adequa re behind-rhe- cene fa ilirie -con erva rion laborar rie , office , meeting room , library, archive , ere. - ha been a perenni al problem a r the Mu eum, and new consrruction eemed rhe obviou olution. Over a period of severa l yea r , plans were prepared, meeting were held wirh archirecrs and builders. Each new

Ir 1 uneconom1 al, JnJ 1n man) 1..a>e> 1mpracrt<..ablc, ro cnJ our .:on en anon work, a' oppo ed ro perform mg 1r m rhe ~ lu eum. n en 1ng rhe collecnon and The o'r making needed 1mpro' emenrs r rhc ~I u~cum budding, m ludmg ltmarc onrrol, nccc strare ub ranr1ally m rca ed annual gl\'lng and a ub ranr1al cap1ral ampa1gn. In 'tC\\ f rhese orher need , rat mg rhe funds f r a new building 1 pre enrly our of rhe que n n.

In hort, the Mu eum wa faced w1rh having ro provide adequate pa e for conerv tion and for office w1rh ut any pro peer of building a new building .to hou e them. The be t and perhap th nly olution to the pr blem appeared to be to u e the fourt h floor, which up to now ha been the director' re iden e but ha been vaca ted by the Had ley , to provide the nece ary space. rudie with the architects showed th ar it wa fea ib le and 59

The exhi bition " From Babes in the Woods to Dr. Do!ittle: A Coll ection o f Two Centuries o f Children's Boo ks" in the Little Salon.

econo mica l to convert the present offi ce wing into conservation laboratories, and to use the fourth fl oo r for offices, library, archi ves, meeting roo ms, etc. witho ut significa nt change to the interior fea tures of the apartment. The Trustees _have ap- . proved such a program. In view of the direction in Mrs. Gardner's will th at the fo urth floor be made available fo r the use of the directo r, the Museum will seek Court approval for the proposed new use of that floor. The matter is now under study by th e Attorney General's offi ce, and their decision is expected sho rtly. Studying the Museum's need_s and planning fo r the future have entailed a great dea l of work by the staff and committees of the Trustees. Kristin Mortimer and James Terry helped the conservators wo rk o ut a conservatio n program showing the relative costs of doin_g the work in-ho use or o utside. The Bwldmg Committee, under James Lawrence and William Poorvu, worked hard on the plans for the conservation laboratories and th e fourth fl oor. The Finance and Priorities Committee, headed by Terry, wo rked with Raymond Cross, the business man-

ager, and Kristin Mortimer, o n the current budget and models of future budgets, and on capital needs progra ms. A Planning and Development Committee, headed by Mary Ford Kingsley, is already at work o n ways to shrink the deficit, and with the advent of a new directo r of development, will be laying the groundwork for raising the capital the Museum will need for its surviva l. An initial step, taken out of fin ancial necessity, has been to institute an admissio n charge of $5 .00, with free admission to members and on Wednesdays, and half price to seniors and students. So far the charge doesn't seem to have affected attendance significantly. I have outlined profound changes in the management of the Museum, in the work th at needs to be done, and in the challenges faci ng the Trustees and the staff. But the whole point is, of course, to keep the Museum the same; to preserve this great treasure just as Mrs. Gardner _left it; to see that it is used "for th e education and the enjoyment of the public forever." Malcolm D. Perkins

Report of the Acting Director

1988 was a year of challenge for the Ga rdner Museum. Altho ugh a strong commitment to conservation has been in force since the directo rship o f Geo rge Sto ut (1955- 70), the needs o f a permanent and highly accessible collection, and the structure ho using it, are ever-mo re demanding and costly. Projected operating deficits, along with proj ected capital expenses, are pro blems confro nting most majo r museums today, but they a re relatively new to the Ga rdner. Thus 1988 was a year of hard work and hard thinking as the Trustees and staff so ught to establish, to cla rify, and to qu antify prio rities of conservation and preservation. The environmental and conditi on surveys undertaken in the galleries in 1987 continued to yield invaluable informatio n, and new studies this past year focused first on the fa bric of the building itself.

Following interior and exterior conditio n repo rts by Stopfel-Miller Inc. and Preservation Technology Associates, we initiated an integrated lo ng-term plan fo r the pro per maintenance of Fenway Court as it approaches its centennia l. A second major enterp rise was th e investigatio n of a clim ate-control system. A feasibility-stage repo rt has recently been submitted by Landm ark Facilities Group, Inc., and o ther specialists have already contributed toward a practical and effective design. To date the signs are most pro mising- environmental conditions can be dra matically improved with out disrupting the co llectio n or diminishing th e ambience set by the central co urtyard . The primary goals are to stabilize temperature and relati ve humidity in the galleries to the degree that the historic building will sa fel y withstand ; to reduce visible and ultraviolet light levels; and to filter

MFA pai ntings conservator Brigitte Smith and her assistant consolidating lifting paint on the school of Botticelli rondo in the Lo ng Gallery.

out damaging urban pollutants. Of central importance in preserving many fragile and vulnerable works of art, a clim atecontrol system w ill also enhance the visitor's experience, especially during the winter and summer months. A cri ti cal co mponent of the endeavor will be continuing to trea t a ll exterior w indows with protective films and screens and possibly re-glazing the skylight. Upon resolution of the problems posed by natura l lighting and a " hostile" enviro nment in genera l, we will be in a positio n to intensify an ongo ing program to improve presentation of the collectio n. A key issue to be addressed in ga llery renovations is one of the most common of visitor compla ints- inadeq uate artificial lighting. These three major capital priorities-building preservation, clim ate control , and gallery renovations-will take severa l years and a hefty increase in funds from outside so urces to bring to comp letion. In the nearer term, th e Trustees have committed in 1989 to a critical first step toward solving our most pressing problem: insufficient space in which to serve the public and to care for the collection adeq uately. The decision to make mo re intensive use of space w ithin existing wa lls is described in the R eport of the President; it has hinged upon a thorough analysis of options, and also upo n the belief th at despite the change in function of the fo urth fl oor, its character and architectura l integri ty can and will be maintained. At the sa me time, moving the offi ces and libra ry will allow the current cramped conservation spaces to almost quadruple: the present office annex is to be given over entirely to o bj ects and textile laboratories; a former studio space on th e fourth fl oor will be renovated for the ca re of paintings; and additiona l room in the carriage ho use, a lready pa rtially occupied by o ffi ces, will be designated for

carpentry, frame repair and exhibition preparation . Finally, the current curatorial offices will become an analytical labo ratory and photographid multipurpose suite. Expanded a nd improved use of ava ilable space, along with the o ther capital projects, all constitute conservation in the broadest sense of the term ; the progress made this year has undersco red conservation as the first and foremost charge to the Trustees and staff as we chart our course for the coming yea rs. 1988 was also a year of significant change within the staff. Although the departure of Li nda V. H ewitt, former assistant director, was announced in Fenway

The American block-front chesr-on-chesr (Fl 7w52) on irs return co rhe Shorr Ga llery fo llowing conservation ar SPNEA.

Bob MacKenzie making a toast to director Rollin H adley on the occas ion of his farewell party.

Court 1987, we were lucky to have her here until June of 1988, and her sensitivity and unerring judgment in handling administrative matters and community relations will continue to provide a model for everyone. Other staff changes are listed at the end of this report, but a list cannot indicate the inevitable sense of loss and the genuine well-wishes that went wi th colleagues moving on to other careers and places. At the December farewell party for the outgoing director, Rollin H adley, the toast given by head gardener Bob MacKenzie captured the feelings of us all -that the Museum staff, small in number, close in daily communications, and united by common goa ls, is a "family" as well as a professional team,

and when one of us leaves, the rest are saddened. We wish Bump H adley all the best as director emeritus and will expect to see a book or two of his forthcoming from the library at I Tatti and other scholarly centers. In the mea ntime, he left a short statement that both illustrates the high standards he maintained and encouraged throughout his tenure and that ca n serve as an introd uction to the second section of this report: The public in recent yea rs has become aware th at the Museum creates cultu re as well as reflecting it, and that there is an active program as well as a di stinguished collection. The staff programs last year demonstrated the high level of accomplishment that the public has come 63

to expect fro m the Gardner Museum . In some cases new progra ms have been initiated du ring this di ffic ult tim e of t ra nsition. Desp ite ti ght budgets and so me vaca ncies among key personnel, edu ca tio n, ga rdening, music, and scho larship forged ahead, serving an increasing nu mber of special interests and a broader pub lic. In view of the M useum 's fi nancial needs an d the demands of membershi p, it is essenti al that these progra ms thri ve.

The Report on Education and Membership Program th at fo llow highlight some ohhe 1988 activities just encapsulated ; the coordin ators of these two departments almost single-handedl y have seen to it th at their programs are indeed " thri ving." M usic and horticulture, the traditional complements to the visual arts at the Gardner M useum , also continued to fl ourish. A schedule of some 120 concerts began with Tonu Kalam conducting The New England Chamber Orchestra. Founded under the Museum 's initi ative some twenty years ago by the conductor's fa ther, Ende! Kalam, this orchestra has

given young musicians the opportunity to perfo rm both as solo ists and as part of the ensemble. The Museum continues to offer a series of programs given by winners of the N aumburg International Chamber Music Competition. Directed by John M oriarty, another series, of concert opera p roductions, provided many occasions fo r young singers as well as oppo rtunities for the Boston public to enj oy seldom-heard wo rks. Other young musicians performing in our concerts continue to win awards and competitions th ro ughout the country. In one instance, musicians who perfor med here twenty-five years ago, and who since have become doctors and scientists p rofessionally (including one No bel prizewinner in biochemist ry), returned to give a delightful concert in the fa ll. The M useum 's entry in the New England Flower Show always heralds the advent of spring. This year the building supervisor crafted a ga ily striped canopy capping a bridge th at led to the gardeIJ created by Bob MacKenzie and his staff.

Preserva tion Techno logy sta ff inspecti ng the roof and exterior wa lls as parr of the bui ld ing condi tion survey.

Gifts to the greenhouses continue to come in. Last year Mrs.]. Linzee Coolidge gave a collection of orchids in honor of Bruno Tosi, long-time gardener to the fam ily, and Teresa Rota left two palms now settled in the court.

Standard yellow jasmine echoed the color of the canopy and pink and w hite cyclamen provided a low border. For this the Museum received a cultural certificate: further ev idence, if any were necessary, of the pride and skill that the gardeners lavish on the pots that come from our greenhouses. Sharing their knowledge with the members is a recent and welcome addition to their roles. This they did at a greenhouse workshop in April, and informally with members who toured the work areas during the year, came to the plant sale in May, and attended an autumn talk on the courtyard.

Financial management is more critica l th an ever in ensuring our ability to provide these programs for our mem bers and the public. Preparing budget projections, planning for changes in accounting methods and procedures, and thoroughly modern izing our financial reporting system have been ably accomplished at the staff level by the business manager, Ray Cross. Similarly the Museum has benefited by the work of the administrative assistant for personnel and finan ce; in addition to the duties inherent in his job title, Co rey Cronin has helped greatly in our public relations efforts and particula rly in spurring on and coordinating our increased grant activity. Th e fo llowing list shows the results for 1988 in the latter area, and our sincere gratitude goes to those agencies and fo undations who have given us their support:

Institute of Museum Services

$23,000

Kress Foundation National Endowment for th e Arts Amelia Peabody Trust Cha rl es H ayden Foundation Polaroid Foundation

$ 7,095 $ 8,000 $10,000 $ 7,500 $ 1,000 $ 500 $ 2,000 $ 500 $46,500 $ 5,920 $ 5,000 $ 2,500 $ 1,000

IBM Stevens Fo undatio n Fiduciary Trust Co. M ass. Cou ncil o n the Arts and Humani ties Mass. Council on the Arts and Humanities Bank of Boston Boston Arts Lonery Barstow Fund

Assistant Conservator (November 1988 - November 1989) Conservation equipment Conservation of Green Hill scu lpture Securi ty system Securi ty system Security system Se cu ri ty system Building Shell study Music program General operations (two-year award ) Boston English High School program Friday morning educatio n program Friday morning education program Friday Morning education program

Also at the core of o ur operations and essential to the safety of the building and the collection is the security department. Wo rking with a consulta nt, chief of securi ty Lyle Grindle for mul ated a lo ng-ra nge plan (included in th e capital budget projections) fo r upda ting and upgrading o ur fire detection/suppression, evacuatio n, and intrusio n systems. To begi n implementation of this plan, intern Michelle Beiza i concentrated on a first-time security grant ca mpaign, the success of which ca n be gauged fro m th e previous paragraph . As a result, we already have been able to install new closed-circuit ca meras and monito rs, anti-intrusio n devices, and additional smo ke detectors.

The archivist's own p rimary occupation for the year was the special exhibition "From Babes in the Woods to Dr. Dolittle: A Collection of Two Centuries of Children's Books at the Isabell a Stewa rt Ga rdner M useum ," fo r w hich she wrote an accompa nying catalogue (with bibliographical notes by Philip B. Eppard) of children's boo ks from the M useum collectio n and from the personal libraries of John Lowell and Isa bella Stewa rt Gardner. Partial fundin g of this project fro m Little, Brown & Co., H o ughton Mifflin Co., and Mr. Dan Posnansky is gratefully

Fenway Court itself, under John N iland 's experienced eye, underwent several major repairs, including the final flood testing of the new Tapestry Room roof after th e ca uses of a series of leaks in Janu ary and Febru ary had been determined and corrected. Foll owing the identification of asbestos in all interior areas, the material was removed fro m hazardo us locations o n the fo urth fl oor and in th e basement. Finally, the chimney at the no rth west corner o f the Museum was entirely rebuilt. The co llectio n-ca re staff, while closely involved in planning for the majo r projects and in ca rrying o ut the studies o utlined at the beginning of this repo rt, also main tained a high level of activity in more regular pursuits. As usual, Susa n Sinclair handled numerous requests to exa mine archiva l materials: photographs, diaries, newsclippings, collected letters, manuscripts and books, as well as Mrs. Ga rdner's correspo ndence. And of the various additions to the archives, one gift of particular interest may be singled o ut: some 500 letters, along with related items, between Bernard Berenson and Frances Francis, wife of the fo rmer curato r of paintings at the Cleveland Art M useum .

Removal of a lime tone escutcheon from the northeast corner of the bu ilding.

Museum organizers and parricipanrs in the Boston Un iversiry Symposium on the History of Art.

acknowledged. A second special exhibition, also mainly archival, was Mrs.

Gardner's Circle: Sarah Orne Jewett, Charles Eliot Norton and Matthew Stewart Prichard, held in connection with the fall lecture series. Loans, always an exception, were made on three occasions: a John Singer Sargent letter with a sketch for an exhibition called Show and Tell, Artists' Illustrated Letters, at the Grey Art Gallery, New York University; Charles Woodbury's Sunlight in a Cove (gift of Mrs. David 0. Woodbury) for an exhibition of that artist at the M.l.T. museum; and Govaert Flinck's Landscape with an Obelisk for

Masters of 17th-Century Dutch Landscape Painting at the Museum of Fine Arts. In addition to augmented editorial and registrarial duties, the associate curator, Karen H aas, again organized the Museum-sponsored Boston University

Symposium on the History of Art. This fourth annual session drew a considerable audience to which graduate students gave papers on topics from Giovanni Baglione in Caravaggio's Rome to Roy Stryker's Role in Corporate Culture. She also oversaw production of Fenway Court 1987, which received an award of merit from the AAM Publications Co mpetition. The conservation staff treated and stabilized objects too numerous to record here, but which ranged from a Bavarian Head of Christ (Sl9w29) to an upho lstered prie-dieu (F28e4) to a Venetian sculpted roundel from the Italian garden at Green Hill. Longer-term projects, particularly work on tapestries, also progressed over the year. Of special note was th e resignation of o ur paper conservator, who left in October to finish her master's degree in education. In her thirteen-year association with the Museum, Caroline Graboys put this relatively small but sig-

nificant pa rt of th e o llectio n in go d o rder. Further project , now in the planning tage , w ill include con erva tion of o ur ub tantial pho togra phic ho lding . The Mu eum ' con ervatio n raff, a lo ng wi th the building upervi o r, a l o was re po n ible fo r as e ing and rever ing damage ca used by the roo f lea k in the Little alo n and Ta pe try Room . An in uran ce ettl ement hav ing been reached, o me o bject are being trea ted in the Mu seum la bo ratorie , w hile o ther have had to be ent o ut. Luckil y nothing was irrepa ra bly harmed, but the entire p roce wa time-consuming and labo r-intensive. Wo rks needing attention in o ther ga ll erie either were ent o ut beca u e o f pace contraint , o r we re trea ted o n ite. The

fo rmer in cl uded the me ri ca n block fr nt he t-on-che t {Fl \ 52) tha t had belo nged to Mr . ardner' grand mo ther a nd the Libe ra le da er na ativity (P26 8) 路 the latter incl uded con o lid ating pa int o n the chool of Bo tticelli ativity (P2 e l ) in the Lo ng Ga llery and di a embling che parti all y fragmented limeto ne coat o f a rm o n the no rthea t exterio r o f the building. Beyond actual con erva tio n w rk , th ra ff devoted much rime a nd effo rt in conducting the yea r-lo ng enviro nmenta l urvey, whi ch ended in ovember. Fluctu atio n in temperature and relati ve humidi ty; high vi ible and ultrav io let light level ; and the pre ence o f bo th

Du'>!)' Logan, J'>'>MJnt consen aror o( icxnle'>, dl:'>cnbing rape ti") con...:rvatton merhod'> during a member'>' gallcl") ralk.

Dr. Nathan tolow consulting with Susan Buck, proj ect coo rdinator for the environmental urvey, and objects conservator Barba ra Mangum.

gaseous and pa rticulate po llu tants were measured and analyzed for their impact o n th e collecti on. So too were the deleterious effects of biodeterioration from pests, molds and li chens; water from leaks, condensation and care of the plants; and wear and tear from vi ito r and maintenance procedures. A fin al report submitted by Dr. ath a n Stolow, primary consultant to the survey, as well as other specialized reports, wi ll be of paramo unt importance to the staff in making genera l amend ments and in determining the criteri a for the climate-control system mentio ned on page 62 here. With the support of another gra nt from the IMS, the Museum has already moved smoothl y into a second phase of environmental monitoring and improvements, which will concl ude in November 1989 and which wi ll be described m ore full y in next year's annua l repo rt. Its basic purpose is to continue gathering data in specific a reas whi le beginning to implement selective environmenta l controls (such as add ing UV-filtering louvers to the w indows on the second floor ) and to stabilize o bj ects identified as in critical cond ition.

Mention must also be made of all th e interns and volunteers who contributed their va luable time and ta lent to the Mueum 's operati ons: Michelle Beizai (administratio n); Carol Loso (curatoria l and admini tratio n); Ann Za ldastani (curatoria l); Chantel Orth, Jean ne Pettigrew and H ea ther Polub inski (member hip); and Reiko H amaguchi , Ro emarie A. Seim, and Troy Taglienti (textiles). Fina ll y, a very special tribute goes to the staff for acco mplishments in 1988; a lmost everyone was ca lled o n to sho ulder added responsibilities, which were carried professionally and with enthusias m. The Museum is fortunate to have such a loyal and dedicated group. These adjectives apply equally to the Tru tee , whose thoughtful and energetic involvement with the key current issues gives confidence th at they will shape the po licies and generate the strategies to secure a sound and dynamic future.

Kristin A. Mortimer

Re igna ri n ere acce pted from u a n Bu k, project co rdinat r, env ironmenta l a ncy Bu chini , bject a i ra nt, llera n, a i ra nt building uperJ hn i or, Mich ael onroy, printer, aroline Grabo , c nser a tor of paper/education ad i or, ha rle H eidorn, ecuriry forema n, ina a lem- H ender on, gardener, Lind a V. H ewitt, a i rant directer, Jo hn Hughe mai ntenance, o lleen Je airi a i ra nt co k u mi ta Pa rija , hosre , aro line D. randley, director of development/member hip Trudi va n lyck mu ic a i tant, Robert Wei e, ecuriry upervi or Richard Wehler, head cook, Ph ylli Wentworth , Mu eu m h p a i tant, Robert French, Mary Hughe , Peter Kearin, Mary Jo Kenn y, Jo hn O 'Do noghue, wa tch, Martine Bernard, Jo eph Hodnick, Stuart Kru ee, Tracy MacMath, Kri tin McGee, Scott Melchionda, William agle, Suzanne Najarian , Mark Peterson, Julie Pica rd , Kathryn Rober o n, Kara Somerville, gua rd , Debora h Davidov it , Jennie Laitala, hristo ph er Po ui lo t, Joseph White, cafe.

Engaged for regular dutie we re C la udi a Hill , object , as i ra nt, William Jones, a i tant chief of ecu riry, Eli a Jorgensen, project co rdinator env ironmen tal urvey, Lawrence O 'Brien securiry uperi or, Da nielle Picard, Mu eum Shop a i tan t, J osep h Ro urke, ga rdener, Kimberly A. Engli h, Bri a n H a rl a n, John ca nlan, ea n Warner, wa tch. Employed o n re tricted chedules were Timothy Ander o n, mu ic usher, Brian Kri chke, maintenance, Michelle Beiza i, Li a o nne ry, J ennifer Fink, Franklin eja me, Beth -Rene 01 en, Scott Pemrick, Timo th y Pendergast, guards, Katherine Finneran, Li a Ra nsom, Dea nna Ropp, Allison T oi, Ellen Weiner, cafe.

The Return of Martin Guerre performed by rhe Bosron Lyric Opera ompany.

Report on Education

The creation of the education department and the hiring of a full- time coordin ator in July of 1987 enabled us to expand the scope of many of the M useum 's p rograms and to fo rge new ties with a growing number of communities. In the past year the M useum has reached out to a larger number of Boston Public Schools (19 in all). The education coordinator served as the representative of the M useum, presenting prelimin ary slide lectu res to students in their classes, and giving numerous workshops to large audiences o f teachers and community administrators. M any new contacts were made with community-based organizations fo r both children and adults, such as Roxbury Youthworks, City Year, Place Runaway H ouse, Elderhostel, and the Dudley Street N eighborhood Initi ati ve. lntroduc-

ing new institutions that previously had little or no contact with the M useum has been a special pri ority. Some of these new ventures have taken th e for m of multiple visits with a focus on afterschool programs fo r inner-city children. These have been a great success on many levels an d th ro ugh them th e M useum has opened its doors to a greater num ber of students, encouraging them to become regular visitors to the Gardner. Other collaborations, such as with Elderhostel, have helped the M useum to reach out to Boston's elder adult community on a more thorough basis. A series of fo ur day-long classes was offered at both the M useum and the Elderhostel facilities, and there is mutual interest fo r the development of further partnerships. This year the public continued to enjoy special guided tours of

Students sketching around the courtya rd during a Friday morning visit ro the Museum.

th e collection presented by the M useum's enthusiastic and knowledgeable docent staff. Student p articipation in the M useum 's progra ms rose fro m 1,062 to 1,136 during the 1988 school year. The most popu lar progra m, Friday Mornings at the Gardner, is offered free of charge and is geared to the six th-grade level. This progra m was developed with the help and support of Donald Brown, senio r advisor/ Fine Arts and Dr. Clarence H oover, p rogra m di rector of Social Studies of the Boston Public Schools. The p rogra m, now in its third year, continues to foc us o n the academic, the aesthetic, and the artistic goals of the Visual Arts in the Boston school curriculum . Each visit consists of fo ur components: 1) workshops introducing teachers to the progra m, 2) p re-v isit slide lectu res to the students in th eir classrooms, 3) resource materials sent to the teachers for use prior to their visit, and 4) the actu al group visit to the M useum . T his multi-faceted approach encourages increased fa miliarity with the Ga rdner and its collectio n, while offering a number of different themes that di rectly correspond to the sixth -grade curriculum. In May, a special exhibitio n of drawings by students who participated in the Friday Morning progra m was displayed at the Court Street School Building.

Afternoons at the Gardner also ga thered a stro ng following in the past year from school systems outside of Boston, and fro m no n-academic groups as well. For a modest fee the program offers a va riety of lesson plans, and all visits include a one-half hour drawing sessio n aro und the Court. This p rogra m has been particularly benefi cial in attracting di verse groups to the M useum from many areas in and aro und Boston, and visito rs fro m out of state.

volved in Project Explore. T his program, w hich is run in colla boratio n with the Black Achievers Program at th e Y.M.C.A., is steadily growing both in num bers of particip ating Achievers and stu dents. Black Achievers is a volunteer program of adult black professio nals who share their experiences with yo ung black, hispanic, asian and w hite children. Each mo nth students a re specially chosen by th eir schools to participate. During three consecutive visits, both the students and the Achievers become fa miliar with the collection, meet the staff behind the scenes, and do hands-on work with o ur conservators, photographer, and ga rdeners.

Neighbors in the Arts is o ur newest education p rogra m. In cooperation with Bosto n English High School the progra m seeks to welcome and introduce a large number of students to th e M useum th ro ugh in-depth multiple visits. After an introductory to ur given by the Museum staff, the students engage in intensive studies with their own teachers each week in the M useum 's galleries. These students visit over a period of three cycles spanning the months fro m O ctober thro ugh June. Both institutio ns are enthusiastic abo ut this ambitio us plan and are glad to have the opportunity to work closely over such an extended period of time. In September, Caroline Graboys retired as paper conservato r and educatio n advisor for the Museum . Caroline spent a fruitful thirteen years at the Gardner, and left to pu rsue a masters degree in education.

O nce aga in the M useum staff enjoyed many lively visits from the children in 72

lvlernbershipPrograrn

Prof. Judirh Fryer of the Universiry of Massachuserrs, Amhersr, who spoke on Sarah Orne Jewerr and Annie Fields.

Museum membership grew in size and scope in 1988, continuing the lively partnership between the Museum and its constituents. Our members not only help support the Museum fin ancially, but their active participation also makes our efforts more vital and personal. In terms of sheer numbers, both individual and corporate figures reached an all-time high, a.s did membership income. It is hea rtenmg to know that we have more members th an in the past, and that they are giving more generously than ever. This was especially evident in the 1988 Annual Appeal, which yielded over $43,000 in additional support. This year's Appeal will help the Museum step up its conservation efforts,

and so we are parti cul arly grateful to the donors listed below. As in years past, we offered a wide variety of lectures, special events, concerts, and tours, many of which are highlighted here. This year we also fo und two new ways of communicating with our members: in Notes from Fenway Court, th e Museum's newsletter, and with a series of monthly ga llery talks. The newsletter is our first formal opportunity to speak to the entire mem bership, and it has been warmly received. We are especially proud that our initi al issue won an honorable mention from the New England M useum Association Publication Awards. The gallery talks offered members an opportunity to learn more about the collections and gave staff members a chance to mtroduce topics relevant to their own backgrounds and training. The efforts of interns Chantal Orth, Jeannie Pettigrew, and H eather Polubinski during the yea r are greatly appreciated, a~ is the help and direction of the Trustees' Planning and Development Committee, chaired by Mary Ford Kingsley. Calendar of Events 19 8 8 The Museum furth ered its objective to collaborate with other cultural and educational institutions in the Boston area this year with a number of special .events. In February, we hosted an Opera m Progress with the Boston Lyric Opera for a second year, and in April we held the fourth annual Boston University/Gardner Museum Symposium on the History of Art. Joint ventures like these help us to diversify our programs while broadenmg our audience. Highlights of the spring schedule included a gardening talk, workshop, and greenhouse sale, and a lecture by our distinguished neighbor Alan Shestack, d.1rector of the M useum of Fine Arts. A senes of

Dance Exp ress.

talk this fa ll focused on Mrs. Gardner's Circle, and helped to shed light o n the concurrent temporary exhibitio n. And in Octo ber, we hosted the fi rst annua l George Stout Memorial Conservation Lecture to benefit futu re conservatio n projects at the Museum ; the wa rm respo nse was most encouragi ng. We also o ffered a number of musica l events fo r members during the yea r; highlights included the Founder's Day Concert and Reception in April featuring the M endelssohn String Quartet and o ur annua l H o lid ay Concert in December with the Newa rk Boys' Chorus. Febru ary 10 The Art of Martin Schongauer: An Artist of the Waning Middle Ages Alan Shestack, directo r, Museum of Fine Arts, Bosto n. February 18 The Return of Martin Guerre The Bosto n Lyric Opera. March 3 1 N ew Members' Welcome, our twiceyearly o ppo rtunity to meet the members and show the greenhouses and collection.

April 14 Memorial Service April 21 Members' Gallery Talk on the special exhibition Susan Sincla ir, archivist. April 23 Mem bers' Greenhouse Workshop April 27 Founder's Day Concert and Reception M endelssohn String Quartet. M ay 4 Dance Ex press Performance M ay 11 Rebuilding an Historic Park Antho ny Walmsley, landscape architect. M ay 21 The Gardner's Gardener's Greenhouse Sale and Museum Sh op's Spring Cleaning Sale. September 14 Matthew Stewart Prichard Andrew Gray, author and economist.

September 22 Members' Gallery Talk A Gardener's View of the Courtyard Robert M acKenzie, hea d ga rdener. October 3 New Members' Welcome, our biannu al introduction to th e coll ection and the greenhouses. October 6 Bene(actors' Evening Our very special thank you to our most generous donors. October 12 Members' Gallery Talk Highlights of the American Paintings Collection Karen E. H aa , a sociate curator.

October 20 Charles Eliot Norton: The Meaning of Art in Victorian America James Turner, professo r of history and associate chai rm an, department of history, University of Michigan, Ann Arbor. October 24 The George Stout Memoria l Conservation Lecture The Sistine Chapel Preservation Project Walter Persega ti , secreta ry and treasurer, Vatican Museum, Rome. November 9 Members' Gallery Talk Textile Conservation at the Gardner Marjorie Bullock, texti le conservator, and Ada Logan, assistant textile conservator. November 17 Sarah Orne Jewett and Annie Fields: A Community of Women Writers Judith Fryer, professor of English, University of M assachusetts, Amherst. December 7 Members' Holiday Concert and Reception The Newark Boys' Chorus. December 8 Current Architectural Issues Moshe Safdie, architect.

Dave Ho lland, jazz bassist and cellist.

Membership

Benefactor Judith and Josep h Auerbach Dr. Robert Barstow Bruce A. and Enid L. Beal Mrs. Richard M. Bennett Dr. and Mrs. Leo L. Bera nek Robert and Judy Birch Mr. and Mrs. Samuel W. Bodman Mrs. Ralph Bradley Mr. and Mrs. Ronald Brown Mr. and Mrs. Sta nford Ca lderwood June Ca rpenter Mr. and Mrs. Sa muel Coco, Jr. Mr. Bertram Cohen Mr. and Mrs. I. W. o lburn Mr. and Mrs. j ohn L. Cooper Mr. and Mrs. William G. Coughlin Mrs. Frederick B. Deknatel Dr. and Mrs. Cha rles Dickinson Mr. and Mrs. Robert Doran Emily Cross Farnsworth Mr . Willi am Rodman Fay Prof. and Mrs. Elliot Forbes Mr. and Mrs. M arc Friedl aender Mr. and Mr . George P. Ga rdner Mr. and Mrs. j ohn L. Gard ner Maynard Goldman Mr. and Mrs. Gra ham Gund Mr. and Mrs. Ja mes Hammond Prof. and Mrs. Mason Hammond Mr. and Mrs. Francis W. Hatch, Jr. Randolph Hawthorne and Ca rliss Baldw in Mr. and Mrs. Arnold Hiatt Mr. and Mrs. Wi lli am White Howells Mr. and Mrs. F. Donald Hudson Dr. and Mrs. Eric H. Johnson Mr. and Mrs. Gordon F. Kingsley Mr. and Mrs. James Lawrence Edward H . M ank Dr. and Mrs. Henry Mankin Joseph and Beth Pfeiffer M cNay Graham a nd Pat Miller Mrs. Lou vill e Niles Mr. and Mrs. Petros Palandjian Mr. and Mrs. Cha rles A. Pappas Mr. and Mrs. Andrall E. Pea rson

Mr. and Mrs. Malcolm D. Perkins Mr. and Mrs. William Poorvu Dan Posnansky Mr. and Mrs. Albert Pratt Mrs. Benjamin Row land Mr. and Mrs. Vincent Ryan Mr. and Mrs. Donald L. Saunders Mr. and Mrs. Francis P. Sears Mr. and Mrs. Frederick A. Sharf El ino r D. Shea Mrs. Dona ld B. Sincla ir Dr. and Mrs. Arthur K. Solomon Vivian and Lionel Spiro Jea nne and Don Stanton Mr. and Mrs. Ray Stata Mr. and Mrs. Ezra F. Stevens Mr. and Mrs. James L. Terry a ncy B. Tieken Mr. and Mrs. Roger Wellington Arthur 0. and Mary Kaneb Wellman Anonymous (3)

Patron Mr. and Mrs. Ethan Allen Elva Bern at Walter J. Connolly, J r. Cha rles J. Cou lter and Margaret Logan Mrs. Gardner Cox Mr. and Mrs. Andrew Davis Mr. Paul Doguereau Mr. a nd Mrs. DeCoursey Fales, Jr. Ronald Lee Fleming Mr. and Mrs. j ohn N. Fulh am Ro berta Coll on Mr. and Mrs. Jame H. Grew Robert Hubbard Nicolas j ohn on Mr. and Mrs. Peter S. Lynch Mr. and Mrs. John F. M agee Mr. and Mrs. Paul M ontie Joa n issman a nd Morton Abromson Sam Plimpton and Wendy Shattuck Mr. and Mrs. Robert A. Si ncl air Miss Elizabeth B. Storer Dr. and Mrs. Irvin Taube George and Lea Vera Anon ymous (1)

Corporate Bene(actor ($1,500 a nd above) Baxter Healthca re Co rpora tion The Boston Compa ny Ca mbridge Technology Group, Inc. Charles C. Dickinson Trust !C l Pharmaceutica ls Group j ohn Hancock Compa ny Somatix, Inc. Stride Rite Corporatio n Thistle Hotels o f Britain, Ltd. Wellin gton M a nagement Co.

Corporate Patron ($1,000 to $1,499) Boston Safe Depos it & Trust Co mpany Houghton Mifflin Compa ny Little, Brown and Company Thermo Electron Corporatio n

Corporate Donor ($100 to $999 ) Ca mbridge Trust Co mpany Executours, Inc. Fra nk B. H a ll & Co. o f M ass., Inc. Genera l Cinema Co rpora tio;-i Property Cap ita l Trust Raymond & Whitcomb Co.

Foundation/Trust Boston Globe Foundation, Inc. Gardner Charita ble Trust The Pa ine Charita ble Trust

Contributor Mr. and Mrs. Charl es F. Adams Dr. and Mrs. Ni le L. Albright Mr. and Mrs. James B. Ames Mrs. E. R. Anderson Timoth y Anderson Andrew and Elinor Ander o nBell Mr. and Mrs. Arthur C. Anto n Mr. and Mrs. j o hn j. Arena Prof. Lili an Armstrong Henry Ogden Barbour M o lly a nd John Bea rd Ann M. Beha and Ro bert Radloff W. Bentinck-S mith Mrs. Pa ul Bernat Ms. Gigi Bird Caroli ne Th ayer Bland Carolyn Brett

Miss Dorothy A. Brown Ro bert M. Brown Dr. and Mr . John Bruner Mr. and Mrs. Geo rge B. Bullock, Jr. Kate a nd Paul Buttenwieser Dr. and Mrs. Edmund B. Ca bot Mrs. Lewis P. Ca bot Robert K. Cassa tt Mr. and Mrs. Charles W. Chatfield Dr. and Mrs. F. Sargent Cheever Mr. a nd Mrs. Daniel S. Cheever Sarita Choate Mr. a nd Mrs. Frederic Church, Jr. Jo Ann Citron and Cordelia Sherman Mr. and Mrs. Jo hn W. Cobb William A. Coles Dr. and Mrs. John D. Constable J. Lin zee Coolidge Nancy R. Coolidge Mrs. Ca rl F. Cori Dr. a nd Mrs. J. Holl and Cotter Mrs. Fra ncis H . Cumm ings John Deknatel and Carol N. Taylor Mrs. F. Sta nton Deland Nathaniel T. Dexter M ary Anne Dignan Mr. a nd Mrs. William S. Edgerly Mr. and Mrs. Bradford M. Endicott Mr. Joseph R. Falcone and Ms. Kerri L. Kaiser Linda A. Feeney Mr. P. Fergusson Mr. and Mrs. Richa rd Floor Mr. Wa lter S. Fox, Jr. Mr. and Mrs. Joseph S. Freeman Mr. and Mrs. Norbert L. Fullington Walter and Anne Gamble Dr. and Mrs. A. Giles Teresa Gilman Mr. and Mrs. Frank Glickma n Mrs. Robert Goldhammer Lyle a nd Dorothea Grindle William Gros Mr. and Mrs. John H.J. Guth Ernest j. and Elizabeth L. Haas Mrs. john S. H amlen Fred and Judith E. Hanhisalo

MFA director Ala n She tack and Rollin Hadley.

Prof. and Mrs. Do nald R. F. Ha rleman Charlotte Ha rrington Mr. and Mrs . Harry W. Hea ley, Jr. The Rev. A. L. Hemenway Weld and Ton i Henshaw Linda Hewitt Mrs. Howard B. Hodgson Mr. and Mrs. George C. Homans Dr. and Mrs. Freddy Hom burger Patrick j. Hona n Drew and Kathy Horgan Samuel Horowitz Thomas M. Hout Mr. and Mrs. Charles A. Hubbard Mr. and Mrs. F. 0. Hunnewell Mrs. j. Peter Hunsaker Mr. and Mrs. Roger B. Hunt Priscilla S. Hunt Mr. and Mrs. David B. Ingram Rachel j acoff Melinda S. Jerauld Mr. and Mrs. Roland J. Joyce Ernest D. and Virginia C. Klema Mr. and Mrs. Carl Koch Stephen T. Kunian Dr. George Kury a nd Dr. L. Hedda Rev-Kury

Miss Rosa mund Lamb Maurice Laza ru Mr. a nd Mrs. Henry Lee Mrs. Herbert C. Lee Mr. and Mrs. Ca rlisle Levine Ma rye! and Laurence Locke Mr. and Mrs. o rm an C. Loga n Mrs. Ca leb Loring, Jr. Mr. and Mrs. Charles P. Lyman Main Street GaUery Nantucket Dr. Pamela M a rron Mr. a nd Mr . James Alden M arsh Duane Matthiesen Ellen M . McDermott Priscill a Johnson McMill an Mr. a nd Mrs. Louis A. McMillen Judith and Ro bert M . Melzer Mr. and Mrs. Edward W. Merrill j ean and Kyra M ontagu Mr. and Mrs. j ohn R. Morison Mr. and Mrs. Robert j. Mortimer Mr. a nd Mrs. Mi chael Scott Morron Allen Mou lton Msgr. Willia m Murphy Anna Nathanson Mrs. Robert B. Newman

Mr. and Mrs. H. ilm an Nichols Mr. and Mrs. Albert L. ickerson Mrs. Louville iles Mr. a nd Mrs. Stephen D. Paine Richard S. Perkins, Jr. Mr. and Mrs. Daniel Pierce Mr. and Mrs. Ro bert . Pirie Kath arine and j ohn Plimpton Ellen M. Poss Mr. a nd Mrs. j ohn W. Pratt Do nna Prezel ki Berna rd H . Pucker Mr. and Mrs. Irving W. Rabb Mr. and Mrs. Perry T. Rathbo ne Mrs. Chandler Robbins II Ms. Les T. Rob inson Mr. and Mrs. j ohn Ex Rodgers Kathleen Rogers and Richard Tell er Alford P. Rudnick Mrs. Ralph P. Rudnick Mr. a nd Mrs. j o hn Rutherford, Jr. Joseph M. Saba A. Herbert Sandwen Roger and Nina Sau nders Drs. Daniel a nd Joa n Sax Benj amin Schore and Kira Fournier Mrs. Ma rvin G. Schorr

Mrs. Mason Scudder Mr. and Mrs. George C. Seybolt S. D. Slater Dr. Sidney B. Smith Dr. and Mrs. William D. Sohier, Jr. Mr. and Mrs. G. Robert Stange Mrs. Robert G. tone Mr. and Mrs. j ohn R. Stopfel Dr. and Mrs. Somers H. Sturgis Mrs. ynrhia H. Sunderland Mr. and Mrs. W. icho las Tho rndike Stephen Tilton Mrs. j ohn W. Valentine Co rneliu and Emily T. Vermeul e Mr. a nd M rs . Arthur Vershbow Mr. a nd Mrs. Eliot Wadsworth, II Dorothy Wallace Mr. Charles G. K. Warner Marga ret P. Watson Neale Wheeler Watson Mrs. E. G. Weyerh aeuser Mr. and Mrs. Keith G. Willoughby Mr. and Mrs. O li ver Wolcott, Jr. Marshall and Kath arine Wolf Mrs. Robert Lee Wo lff Mr. and Mrs. Harvey W. Wood

Moshe Sa fdie and his wife (center) were jo ined by Trustees Ann Gund, Sam Bodman and Mary Ford Kingsley for a reception and dinner fo llowing his talk on current architectural issues.

Mr. and Mrs. F. L. Worcester Dr. C. Chester d'Autremont Anonymous (2)

Family!Dual Rustie Aitken and Vince Winkel Mr. and Mrs. Frederick L. Ames Mrs. Frederick A. Archibald, Jr. Craig and Teressa Armstrong Mr. and Mrs. Rodney Armstrong Mr. and Mrs. Peter R. Ashjian A. Smoki Bacon and Richard F. Concannon Mr. and Mrs. Dona ld Baird Mr. and Mrs. B. Devereux Barker M r. and M rs . Paul E. Ba rtsch Daniel F. Becker Mr. and Mrs. G. d 'Andelot Belin B. Benacerraf Mr. and Mrs. Richa rd A. Berenson Susa n Berk Mr. and Mrs. Geo rge T. Bern ard Nlrs. J. L. Bethune Erik a and Joel C. H . Biddle Mrs. Henry M. Bliss Mr. and Mrs. Consta ntin Boden Mr. and Mrs. M . W Bouwensch Dr. and Mrs. John H. Brandt Mr. and Mrs. Geo rge W W Brewster

Mr. and Mrs. Ka rl L. Briel Mr. and Mrs. F. Go rh am Brigham, Jr. Mr. and Mrs. W S. Brines Dr. and Mrs. Henry Brown Mr. and Mrs. Kingsbury Browne Joseph Bucki Dr. Pa rris R. Burd Louise and Philip Burnh am Mr. and Mrs. John Butterworth Paul ine Ho Bynum Dr. and Mrs. J. Lincoln Cain Acheson H. Ca ll aghan Philip Capa rso and Heather O ' Loughl in Dr. and Mrs. Elliot Ca rlson Alfred Cav ileer, Jr. and Ro bert P. Cavileer Mr. and Mrs. Juris Celms Mr. Laurence M . Channing Mr. and Mrs. Ansel B. Chaplin Kathy and Steve Chubb Vincent and Angel in a Cio ffari Mr. and Mrs. R. M orton Cla flin Mrs. George H . A. Clowes, Jr. Bert Cohen and Judy M a rsh Mr. and Mrs. Sidney H. Cohen M s. M ary P. Colleran and Mrs. Katherine T. Cronin Kitty and Bill Commerford Frank Conti Henry P. Coolidge

Lawrence Coolidge and Nancy M eyers Mr. a nd Mrs. Hamilton Coolidge Mr. and Mrs. Jo hn Coo lidge Mi chael A. Cooper and N ancy Bouer Dr. Ra mzi and Kerstin Cotra n Clare and Helen Cotton William P. Coues Mr. and Mrs. Jesse X . Cousins Mr. and Mrs. Eugene A. Cronin Arthur Curley Paul Curtis and Wes Yo rk P. C. Dankens Dr. Al E. and Vicki Dav is Dr. and Mrs. C. Russel De Burlo, Jr. Prof. and Mrs. Pa ul Dea ne Mr. and Mrs. Dana Denault Parker J. Dexter Gilbert and Rosemary DiLeone Mr. and Mrs. Peter A. Diamond Alan Dipietro a nd Ro bert Lyng Mrs. Alfred F. Donovan Dr. and Mrs. Leslie Pa ris Dornfeld Janet L. Dra ke and Tho mas G. Ha ll Mr. and Mrs. Edgar J. Driscoll , Jr. James H . Duza k and Sandra Saltzer-Duzak

Suzanne R. Dworsky Leon and Caro la Eisenberg Mr. and Mrs. Alexander Ellis, Jr. Kathleen Emrich and Ro bert Sherwood Mrs. Doris E. Epstein Mr. and Mrs. Frederick A. Eustis Mr. and Mrs. Donald J. Evans Shaou l and Suzanne Ezekiel Kenneth Fain and Lisa Gim Falmo uth Public Library Jean Fuller Farrington Mirriam A. Feinberg George and Susan Fesus Ba rbara Field and Michael Reich Barbara Fi lleul and Schuyler Crawford Dr. and Mrs. E. G. Fischer Mr. and Mrs. William Flavin Prof. and Mrs. S. J. Freedberg Dr. and Mrs. Paul FremontSmith M a ry D. Frey Michael P. and Janice K. Fruth Mr. Alexander Fuentes and Mr. William Harris Kenneth J. and Davina J. Fu llerton David T. Fu nk Frances M . Gabron

Walrer Per ega n (left), se rerary and treasurer o f rhe Van an J\!u se um m Ro me, spoke at the fir t annu al George 10 111 M em orral Co11serva l1 011 L ectu re.

Mr. and Mrs. j o hn T. a lvin Dr. Paul Willia m a rber Frieda Ga rci a and Byron Rushing G. Peabody Gardner 111 Mary Ga man Kenneth and Barba ra Gee Con ranee G. Georgakli Dr. and Mr . Michael A. Gimbrone, Jr. Milton and Renee Gi a Dr. and Mr . Philip L. Goldsmith Adele and Arnold Goldstein Dr. and Mrs. Joel Goldrhwair Mary Jane Gorton Edgar A. Grabhorn Mr. and Mrs. David Granger Mr. and Mrs. Edward Greaves Chris Greene and jeb Kahn Mrs. Henry M. Greenleaf Prof. and Mrs. Stephen A. Greyser Mr. and Mrs. Gerald Gross Geoffrey and Kary Hall The Rev. and Mrs. Lyle G. H all Mrs. Robert T. Hamlin Mr. and Mrs. Joseph W Hammer Suzanne and Easley Hamner Mr. and Mrs. Charles W Hare Mary Singleton H arney Mr. and Mrs. john W Haverty

Mrs. Vmcenr H . Haza rd Mr . lyde J. Heath Lucy . Hender o n Rev. and Mrs. Wendell Henkenmeier Mr. a nd Mr . Wilha m W Hennig Rodman R. Hen ry Dr. and Mrs. Howa rd Hiarr Bern ard T. a nd Eli aberh Higonnet Mr. and Mr . Jo eph Hinkle Mr. and Mr . rurtevant Ho bb Mr. and Mr . Ja me . Hodder ther L. Ho lmes Mr. and Mr . Willia m F. Ho l t Mis Emil y . Hood Mr. and Mrs. J ames R. Hooper Jes ica Ho pper and j ean -Lo up Ro met-Lemonne Mr. a nd Mrs. Ro bert Ho rowitz Henry S. Howe Mr. a nd Mrs. F. Donald Hud on Mr. and Mrs. Christo pher W Hurd Thoma and Virginia Hurley Jane Hutchins Mr. and Mrs. Benj amin D. Hyde Dr. and Mrs. James H. Jackson Friends/Jam aica Plain Library Carol R. Johnson

Mr. and Mrs. Edwa rd . J hn on, 111 Mr. and Mr . Richard I. j ohn on Mr. and Ir . M a nus j ohn ton, J r. Mr. and Mr . Michael Jolliffe Ellen a nd 1iguel . Junger Mr . !anfred K a rn ov~ky Eliza beth Ka evich Dr. and 1r . Frank Keffer tan j ohn and o n ranee Kerrigan Mr. a nd Mr . !arsha ll T. Keys Dr. j aya nt K. Kherrry Dr. a nd Mr . Ri chard A. Kingsbury Dr. Edward T. Kirkpatrick Dr. and Mr . Ro bert . Kn app Jea nne and Ka ro l Ko pacz Mi chael and Brenda J. Kramer Mr. and Mrs. Peter Lawrence Ms. Linda M . LeCa m Mr. and Mrs. Dav id S. Lee Mr. and Mrs. R. Willis Leith, Jr. Barbara Leonard J. Joseph Leona rd , Esq . Mr. and Mr . Benj amin Linden Nelson and ally Lip hu tz Dr. and Mrs. Don R. Lipsirr Cynthi a Livingston Mr. and Mrs. Eric Boa rdm an Lloyd Dr. and Mr . Eric Logigian

Ir . Augu ru Loring Ann . Lowell Dr. and Mrs. Berna rd Lown

orman E. lr. and Ir . eorge M acomber Dr. J ames H . J\ !aguire !ildred !ancu i M yron and Barbara !arkel l ma !arkow and arh an Eigerman Mr. and lr . Jeffrey E. M ar hall Mr. a nd Mr . Joseph M aybank 111 Richard a nd M ary M cAdoo Pa tricia and Thoma Metcalf Lee a nd j ohn R. Meyer Mr. a nd Mrs. W. Robert !ill Mr. a nd Mr . Ro bert !oncreiff Chnsro pher M orngan Dr. and Mr . Ad am G. Moore Mr. a nd Mr . j ohn R. M oot Mr. a nd Mrs. Daniel M o rley Mr . Al an R. M or e Michael and Esther 1ulroy j o hn J. Murphy

Marry F. M yers Do nova n and Victo ria ak Sharon L. and Bino anni Suzanne R. ewton Claes ii son ortheastern U. Publ ications Mr. j erry P. O 'Sullivan Mr. a nd Mrs. William B. Osgood Mr. and Mrs. John Pappenheimer Mr. and Mrs: G. Kinn ea r Pash Dr. and Mrs. Oglesby Paul Mr. and Mrs. Roger Paulman o rbert Peabody and Binney Ha re Dr. Penelope Penla nd and Dr. Robert Hutto n Faelton a nd Pauline Perkin j ohn and Do lores Perkins Mr. and Mrs. E. Lee Perry Mr . A. Perscho nok Vincent F. a nd Mary Melvin Petrone ll a Dr. and Mr . Arthur S. Pier Faye and Burt Po lan ky Mr. and Mrs. Jero me H. Po rton Dr. and Mrs. Charles M. Poser Dr. and Mr . Steph an H. Powell Elizabeth D. Power and Rachel M. Power Mr. and Mrs. Herbert W Pratt Mr. a nd Mrs. Joseph 0. Procter Dr. Curti Prou t and Diane ea l Em mo ns O li ver Radford and Stephen C. Perry ancy Win hip Rathbo rne Lincoln and Deborah Rathnam j o hn and Alerte Reed Emery a nd J oyce Ri ce Mr. and Mr . Ja mes V. Righter Consta nce Ringlee Dr. Clay Risk and Dr. Judith Veihmeye r Mr. Sidney Robbins Mr. and Mrs. Henry B. Roberts Mr. and Mr . Laurance Roberts Mr. and Mr . Dwight Ro binson Erika and Jerry Rogoff M arilyn and Michael Rogosin M a rcy and H . James Rosenberg Mr. and Mr . Samuel Rubinovitz Rona ld and Nancy Rucker Ellen and David Ruggles Dr. and lrs. Paul S. Rus ell Dr. and Mr . Kenneth J. Rya n D. arach1k

Adel a nd Leticia Sarofim Timothy Scarlett and Shannon Taylo r- ca rlett John and Ann Schemmer Dr. a nd Mrs. L. Robert chissler j o hn Schnapp and Rebecca Boyter Ba rry and Jane Schulman Dr. and Mrs. John B. Sears Mr. a nd Mrs. ha rles . Sha ne J ame T. and Lynn Hl atkay Shank Albert Sheffer Su mner and Dolore Sho re Mr. and Mrs. Rona ld Shulm an Mr. and Mrs. William A. Shurcliff Dr. and Mrs. Richard L. Sidm an An ne Blake Sm ith Dr. and Mrs. Thomas W Smith Jane . Smith Ri cha rd E. Sm ith Mr. and Mrs. David Smoyer Robert B. Smyth and Anna M. Warrock David and Barbara Solomon Mrs. Ralph So renson Mr. a nd Mr . Burgess P. Sta ndley Dr. and Mrs. George W B. Starkey Mr. and Mrs. Edward Starr Mr. and Mrs. Frederick Stavis Alex . Steven and David E. Stitt Dr. Thomas D. Stewa rt Susan and James Stockard Dr. and Mrs. Albert Stone, Jr. J im and athleen Stone Mr. and Mrs. idney tonema n Mr. and Mrs. J ames M . Storey David and Patricia Straus Li e and M yles Stria r Bill and Joyce Tager Mr. and Mr . John F. Taplin Or. and Mr . Daniel Tassel Friends / Taunton Public Library Mr. and Mrs. Davis Taylo r Karen Tenney Arthur and Vi rg111ia Thompson Dr. and Mr . Richard H. Thompson Dr. and Mrs. George W Thorn David Tho rn dike Mi s Ruth Tucker Hugo Uyterhoeven M arcel 0. Vachon and Sand i Hooge-Quinn Vachon onia Vallianos

Dr. Leroy and Regina Vandam Mr. and Mrs. W. E. Vander Velde Alex and Edie Vanderburgh M ary rawford Volk William A. and Sybil J. Waldon Dr. a nd Mr . James Wa llace Dr. and Mrs. D. F. H . Wallach Mrs. Ruth Wallack Dr. Richard Warren Mr. and Mrs. Wa lter Watson, II Mr. and Mr . Franci C. Welch Mr. and Mrs. hri topher Minot Weld Roger a nd Ba rba ra Whea to n Wheelock College Library j erry Wheelock and M arion Scott Mr. and Mrs. Jo hn W White Robert and Priscilla Whitehead Mr. and Mrs. Peter Wick Catherine Wier ema M ary A. and Thomas B. Williams, Jr. Mr. and Mrs. Andrew F. Willi El aine a nd Robe rt Will o ughby Wil liam and Fabia W ind le Mrs. Katherine B. Winter Mr. and Mr . Ri cha rd Wo lfe Xaveri an Brothers H . S. Art Club Mr. and Mrs. Michael N. Xenelis Diana and raig Yankes Robert and Estah Yens j ohn B. and Julie E. York Ors. Dorothy and Norman Z in berg Rya W and Hiller B. Zo bel Dr. and Mrs. de M arneffe Prof. Richa rd de eufville and M s. Virginia D. Lyons

Individual Lyn C. Abissi Andrea Ackerman Mrs. Weston W Adams Richard R. Adams, M.D. Mrs. Herbert K. Allard Mega n Allen Michael j. Allen Chester A. Alper Lois Ames Sarah Anderson Mrs. Patri cia Taylo r Antonelli Mrs. C. A. Apffel Sylvia R. Appleton William S. App leton Lucille Aptekar

M . Renee M . Arb Lois Ascher Helen M . Attridge Dr. Aina M . Auskaps Di ana Gerrans Avril Rev. John J. Bagley Duff Ba iley M . El aine Bailey Ellen I. Ba rber Mrs. Bruni Ba rber Anne Beauchemin Leo M . Beckwith Ka rin Begg J ames J. Bender Laurence . Berry Do ro thea S. Biddle Edgar M. Bingha m, Jr. Judi Bisk i Stephen E. Blatz Mrs. Ca rolyn C. Bloomfield M a rtha Blout K. C. Bolron Mrs. Eva M . Bonis Judith Borit, M .D. Edgar Peters Bowron Burton Boxenho rn Mrs. Robert F. Bradford Nancy R. Bradford Sandra E. Brawders Lo uise Bray Willia m Brennan Mrs. Edward S. Brewer M axine Bridger Mr. H. Day Brigham, Jr. M elanie Britto n Deidre Brophy Amy S. Brown R. Arthur Brown Sue Brown Mrs. Katherine F. Bruner Mrs. j ohn W Brya nt Mrs. George P. Buell Mrs. Sylvia K. Burack Mrs. Dunn Burnett Eliza beth Anne Burnh am Katherine . Burrage Karl S. Bynoe Ms. Barbara Ca in Leo X. Ca llahan Mis Helen E. allahan a rl J. Camelo, Jr. Ja ne M . ameron Freda Rebelsky amp Bruce Campbell Richa rd anale Mrs. Charles E. anno n Ca therin e antrell M a rie Ca rgill Muriel P. Ca rlson

The N ewa rk Boys' ho rus perfo rming at the M ember ' Holiday o ncert.

Mr. a nd Mr . j ohn M . Carroll Phillip Ca tchings Lila Channing Mary Chatfield Dr. Liana Cheney Jane Chi holm Margaret W Churchill Anne Dyrud Cla rk Addison W Closson, Jr. Miss Caroline S. Coco Joanna Cohen Paul A. Cohen Katherine Colema n Annalee Collins Miss Mary B. Co mstock Mrs. John P. Conda kes P. A. Conlin Thomas F. Connoll y Susan Conway Pamela L. Cook Daniel j. Coo lidge Mrs. Susan Cooper Paul E. Cormier Marie T. Corter Margaret R. Courtney Morna E. Crawford Mrs. John F. Cremens Mrs. U. Haskell Crocker Dr. Ward Cromer Judy Cronin Jeanette Curuby Mrs. G. M . Cushing

Stanley Ell i C ushing Mrs. M yer L. Cutl er Mrs. Dav id Da lton Barbara J. Dancy Mrs. Nelson J. Da rling, Jr. Susa n S. Dav i Mrs. Freeman I. Davison, Jr. R. H. Davi on La urie L. Day Theresa E. De Sa ntis Bertha Ann Del eon Diane DeM a rco Mrs. Edwin P. Dea n M a ureen M. Delaney Victoria . Denninger Antho ny M . Dente Simon P. Devine, D.M .D. Laurel Drew Grace M. Dews Prof. B. Di Barto lo Levo Di Bona Sally F. Diamo nd Ann Young Doa k Eliza beth C. Doa k Dr. William P. Docken Victori a J. Dodd Miss Sally Dodge Nevart Dohani an Anne Donovan Patricia A. Do ran Mrs. Albert C. Doyle Dona ld J. Drain, Jr.

M arc D. Draisen Mrs. Theodo re Dreir Mrs. William R. Driver, Jr. Joseph M . Dubin Edna A. Dunca n Georganne Sahaid a Dunn Dr. Richard Dwight Christine M . Dwyer Mrs. Earl H . Eacker Ha rris Eckstein Ca rrie Edward Mrs. Emmet Ed wa rds Mrs. Joseph Edwards Mrs. Philip Eiseman Winifred E. Ellis Jennifer Ellwood Mrs. H. Bigelow Emerson John D. Eubanks Mrs. Harris Fahnestock Dr. Josephine Riss Fang Eliza beth Fay Ms. Cha rlorte Fellman Mrs. C. Conway Felton Elizabeth G. Ferguson J. Patrick Finerty Joa n R. Fink M a rgot G. Finley Susa n Finnerty Amy Fish Mrs. Corwin Fleming Ann Staniski Flentj e Joseph M . Flynn

Gera ld J. Foga rty, Ill Dr. Phil ip S. Foisie M. Jean Foley M ary T. Foster Stella Fraborta M urray Frank French ultural Artache Jill Friestad Ms. Yuko Fukui Susan Furst Constance Fu illo Victori a Gall Linda P. Ga ll agher Ro bert J. Ga lvin Susan Lee Ga nnon Selma C. Ganz Rebecca . Ga rland l rene S. Gerber Mrs. Flo rence S. Gerstein Frederi ck F. Gi llan adia Gillert Eliza beth H. Gill iga n Sheila Gilmo re Kathryn Gold Mrs. Milton Gordon Celt C. Gra nt Mrs. H . P. Greenspa n Ms. Joen Greenwood Henry S. Grew Jonathan D. Griswold Kohar Gumusya n Elea no r Hadley

\Ir,. RKh.1rd \\ . H.1le (1 nrh1.1 H.1llo11ell Re1ercnd lbn H.1ppe Camie \ hhc- H.1rmJn Don.1ld P. H.1rnng1on h«d H.1rnngwn \l.1n \I. HJmngton Hcrbcn J H.1rm. \l.D. lkhl \\ . HJtlidd :-.tr .ind \Ir- . H.trn R. I Ltu,cr BJrb.1rJ l . H.11<.,, Jona H.11cl11 ood ln Hunmch Robm \I I kndnch \ cm.1 1lcrbt"n ' ·tn< I krm.rnn' Rei P.rnl H1~111' H7.1bt"1h Hodder \Ir- (,cnld Hodtd H.1rlc1 Pc1r,c Holden t.<lldnn Holme 1' .1ren Hoh1m.1n Helen \ . I lul111 .1 "'r John Hom" \If' \h In llou"'n .111dr J Jeni.. an, 1l<m Jrd BJrb.1r.1 I ln11cnnn \If\ <.cr.1rd 11 . 11011 l..an,, Jr. \\ 1l11.1m \form I !uni \ndrc11 .\. Hunicr l ou1"' ( 1lunrcr Dd>or.1h (ck tc Hur 1 HJnn.1 I lu1th111' .\le .rndcr Ing!" Kcnnc1h L kl.lt \Ir \l .1n Ice JohJn\Cn \fr,. h .111 John,wn \Ir \l.ln lou1\CJudgc \Ir I cc J ju,kJltJn Robin I 1'.1"cr \ l.lnh.1 I lien f.. .111 \Ir R1ch.ud l l<..l)c . IJr.tn.1 f..crn flcn.1 f..ang,J.rnd lo" f..mgh1 \ 1' I k1d1 f..0,1 (,ro" Ro"'man f..nun \tr, I nu" 1<.roncnbt"rgcr Ann'>. 1'n1<l..cmc1cr \Ir. ( orb1 f..ummcr \Ir,. J.1111~' [ 1.1m l Jdd Ruth h.1bdb ,.1rdncr l.Jmcre Pegg) l.;im,on J.1ne l Jngwn ( a1hcnnc I. I .ul..1n ad1cnnc l J\lav1c.1, l.D. lachael J. I audKk Richard I cBIJnc Mr. Henri B. l eonard

Dr. Robert \' I c11" l arn I e11 " l:kJnor l 1nmcr John D ( l mle \nn l lo1d \\ 1ll1a111 T. l 00011\ /\I"' <;u,,111 '· l onng \le-. Thom.1' B. I onng \Ir,. I r.inu' B. lmhmp 1'1 I 011 cnh.rnpl bare . I""" I dmund J I 1011' I ln111.11oun \l.1.1lt \ l.1r1h.1 \I.Jc \ndrc11 I redcncl.. A. \l.l cAnhur \Ir- . I ( l.iudc \I K \nhur \I.inc n. \l.ldnn re \\ 1111.1111 J \ l.1don1.1 Pc1cr R. \l.1gg. \IL ,\ l.mh.1 l \ 1.Jgnu"'n \Ir . I IJul..cr \ l.lgnu,,on \If'. \\ 1llt.1111 \ IJl.imud There .1 \ \ IJllon hJrJc, \ l.trl..h.1111 l nu" ,\ \ IJ,tcll1 Rcbt"cc.1 , \ l.1111,on \tr... [) 11 \I.ii \.tlh \ l.11 er J.1nc1 \\ \I \nhur. \I I I lt/,lbt"lh \ k urd1 r nn \ kD tnnugh I' 11111' \Id .ul.md Trudi \k!Jrl.md C.lthcnnc \ldh .un \ hh.1cl \ kf..anncl \Ir-. \l.Juntc I \kl uughltn (,eorgc I . \ k \\nan me I Iden \ k.tghcr BJrb.1rJ ~Icier \ l.1rg.rn:1 \~nc \!tic, Jc.m B. ~!tiler /\ t, nnc B. \lal1e1n .uhenne \I \l11ku, Or. Jo,cph 11. \ lon.1nc 'Jnc1 \nn \ loncocl.. \fr, Bc.Hncc \I. \lor1n \le- . Rudolph ~I. \form [ . /\ I urr"'m coh . \ tur,e PJul . \lone! Jtheph \I. I uh c1 11.lrold . /\ Iurph) RJ l llJ /\I U\l<)

Rebecca c111,er Henri H all ewe II ortheJ\!ern n11 . Pre<,'

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nne I . onhrop Robert 1'.Clldltnc, /\l.D. \Ir-. D.m1d I ugcn1, Jr. :-. targarct 0'( unnor dncnnc I . O'Donnell Fd11 .ud ''cal, \I.[ \.tr J .11..1.rndcr Jrul '>. n C. On .ultl\ I . P.uge 1mcc P.ucl \tr... f,1her, Pul..cr h.rnu' P.trl..m.rn f..a1 P.mcr,on, \l.D . D. \I P.11 nc he lcr .\ Pc.trlnun Hoth 11111h Pcdlchl..1 ,u1do R. Pcrcr.1 \tr-. R I ort.....,, Pcrl..1n' l 1"J Per-on T11no1h1 P1d.. c11 Angcl.1 \I 1'1crgro"1 \Ir . \ 1rgan1.1 \I 1'1nd1C\ Irene [ Pipe' R l'I.1,w11 \tr Ron.1ld J Plo1l..1n \\ 1llt.11n \\ Plummer \nnc nll 1n' Pm.1,h ,\ 1'. ktbdk Pound r ..h..

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I r.tnu I Pre l<tn D1an.1 \I.me l'nh \If\ . Rubt"n \\ Procwr \Ir- . Daphne l'rou1 f.. athennc R uitl.. \I.in u1rl.. l Ucl.tn.l R.1\.1 Dr (. hm11nc B. Redford \Ir,. . . Recd '\lurnu /\ I RKc1 111101h1 RKh .1rd' con 1.111 Ridlon \It" \f.ln 1' R1lc1 \tr-. C hn~l<tpher \I Rate) \ IJ11hc11 Rohen' \Ir. J.1111c I Roh1n,on 111 lkul.th \ 1. Roc~c l 11.1 Ro111a1 \Ir ... l,Jdorc Rn,cnl>erg \t r-. Jerome Rchcnteld Shdlq Ro,cmlctn f.. Jren . Ru'" arol Rourke Lle;inor Ro1n111of,k1 Dr. Jord.in . Rubo) ltd1 .1el J. Ruggiero l aura B. R1 .1 n 011>1.rnce '> .t lron,tJll nrhnny \ tnchell SJm111.m :o

Prof. Dr. Annemarie ch1111mel jultan B. chem, M.D. Peter l.. cull) Hon . John \\ . •ar, J.1nc1 l . earon Jo '>e1bd J\tr... \tJ10 A. SharruLk corgc and lkarncc hcrman RUlh Flt1.-ibt"1h hore f..J ) 1bJI) lkne I . Siegel l JIHcncc 1ff \le- . T. F. inger \I .mm H . lohodl..an (,an D. Sm11h \tr-. hmmpher 1111th \ltnd) '>mollen 1 nth1.1 Sno" ~rot n1dcr BarbJr J i . low Julie 'mpha' [ d1 the I'. '>oule ~It" Regan a lU le \le- . Hor.t e H. !Ute ( hmnne J. padafor Jo cph Pc1cr pang \1.trk [mcr\On pangler <;u,,111 pauldmg John 'ilea) n .. l..i Jacquu~ 1epJn1Jn \I . '-'.1d1a 1e1 ell\ :-.tf'. Rot>ert \\ . mdd.trd hmtopher E. 1rang10 hehn D. 1ra11n Rhen a B. S11 cene1 /\tf\. Pmull.t R. 1 kc ~ IJrg.tm \\ . Ta fr /\I.in a \\ c 1 Tan /\ lelod1 Tarbo' /\ t... Pr;, all.t /\ 1. Tarro \\end) Terr.1 ~tr, . l uc1m F. ThJI er U\.111 Dum:.lll Th ~a> /\tr,. R.1lph E. Thomr»on, Jr. /\ t... C.lona TI10mp,on \Ir-. R. Amol) Thorndike Pamd.t Thie \\ 1l11.1 m A.· Tru,1011 l';rnl \\ . \ ler-J\ knJc1 J\ tr, . D1ggon \'enn lfred J. \\'.111..er l.ugaret \X'all Ir;. B. G. \'Ctllace '\' ill1.1m 1'. \\'.1 l1cr; hcne Walther 011 a) ne A. 'i" .1rrcn Dr. .1 11 . \X'ctnhcrg /\tr.Julien . Wc,1011 Ruth . \\'ethcrb) 0

Ann M argaret Wh ite Mrs. Wa lter Muir Wh itehill Grace R. Wh ittaker Anne M. Whirrredge Mrs. R. L. William on Ms. Berne! Williamson Winchester Public Li brary Frederick Winslow Mrs. Leona rd Wolsky Elizabeth Y. Wood M ary L. Wood David B. Wright Mrs. Cha rles E. Wyzanski, Jr. Geo rge Wallace Yo ung, Esq. Robert Zykofsky Lydia E. de Sa e Silva Anonymous (3)

M arilyn Rossi Stephen Fra ncis a molyk Al an Sidman Mr. and Mr . Pa ul H. Singer Mrs. Ba rrie Sto rrs Gerald Taranti no M r. Lawrence Trabu l i Debra Uhrm an Ja n Viscomi M rs. Li bby K. White Linda Z immerman

National

Contributors to the Annual Appeal 1988

Mrs. Martha L. Ba rr Jane Ferree Bisel Eleano r Bower Geo rge and Betsy Bra mblett Ambassado r M arshall Bremenr Elizabeth R. Brill David Alan Brown Emily R. Combs Mrs. Benj amin F. Cornwa ll Karhya nn Dirr Eleano r Earle Richard E. Ford Mrs. Savage C. Frieze, Jr. Tom Fukuya G. Z. Glascoe Mrs. Martin M . Glasser Jeanne M . Gleason Mary E. Gosende Robert S. Hagge Dr. and Mrs. Valron Harwell M rs. Jane F. Hawki ns Dr. Dale H igbee Katherine Jaffe John Jones M oroni Katayama Mrs. Kenneth B. Keating Dr. Geraldine E. La Rocque Dr. and Mrs. John N . Lukens Mr. William Halfo rd M aguire Karen Mclaughlin M rs. No rman Paul M eyn S. Miwa Carol M ullen Armando Parces-Enriquez Andrea L. Perry Luzanne B. Pierce Virgi nia A. Pratt Kevi n D. Ramsey Eliza beth D. Reed Dr. and Mrs. M. Wi ll iam Rose

H onorary Lifetime Benefactor Mr. Ha rry Ell is Dickson

(Gifts Received by 15 January 1989) Arlene and Alan Alda M rs. Esther Anderson Cecili a Lacey Anzoni Bay Insulation ysrems Inc. Jo hn a nd Molly Bea rd Ri cha rd Beren o n Ro bert Birch Mr. and M rs. Sa muel Bod man Mr. and M rs. M . W Bo usensch Ca rolyn Brett Mr. a nd M rs. F. Gorham Brigha m Bunnell Fra me Shop M uriel Ca rlson Robert Cassatt Willi am Coles Henry Cool idge J. Linzee Coolidge Coqui lle Ca tering Clare and Helen Corro n Mo rna rawfo rd Currier & Chi ves, Inc. Mr. and Mrs. Paul Dada rria Mrs. F. S. Deland Bertha Ann Del eon Levo Di Bona Mr. and Mrs. Will iam S. Edgerly Mrs. William Rodman Fay M a ry Flanagan R. L. Fleming Ell iot Fo rbes Walter S. Fox Susan Furst G. Pea body Ga rdner John L. Ga rdner Ga rdner Charitable Trust

Mr. and Mr . K. A. Gee Flo rence Ge rstein Joen Greenwood Ka ren E. Haa M r. and Mrs. M ason Hammond Dona ld and M arth a H arleman Randy H awtho rne and Ca rliss Baldwin Esther L. Holmes Gordon Holmes Pa trick Hona n M s. Emily Hood Mr. a nd M rs. Lawrence H ughes Mr. a nd Mrs. Fri tz Hunt inger Jiba Con rrucrio n o mpany Mr. a nd M rs. Ri cha rd Kaye La ndma rk Facilirie Group, Inc. Mr. a nd Mr . arl i le Levine Mr. a nd M rs. Norman C. Loga n Dr. a nd Mr . harle Lyman M eriden- rineho ur Press M r. a nd Mr . W. Robert Mi ll Emi ly M orrison Kristin M o rtimer Ro bert M o rti mer John R. Meyer Robert M oncreiff Michael a nd Esther Mulroy M rs. Ro bert B. N ewman Mr. and Mrs. Albert ickerson Mr. and Mrs. G. Kennea r Pash Dr. and Mrs. Oglesby Paul Mrs. A. Perschonok Angela Piergross i Robert Pirie John and Joy Pratt Mr. a nd M rs. Perry Rathbone Dr. and M rs. Edwi n Richardson M ary K. Riley M rs. Benja min Row land Dr. Jo rdan Ru boy M rs. Ra lph Rudnick Lawrence Si ff Susa n Sincl air Mrs. T. E. Singer Jane C. Smi th Sidney B. Smith M rs. Lamar Sourer Cynthia Sunderla nd Mr. and Mrs. Ezra Stevens Mrs. Ro bert Stone Marva West Tan Mr. and Mrs. Davis Taylo r Dr. and M rs. George W Thorn Pamela T hye Mrs. Amory Tho rndike Geo rge and Lea Vera

Dr. and Mrs. Donald F. H . Wa llach Willia m K. Walters Charles G. K. Warner Roger and Di ana Wellington

Gifts in Honor of Others Rose and Larry Hughes Ian and Holl y H ughes Chris and Jea ni e H ughe T im H ughes and Ann ie Th omas Alexandria H ughes Gilbert W Longstreet Mrs. hrisrine Longstreet Helen M . Smith Patricia Swanson Ro bert Woodman Wad wo rth Leila A. Steinberg Ruth Joa nn Levi ne

Publications

Th e Letters of Bernard Berenson and Isabella Stewart Gardner: 1887-1924 ed ited by Rollin van N. H adley, Northeastern University Press, 1987 An edited and annotated account of the crea tion of Mrs. Gardner's collection as documented in her correspondence with the noted art historian Bernard Berenson, who p layed such a large role in her collecting; 800 pp. , illustrated. Clothbound $39.95; Postage and packing $3.50 (domestic) $6.75 (intern ational).

work , and embroidered and woven fabrics, including seldom-v iewed pieces from the storage collection; 224 pp., 286 black and wh ite, 31 color illustrations. Paperbound $19.95; Clothbound $49.50; Postage and packing $3.50 (domestic) $6.75 (internation al).

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A Brief Tour of the Isabella Stewart Gardner Museum An introduction to the highlights of Isa bella Stewart Gardner's fin e collection; floor plan, Museum hours; 14 pp. , 37 black and white illustrations; color cover. Booklet $1.00; Postage and packing $1.80 (domestic) $3.30 (international ).

Textiles I Isabella Stewart Gardner Museum Adolph S. Cava llo, 1986 A co mprehensive, lavishly illustrated volume featuring th e tapestries and many other textiles, western and eastern, in the collection: furniture covers, vestments and secul ar costumes, laces and open-

The Gardner Museum Cafe Cookbook Lois McKitchen Conroy, 1985 A sampling of the author's favorite soup, quich e and luncheon pie recipes accompanied by reproductions of drawings, photographs and objects from the Mu eum 's collection ; 149 pp., 30 black and white illustrations; second priming. Paperbound $8.95; Postage and packi ng $2.20 (domesti c) $4. 20 (international).

The Gardner Museum Cafe ~COOKBOOK~

A Guide to the Collection An illustrated handbook including a floor plan, a de cription of each ga llery and biographica l information abo ut the fo under; 116 pp., illustrated . Paper bound $3.00; Postage and packing 1.80 (domestic) $3.30 (internationa l). WIS McKITCHEN CONROY

Sculpture in the Isabella Stewart Gardner Museum Cornelius C. Vermeule III, Walter Ca hn, and Rollin van N. H adley, 1977 A cata logue o f the sculpture collection, which includes exa mples from the classical and medieval periods through the Renaissance to the modern era; 188 pp., 264 black and white illustrations. Paperbound $10.00; Clothbound $15.00; Postage and packing $2.50 (domestic) $5. 00 (intern ational). 85

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European and American Paintings in the Isabella Stewart Gardner Museum Phil ip Hendy, 1974 A descriptive catalogue, with biographies of the a rtists and reproductions of all the paintings in Mrs. Ga rdner's collection; 316 pp., 282 black and white illustrations, 38 color plates. Clothbound $20.00; Paper bound with corrigenda $17.95; Postage and pack ing $3.00 (domestic) $6.75 (intern ational).

Oriental and Islamic Art in the Isabella Stewart Gardner M useum Yasuko H orioka, M arylin Rh ie and Walter B. Denny, 1975 A fully illustrated catalogue; this small co llection includes sculpture, paintings, ceramics, lacquer wa re, mini atures, and carv ings; 136 pp., 113 black and white illustrations. Paperbound $3.50; Postage and packing $1.80 (domestic) $3.30 (international).

Isabella Stewart Gardner and Fenway Court Morris Ca rter, 1925 A biogra phy of Isa bella Stewa rt Gardner and a history of the for mation of her collection by the first director of the M useum ; fo rewo rd by G. Peabody Gardner; 265 pp., illustrated ; fo urth edition. Clothbound $12.00; Postage and packing $2.50 (domestic) $5.00 (intern ational).

A Checklist of the Correspondence of Isabella tewart Gardner at the Gardner Museum This checklist comprises over 1,000 na mes of correspondents- writers, co mposers, perfo rmers, politicians, historians, and fri ends from the 1860's to the 1920's - with loca tions of collected letters in the M useum ; 12 pp. Pamphlet $.10; Postage and packing $.45 (domestic) $.90 (intern ational).

Mrs. Jack I A Biography of Isabella .Stewart Gardner Louise Hall Tharp, 1965 A lively account of the fo under with illustrations of Mrs. Ga rdner, her fa mily and fri ends, and her museum with its remarkable collection; reprinted exclusively fo r the Museum ; 365 pp., illustrated. Paperbound $12.9 5; Postage and packing $2.50 (domestic) $5. 00 (international).

Drawings I Isabella Stewart Gardner Museum edited by Rollin van N. H adley, 1968 A small group of notable drawings ranging in date from the late fifteenth century to the ea rl y twentieth century; 67 pp., 38 illustrations, frontispiece in color. Paperbound $2. 00 ; Postage and packing $1. 80 (domestic) $3.3 0 (international).

Posters of the following are avai lable: Jan Vermeer, The Concert, $12.95; John Singer Sargent, El ]aleo, $12.95; Carlo Crivelli , St. George and the Dragon, $12.95; the Museum courtyard, $9.95; Postage and packing $3 .60 (domestic) $5 .60 (international).

ISABELLA STEWART GARDNER MUSEUM

Fenway Court A publication issued annually with illustrated articles on the collection and archives, including an essay on the drawings of Matisse, a note on Mrs. Gardner's collection of fans, and an illustrated article devoted to the Kelmscott Press. The years 1973, 1975, 1979, and 1980 are available for $2.00; 1981, 1982, and 1985 are available for $3.50; 1987 and 1988 are available for $5.00. Paperbound ; Postage and packing $1.80 (domestic) $3.30 (international).

Slide packets (six in each) of the fo llowing subj ects are now ava ilable: Room Views, Italian Paintings, Dutch and Flemish Paintings, and Modern Paintings, $6.95 each; Postage and packing $1.80 (domestic) $4.20 (international). A catalogue listing slides, cards, prints, and publications is available on request. Mail orders will be shipped third class, book rate (domestic) or surface rate (international). Please address correspondence to the Museum Shop and make checks payable to the Isabella Stewart Gardner Museum. MasterCard and Visa are accepted. Manuscripts on subjects related to the collection will be considered fo r publication. Please send proposals to the curator.

Report of the Treasurer Isabella Stewart Gardner Museum

Statements of Net Assets as of December 31, 1988 and 1987 1988

1987

Net Assets In ves tment : Bond , at mar ket (cost 8,832,915 in 1988 and $9,592,453 in 1987) Stoc ks, at mar ket (cost $10,455,216 in 1988 and $9,685,751in1987) Stocks and bond , at market All owance for unrea lized appreciati on to cks and bonds, at cost Sho rt-term in ve tments, at cost which approx imates ma rk et Total in vestments, at cost Cash Federal Exci e Tax Rebate (No te 1) Interest Receivable fro m Intern al Revenue Service ( ore 1) Prepa id interest and oth er assets (l iabilities) Tota l current a et Museum Property (No te 1): ontents o f Museum building reenhou e and und erl ying land Museum building and und erl ying land Oth er Mu eum property (net of accumul ated depreciati on) a fe (net of accumulated depreciati on) Total mu eum property Total net a et

$ 9,139,126 14,817,842 $ 23,956,968 (4,668,837) $ 19, 288 ,131 896,955 $ 20,185,086 $ 327,903 215 ,201 71,3 85 (16,48 6) $ 59 8,003

$19 '780,883 $ 23 9,705 215 ,201 45 ,702 57,341 $ 557,949

$ 4,015,000 560,507 366,400 18,571 15,3 26 $ 4,975,804 $25 ,758,893

$ 4,015 ,000 560,507 366,400 21,644 17,947 $ $ 4,981 ,498 $25 ,320,3 30

$23,716,400 1,231 ,034 476,988 334,431 $25, 758,893

$23,086,100 1,390,825 447,091 396,314 $25,320,330

$10,046,711 12,919,5 03 $22,966,214 (3,688,010) $19,278,204 502,679

Fu nd Balances General M aintenance and Depreciati on ( otes 1 and 3) Ca pital Ca mpaign Operating ( ote 3) Total fund balances

Th e accompanying notes are an integral part of these fin ancial statem ents.

Statements of Cash Receipts and Disbursements for the Years Ended December 31, 1988 and 198 7

Operating

Genera l

Maintenance and Deprecia tion

Capi tal Campaign

1988 Total

1987 Total

Rece ipts: Investment income: 764,053 $ interest 560,439 dividends Interest from 25,683 Interna l Revenue Service 267, 120 Visitors' contributions 215 ,272 Membership Capita l Campaign 85,495 Grants 23,3 71 Other receipts 82,126 Sales desk (net) (16,679) Cafe (net) $ 2,006,880 $ Total receipts

35,618

93,887 25,000

25,000

129,505

$ 799,67 1 560,439

25,683 267,120 215,272 93,887 85,495 48,37 1 82,126 (16,679) $ 2,161,385

778,482 572,098 45 ,702 266,610 228,192 214,103 57,700 39,338 6,953 3,905 2,213,083

Disbursements Security Collection care Maintenance Administration Music Gardening and grounds Membership General building care Capita l Ca mpaign Professiona l services Pen ion and deferred compensation (Note 2) In urance Miscellaneous Unem ployment expense Tota l disbursements er Cash Receipt Before Extraordinary Item Extraordinary item : 1982-86 tax rebate er Ca h Receipts (Di bursemenrs)

71,630

456,748 431,720 256,490 272,879 11 7,866 146,197 107,487 159,791 143,67 1 71,630

$ 408,873 359, 136 226,513 251,993 120,205 141,788 109,435 73,974 510,313 74,793

61,442 69,016 7,810 415 $1,999,700

61,442 69,016 7,8 10 415 $ 2 303 162

57,581 68,459 13,455 1 36 1 $2417879

45 6,748 $ 431,720 256,490 272,8 79 11 7,866 146,197 107,487

159,79 1 143,671

$ 159 79 1

$ 25,000

7, 180

143,67 1 (14,166)

(15 9,791 )

(141,777)

(204,796) 215,201

7, 180

25,000

(159,791 ) $

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

(14,166)

(141,777) $

10,405

Statements of Cash Receipts and Disbursements (continued) for the Years Ended December 3 1, 1988 and 1987 Realized and Unrealized Ga in (Loss ) on Investments (No te 1)

Genera l

Opera tin Rea lized am: Proceeds fro m sa le of inve tments Co t of investments so ld Rea lized gai n Unrealized Appreciation: Beginning o f year End of yea r lncrea e (decrease) in unrea lized appreciatio n et rea lized and unrea lized ga in (loss) on inve tments

35,223,607 34,643,267 580,340 $

$ $

Maintenance and D ee reciation

$ 3,688,0 10 4,668,837

Ca pita l Campa ign

1987 Total

130,260 $35,353,867 $38,276,822 130,260 34,773,5 27 36,278,207 $ 580,3 40 $ 1,998,6 15

$ 3,688,010 $ 5,777,652 4,668,83 7 3,668,101 $

980,827 $

1,56 1,167 $

----

1988 Tota l

980,827 $ (2,089,642) 1,561 ,167 $

(91,027)

Statements of Changes in Net As ets fo r th e Yea rs Ended December 3 1, 1988 and 1987 1988 et as et were received from: Operating and ge neral fund receipts Rea lized gai n on investments Ca pital ampaign receipts Extraordinary item: 1982-86 tax reba te

1987

$ 2,031,880 580,340 129,505

et as ets were used for: Operatin g di bursements Maintena nce and depreciatio n Capita l Ca mpaign disbursement Total increase in net assets The increase in net asse ts was repre ented by change in: lnve tments Cash Federal tax receiva bles and intere t (Note 1) Prepaid intere t and oth er asse ts Accrued income taxes Museum property Tota l in crease in net assets Th e accompanying notes are an integral part of these financia l statements .

2,741,725

$ 1,998 ,980 1,998 ,6 15 214,103 215,201 $ 4,426,899

$ 1,999,700 159,79 1 143 671 $ 2 303 162 $ 438,563

$ l,833,592 73,974 5 10,313 $ 2,41 7,879 $ 2,009,020

404,203 88,198 25,683 (73, 827) (5,694) 438,563

1,632,944 14,657 260,903 27,330 67,023 6 163 $ 2,009,020

Statements of Changes in Fund Balances for the Years Ended December 31, 1988 and 1988

Balance, December 31, 1986 Net cash receipts (disbursements) Extraordinary item: Federa l excise tax rebate (No te 1) Realized gain on investments (Note 1) Maintenance and depreciation (Notes 1and 3) Transfer to Capi tal Ca mpaign Balance, December 31, 1987 Net cash receipts (disbursements) Reali zed gain on investments (Note 1) Maintenance and depreciati on (Notes 1 and 3) Transfers Balance, December 31, 198 8

Operating

General

Maintenance and Depreciation

$390,767

$21 ,087,485

$1,568,368

Capita l Campaign $264,690 (296,210)

91,414

(204,796)

1,998 ,615

1,998 ,615 (73,974) (103,569)

73,974 (375,042) $396,31 4

$23,086,100

7, 180

25,000

$1,390,825

478,611 $447,091 (14,166)

18,014

(159,791 )

(159,791) 44,063

25,000 $23,716,440

$25,320,330

580,340

$33 4,431

$23 ,3 11,310

215,201

(69,063 )

Total

$1,231,034

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

$476,988

$25,758,893

Notes to Financial Statement December 31, 1988 1 Summary of Acco1111ti11g Policies The Isabella Stewarr Ga rdner Mu eum, Incorporated (Mu eu m orpo ration), the so le tru tee under the will of Isa bella tewa rt Ga rdner, is th e owner of the property which i loca ted a t 2 Palace Road, Boston, Ma sachu errs, and Mrs. Ga rdner's arr collection conrained therein . The more ignifica nr accounring po licies of the Museu m o rpora tion include the fo llowing: A Bas is of Presenration - l11e Museu m o rporatio n prepa re its fin ancial sta tement o n a modified cas h basi of acco unring. Under this method, in come and expen es are recognized when ca h is rece ived and paid rather than when ea rned or incurred, except fo r federal income taxes whi ch are recognized when incurred. B lnvesrmenrs- The Mu eu m orpora tio n carries in ve rmenrs at quoted marker price, less an allowance fo r unrea lized apprecia tion. o hange in unrea lized a pprecia tio n is recognized fo r financial tatemenr purposes. However, this in fo rm ation ha been included fo r purpo es o f additional analy is and is not a required parr of rhe basic fi nancia l sta temenr . Gains and losses fro m ales o f investmenrs a re calcul ated o n th e first-in, first-ou t ba is. Mu eum Property- luseum property i ra ted at appra ised va lue establi hed on Dece mber 24, 1936. Addition made sub equenrly a re ta red ar cost. The Museu m Co rporation has consistently followed the practice of charging renova tio n to expense rather th an providing fo r deprecianon of Mueum property, except fo r the ca fe and piano, which are being depreciated over their u efu l lives. Allocations to the Ma inrenance and Depreciatio n Fund are credited thereto when autho rized by the Tru tees. During 1987, the Fin ancial Accounting tandard Boa rd is ued a requiremenr rh at no r-for-profit co mpanies recognize depreciation expense on major catego ri es o f fixed asset , excluding histori ca l treasures. If adopted by th e Museum Corporation, the standard would be applied no later than fi sca l yea r 1990. The Muse um would be required to capita lize renovations and other ignifica nr additions and depreciate them over their use ful lives. The Museum Corporation estimates the new sta nda rd would initi all y result in a ignifica nt decrease in expenditure classified as ma inrena nce and an increase in Museum property. D Federal Excise Taxes- Unril 1987, the Museum Corporation was clas ified as a private operating foundation under the lnrernal Revenue ode a nd accordingl y, is req uired to pay a tax o f 2% on ne( " investmenr income," as defined. The Museum had received a favorable determin ation letter from the Internal Revenue Service regarding its request to change from private foundation to public founda tion status if cerrain conditions were met over the

fi ve-yea r period ending Dece mber 3 1, 1986. A public foundation is exempt fro m th e 2% tax; however the Museum ha elected to conrinue to pay the tax during the five-year period. On August 20, 19 7 the Interna l Revenue Service determined that the Museum Co rpo ration would be trea ted as a public cha ri ty under Sectio n 509(a)( I ) a nd 170 (b)( l )(A) (vi) of the Interna l Revenue Code effecti ve J anua ry J, 1982 . Effecti ve August 20, 1987 the luseum ceased to accrue th e 2% Federa l Exci e Tax o n net investment inco me. Th e Museum o rpora tio n has filed reba te claims for $215 ,201 in taxes pa id over the five-yea r determin atio n peri od plu inrere t ea rned on those paymenrs. Tra n fer to apical Campa ign Fund -A mounr egregated by vote of the Tru tee fo r improvements to the Museum building a re shown in the accompanying sta tement of change in fund balances. F Cerrain 1987 ba la nces have been recla 1fied for consi tency with the 198 presenta ti on. During 1985 th e Fin ancial Accounting Standards Boa rd i sued new stand a rd con erning acco unting and disclo ure of pen ion co t by employer . If adopted by the I u eum o rpo rario n th e e sta nda rd must be a pplied o n a prospecti ve basi no later th an fiscal yea r 1989. Based o n a prelimin a ry review, the Mu eum ex pect tha t the new tandard would not have a materi al effect o n either its fin ancial position or re ults o f o perations. 2 Employee Benefit Plmzs The Museum orpo ra tio n ha a pensio n plan which cover ub tanri ally all full-time employee who meet certa in age a nd employmenr requiremenrs. The Mu eum Corpora tio n' po licy i to fund pen ion co t accrued . The pen ion expen e include a morti za tion o f pa t ervice co t over 10 yea r . Pen ion expen e wa $30,688 in 1988 a nd $21,379 in 1987. Ja nuary 1 Actu ari al pre enr value of accumu lated plan benefits Ve ted Employee Non-Vested Employee

1988

1987

52 1,137 ~9 $ 567, 116

$ 459,604 21,571 $ 481 ,175

Net asset available $ 1,086,595 $1 ,049,259 for plan benefits The aggrega te method assumed rate of return used in the determina tion of the actuaria l presenr value of accumulated p lan benefits wa 7.5 % for 1988 and the weighted average assumed rate o f return used in determ ination of the actuarial pre en t va lue of accumu lated plan benefits was 6.5% for 1987. During 1988 the Museu m actuary changed actuarial assumptions and the actuarial method.

The net effect was to reduce the contributio n level by approximately $4,000 and the present va lue of accumul ated benefits by $26,000. The Mu eum Corpo ration also has a deferred compensation pl an fo r Museum employees and makes supplementary annuity pay ments to form er employees not included in th e above pension plan. Costs cha rged to operatio ns in 1988 and 1987 for these items were $3 0,774 a nd $36,202, respectively, and are included in "Pension and deferred compensation" in the acco mpa nying statements of receipts and disbursements. 3 Restriction on Operating Surplus The Trustees are directed under the will of Isa bella Stewart Gardner to pay to certain des ignated hospitals a ny surplus of inco me which, in the opinion of the Director and Trustees, will no t be needed for the proper and reasonable maintenance of the Museum. These a mo unts, if a ny, a re payable at the end of success ive fi ve-year periods, the next of which ends December 31, 1989.

To the Trustees of The Isabella Stewart Gardner Museum, Incorporated, Trustee Under the Will of Isabella Stewart Gardner: We have a udited the accompa nying statements of net assets of The Isa bella Stewa rt Ga rdner Museum Incorpo rated (a M assachusetts nonpro fit corpora- ' tion), Trustee Under the Will o f Isabell a Stewa rt Ga rdner as of December 31, 1988 and 1987, and the related statements of cash receipts and disbursements, changes in fund bala nces and changes in net ass~ts fo r the yea rs then ended. These fin ancial sta tements a re the respo nsibili ty of th e M useu m Corporati on's management. Our responsibili ty is to express an opinion on these fi nancial statements based on our a udits. We condu cted o ur a udits in accordance with generally accepted auditing standards. Those standards require that we pl an and perfo rm the audit to obtain reasonable assurance a bout whether the fin ancial statements are free of materi al misstatement. An audit includes exa mining, on a test bas is, evidence suppo rting the amounts and disclosures in the fin ancial statements. An audit also includes assessing the accounting principles used a nd significant estim ates made by management, as well as evaluating the overall fin anci al statement presentatio n. We believe that o ur audits provide a reasonable basis fo r o ur opinio n. As described in Note 1, the fin ancial statements have been prepared on the modified cash bas is of accounting. Under this method, income and expenses are recognized when received o r paid rather than when ea rned or incurred, except for federal inco me taxes which are recognized when incurred. Accordingly, the accompanying fin ancial statements are not intended to be presented in confo rmity with generally accepted accounting principles. In our opinion, the fin ancial statements referred to above present fa irly, in all materi al respects, the net assets of The Isabell a Stewa rt Gardner Museum , Incorporated, Trustee Under the Will of Isa bell a Stewart Gardner as of December 31, 1988 and 1987, and its cash receipts and disbursements, the cha nges in its fund balances and the cha nges in its net assets for the years then ended, on the modified cash basis of accounting described in N ote 1. Arthur Andersen & Co. Febru ary 6, 1989

Trustees

Staff

The Isa bella Stewart Gardner Museum , Incorporated, Sole Trustee under the will of Isabell a tewart Gardner

On regula r duty December 31st, 1988

Administration President Malcolm D. Perkins

Director Rollin van N. Hadley

Vice-President and Treasurer John L. Gardner

Deputy Director Kristin A. Mortimer

Secretary James L. Terry

Associate Curator Karen E. Haas

Samuel W. Bodman â&#x20AC;˘ Elliot Forbes Ann Gund * Mason Hamm_ond, Emeritus Francis W. Hatch, Jr. Arnold Hi att Mary Ford Kingsley James Lawrence William J. Poorvu Lionel Spiro Emily D. T. Vermeule

Archivist/ Librarian Susan Sinclair

*as of February 1989

Business Manager Raymond R. Cross Administrative Assistant for Personnel and Finance W. Corey Cronin Secretary to the Director Anna T. McCain M embership Coordinator Leslie A. Flinn Education Coordinator Kathleen M. Davis

Docents Barbara Arnold Joan Bowker Gwendoline Farha-Bissell Judith E. H anhi alo Arthur H auge Lisa Lesniak Larry Lewis Ada H . Logan Arlene Mollo Lo is Sta rkey Henry Tate

Conservation Conservator of Objects Barbara J. Mangum Assistant, Objects Claudia Hill Conservator of Textiles Marjorie R. Bullock Assistant Conservator of Textiles Betsy F. Gou ld

Photographer Greg Heins Director of Music Johann a Giwosky Museum Shop Manager Marc Bruner Museum Shop Assistant Danielle Picard

Assistants, Textiles Lisa Lesniak Ada H . Loga n Project Coordinator, Environmental Survey (with the suppo rt o f the Institute o f Mu se um Services)

Elisa Jorgensen

Maintenance Supervisor of Buildings j ohn F. N iland Maintenance Foreman Patrick Naughton Elizabeth Bing Pau l Cheverie BalMoka nd Kapur Edward Kingston

Watch Jeremiah Crowley Kimberly Engli h Phillip Gillis Bria n H arlan Dana Little John Scanlan Sean Warner Guards M ark Balderrama Robert Brackett Richard Ca rnevale Paul Daley Cind y Daugherty M arjorie Galas Lt. William Herman Joseph Hodnick Kellie Howell Iyoko M. Laffi n Robert Laffin Thomas La rkin Pasqua le M orano Joseph Mulvey Scott Pemrick Joseph Rajunas Joseph Reardon Curtis Rodd Scott Rush Karen Sangregory-Fox Fra nk Tully Clarence Wojciechowski Lo uis Yachetta Tado Yam ana ka

Gardening Head Gardener Ro bert M. MacKenzie Assistant to the Head Gardener Stanley Koza k Gardeners Charles P. Healy, Jr. Joseph Rourke

Security

Cafe

Chief of Security Lyle Grind le

Cafe Supervisor

Assistant Security Chief Willia m Jo nes

Head Cook Merry T. Priest

Security Supervisor Lawrence O ' Brien

Assistant Cook Saifuddin Yakub

Pa tri cia A. Ha nley

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