Newsletter - Issue 37 by Paul Mellon Centre

The Paul Mellon Centre for Studies in British Art

N EWSLETTER Yale University

September 2013 Issue 37

One Object, Three Voices

Rood screen canopy, St Helen’s Church, Ranworth. Photograph courtesy of Lucy Wrapson, Hamilton Kerr Institute

In the autumn, the Paul Mellon Centre is launching a new series of occasional research seminars with the title One Object, Three Voices. In these seminars three speakers with different perspectives on the visual arts will discuss a single object of mutual interest. The seminars, which will take place three times a year and feature contributions from academic art-historians, curators, conservators, historians and art-trade professionals, are

designed to bring different forms of analysis into productive and stimulating dialogue. The first such seminar, which will take place on 20th November 2013, will focus on the great medieval painted Rood Screen at St Helen’s Church, Ranworth. This has recently been the subject of a major conservation project. For more details on this seminar, and on featured speakers, see overleaf.

The Paul Mellon Centre Staff Director of Studies: Mark Hallett Deputy Director of Studies: Martin Postle Assistant Director for Finance and Administration: Sarah Ruddick Librarian: Emma Floyd Archivist and Records Manager: Charlotte Brunskill Archives and Library Assistant: Jenny Hill Picture Researcher/ Richard Wilson Online Project Assistant: Maisoon Rehani Events Coordinator and Director’s Assistant: Ella Fleming Yale-in-London Coordinator: Nermin Abdulla IT Officer: Zulqarnain Swaleh Grants Administrator: Mary Peskett Smith Editor Special Projects: Guilland Sutherland Senior Research Fellows, Special Projects: Hugh Belsey, Elizabeth Einberg, Alex Kidson, Eric Shanes, Paul Spencer-Longhurst Advisory Council: Iwona Blazwick, Alixe Bovey, David Peters Corbett, Penelope Curtis, Michael Hatt, Nigel Llewellyn, Richard Marks, Andrew Moore, Gavin Stamp, Christine Stevenson, Shearer West, Alison Yarrington Company Registered in England 983028 Registered Charity 313838 16 Bedford Square, London WC1B 3JA

Tel: 020 7580 0311

Fax: 020 7636 6730

www.paul-mellon-centre.ac.uk

THE PAUL MELLON CENTRE

ACADEMIC ACTIVITIES

Research Programmes Autumn 2013 RESEARCH SEMINARS

RESEARCH LUNCHES

Wednesdays, 5.45 –7.45 PM

Fridays, 12.30 –2.00 PM

Our autumn series of research seminars will feature papers given by distinguished historians of British art and architecture. Seminars typically take the form of hour-long talks, followed by questions and drinks, and are geared to scholars, curators, conservators, art-trade professionals and research students working on the history of British art. This autumn the series also includes a new category of seminar entitled One Object, Three Voices, see 20th November below.

The autumn programme of research lunches is geared to doctoral students and junior scholars working on the history of British art and architecture. They are intended to be informal events in which individual doctoral students and scholars talk for half-an-hour about their projects, and engage in animated discussion with their peers. A sandwich lunch will be provided by the Centre. We hope that this series will help foster a sense of community amongst PhD students and junior colleagues from a wide range of institutions, and bring researchers together in a collegial and friendly atmosphere.

2nd October Michael Rosenthal (University of Warwick) Edward Close in Australia: Soldier, Settler, Sketcher 16th October Glenn Adamson (Victoria & Albert Museum) Staging Memory: Ruskin, Morris and the Invention of Craft 6th November Sarah Turner (The Paul Mellon Centre) From Ajanta to Sydenham: Indian art, imperial pageants and international exhibitions in early twentieth-century London 20th November ONE OBJECT, THREE VOICES The Rood Sceen at St Helen’s Church, Ranworth. Lucy Wrapson (Hamilton-Kerr Institute) Paul Binski (University of Cambridge) Nicholas Gerrard (St Helen’s Church, Ranworth) 27th November Catherine Bernard (Université Paris Diderot) Sensation (in)to intelligence: the politics of visuality in contemporary English art

Details about the Research Seminars and Research Lunches can also be found on the Centre’s website. It is essential that all of those who intend coming to individual research seminars and research lunches email the Centre’s Events Co-ordinator, Ella Fleming, efleming@paul-mellon-centre.ac.uk at least two days in advance.

11th October Beatrice Bertram (University of York): Redressing William Etty (1787-1849) 1st November Francesca Whitlum-Cooper (Courtauld Institute of Art) Quacks, Peddlars and Pastellists: Jean-Etienne Liotard (1702-1789) and Jean-Baptiste Perronneau (1715-1783) in London 8th November Clare Backhouse (NYU) Straws and Superficials: Clothing the Body in Seventeenth-Century Broadside Ballads. 22nd November Shaun Wilcock (University of York) Val Prinsep (1838-1904) and the Politics of the Indian Royal Portrait at the Imperial Assemblage of 1877 6th December Tom Edwards (Abbott and Holder) Amongst the Grand Tourists: Richard Cooper Jnr’s (1740-1822) album of Italian drawings’

To receive regularly updated news on future research events to be held at the Centre, please contact Ella Fleming on efleming@paul-mellon-centre.ac.uk and ask to be placed on our email mailing list.

ACADEMIC ACTIVITIES

THE PAUL MELLON CENTRE

Staff News DR SARAH TURNER has been appointed to the new post of Assistant Director for Research at the Paul Mellon Centre and will take up the position in November this year, after five years in the History of Art Department at the University of York. Sarah’s research focuses on art and visual culture in Britain and the British Empire in the 19th and 20th centuries, particularly relationships between Britain and India. Her forthcoming book is provisionally entitled Indian Impressions: Encounters with South Asia in British Art, c. 1900-1940. Developing from her MA in Sculpture Studies at the University of Leeds, Sarah also continues to work on sculpture in this period; she is a member of the Advisory Board for Tate’s new project on the sculptural practices of Henry Moore and is contributing to the forthcoming show on Victorian sculpture at the Yale Center for British Art and Tate. Sarah has worked on a number of other exhibitions including Gilbert & George (Tate Modern, 2009) and William Etty: Art & Controversy (York Art Gallery, 2011). She developed an online version of this latter display. Sarah is a passionate advocate for the role of digital media in promoting and contributing to art historical

research. She is looking forward to working with colleagues at the Paul Mellon Centre in formulating new digital projects. At the Centre, she will also be taking a major role in conceiving and organising the Centre’s programme of seminars, workshops, lunchtime talks, and conferences. She will also be continuing her own scholarly research. Sarah commented: ‘It is a huge honour to be invited to join the staff at the Paul Mellon Centre in London. I am particularly excited about expanding the PMC’s web presence and working on innovative digital research projects.’ Mark Hallett, Director of Studies at the Centre, said: ‘I am extremely pleased that Sarah is going to be joining us; she is a brilliant, broad-ranging and dynamic scholar who will undoubtedly make a hugely positive contribution to our activities. We very much look forward to welcoming her in November.’

Spotlight on Yale in London YALE IN LONDON is a study abroad programme offered to undergraduate students at Yale University. Students have the opportunity to spend an entire term in the spring, or one of two more intensive six-week summer sessions, based at the Paul Mellon Centre, living and learning in the heart of London. The programme offers students courses on a variety of subjects that are all thematically linked through their focus on Britain and British culture. The 2013 summer sessions, for example, featured courses on the British monarchy, church architecture, Hogarth, and British theatre, and included visits to current London theatre. Courses are taught by a combination of Yale and British faculty members and qualify for credits toward Yale University degrees. There are regular visits to see plays, palaces, country houses and gardens, churches, and much more, and students are encouraged both to explore and to think about the country in which they are living. We hope to see Yale in London continue to develop and maintain its role as a thriving study abroad programme, vital to the Yale experience. For more information on the programme and our 2014 courses, please see: www.paul-mellon-centre.ac.uk/15/ www.britishart.yale.edu/education/yale-college-students /yale-in-london. Also on Facebook: www.facebook.com/YaleinLondon; and on Twitter: @YaleinLondon

Yale in London Spring 2013 students Field trip to Stourhead, Summer 2005 Session 2

THE PAUL MELLON CENTRE

PUBLICATIONS

The King’s Pictures: The Formation and Dispersal of the Collections of Charles I and His Courtiers Francis Haskell

The City and the King: Architecture and Politics in Restoration London Christine Stevenson

Magnificent Entertainments: Temporary Architecture for Georgian Festivals Melanie Doderer-Winkler

With a foreword by Nicholas Penny The City of London is a jurisdiction Edited and with an introduction by whose relationship with the English Karen Serres monarchy has sometimes been turbulent. This fascinating book The greatest paintings in today’s explores how architecture was used to most famous museums were once part renew and redefine a relationship of a fluid exchange determined by essential to both parties in the wake of volatile political fortunes. In the first two momentous events: the Restoration half of the 17th century, masterpieces of the monarchy in 1660 and the Great by Titian, Raphael and Leonardo, Fire six years later. Spotlighting among others, were the objects of little-known projects alongside such fervent pursuit by art connoisseurs. landmarks as Christopher Wren’s St. Francis Haskell traces the fate of Paul’s Cathedral, it explores how they collections extracted from Italy, Spain were made to bear meaning. It draws on and France by King Charles I and his a range of evidence wide enough to circle which, after a brief stay in match architecture’s resonances for its Britain, were largely dispersed after protagonists: paintings, prints and the Civil War to princely galleries poetry, sermons and civic ceremony across the Continent. From vivid case mediated and politicised buildings and studies of individual collectors, built space, as did direct (and sometimes advisers and artists, and acute violent) action. The City and the King analysis of personality and motive, offers a nuanced understanding of Haskell challenges ideas about this architecture’s place in early modern episode in British cultural life and English culture. It casts new light on traces some of the factors that forever the reign of Charles II, as on the changed the artistic map of Europe. universal mechanisms of construction, decoration and destruction through Francis Haskell (1928–2000) was one which we give our monuments of the most influential art historians of significance. the 20th century. He expanded the discipline to include the study of Christine Stevenson is senior lecturer patronage and collecting, the formation at the Courtauld Institute of Art, of museums and canons of taste. University of London.

A thoroughly original study of ephemeral architecture and design which examines the spectacular displays created for large-scale public celebrations in the Georgian period. The book focuses on a number of specific events – battle victories and birthday fêtes – that employed elaborate decorative measures to outshine the typical festivities of the day. Some of these transformed existing venues into unfamiliar marvels; at other times, completely new settings were devised for short-lived occasions. Drawing on sources such as commemorative prints, newspaper accounts and diary entries, the book investigates how essential these fanciful designs were in creating events with lasting impact and popular appeal. The author also delves into the various materials used for construction and embellishment, applications of sugar, sand, marble dust or chalk lent luster and colour to surfaces, while stand-alone firework temples and temporary reception rooms were often crafted of little more than wood, canvas, paint and paste. . Melanie Doderer-Winkler is an independent scholar and a former furniture specialist at Christie’s, London.

September 256 pp. 270x217mm. 80 colour + 40 b/w illus. HB ISBN 978-0-300-19012-0 £30.00

September 320 pp. 292x241mm. 133 colour + 100 b/w illus. HB ISBN 978-0-300-18642-0 £40.00

September 304 pp. 256x192mm. 23 colour + 115 b/w illus. HB ISBN 978-0-300-19022-9 £45.00

PUBLICATIONS THE PAUL MELLON CENTRE

The Sheldonian Theatre: Architecture and Learning in Seventeenth-Century Oxford Anthony Geraghty

Landscapes of London: The City, the Country and the Suburbs 1660–1840 Elizabeth McKellar

The Arts and Crafts Movement in Scotland: A History Annette Carruthers

A jewel of the University of Oxford, the Sheldonian Theatre stands out among the groundbreaking designs by the great British architect Sir Christopher Wren. Published to coincide with the 350th anniversary of the building’s construction, this meticulously researched book takes a fresh look at the historical influences that shaped the Sheldonian’s development, including the Restoration of the English monarchy and the university’s commitment to episcopal religion. The book explains just how novel Wren’s design was in its day, in part because the academic theatre was a building type without precedent in England, and in part because the Sheldonian’s classical style stood apart in its university context. The author also points to a shift in the guiding motivation behind the architecture at Oxford: from a tradition that largely perpetuated medieval forms to one that conceived classical architecture in relation to late Renaissance learning. Newly commissioned photographs showcase the theatre’s recently restored interior.

The idea of a ‘Greater London’ emerged in the 18th century with the expansion of the city’s suburbs. Elizabeth McKellar traces this growth back to the 17th century, when domestic retreats were established in outlying areas. This transitional zone was occupied and shaped by the urban middle class as much as by the elite who built villas there. McKellar provides the first major interdisciplinary cultural history of this area, analysing it in relation to key architectural and planning debates and to concepts of national, social and gender identities. She draws on a wide range of source materials, including prints, paintings, maps, poetry, songs, newspapers, guidebooks and other popular literature, as well as buildings and landscapes. The author suggests that these suburban landscapes – the first in the world – were a new environment, but one in which the vernacular, the rustic and the historic played a substantial part, the forerunner of the complex, multifaceted modern cities of today.

This authoritative book is the first to chronicle the Arts and Crafts movement in Scotland. Arts and Crafts ideas appeared there from the 1860s, but not until after 1890 did they emerge from artistic circles and rise to popularity among the wider public. The heyday of the movement, between 1890 and 1914, was a time when Scotland’s art schools energetically promoted new design and the Scottish Home Industries Association campaigned to revive rural crafts. The movement influenced the look of domestic and church buildings, as well as the stained glass, metalwork, textiles and other furnishings that adorned them. Art schools, workshops and associations helped shape the Arts and Crafts style, as did individuals such as Ann Macbeth, W. R. Lethaby, Robert Lorimer, M. H. Baillie Scott, Douglas Strachan, Phoebe Traquair and James Cromar Watt. These architects, artists, and designers contributed to the expansion and evolution of the movement both within and beyond Scotland’s borders.

Anthony Geraghty is senior lecturer Elizabeth McKellar is Senior in the history of art at the University Lecturer and Staff Tutor in Art Annette Carruthers is a senior of York. History at the Open University. lecturer in the School of Art History at the University of St Andrews. September 168 pp. 256x192mm. 40 colour + 10 b/w illus. HB ISBN 978-0-300-19504-0 £35.00

December 256 pp. 285x245mm. 24 colour + 120 b/w illus. HB ISBN 978-0-300-10913-9 £45.00

October 468 pp. 285x245mm. 100 colour + 250 b/w illus. HB ISBN 978-0-300-19576-7 £60.00

THE PAUL MELLON CENTRE

PUBLICATIONS

From Still Life to the Screen: Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London Joseph Monteyne

Exhibiting Englishness: John Boydell’s Shakespeare Gallery and the Formation of a National Aesthetic Rosie Dias

This book explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur’s fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolise the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson and Paul Sandby, were actively involved in this shift. Many of these images reveal the recurring motif of image display, whether on screens, by magic lanterns, or in ‘raree-shows’ and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.

In the late 18th century, as a wave of English nationalism swept the country, the printseller John Boydell set out to create an ambitious exhibition space, one devoted to promoting and fostering a distinctly English style of history painting. With its very name, the Shakespeare Gallery signalled to Londoners that the artworks on display shared an undisputed quality and a national spirit. The responses of key artists of the period to Boydell’s venture shed new light on the gallery’s role in the larger context of British art. The book analyses the works of such artists as Joshua Reynolds, Henry Fuseli, James Northcote, Robert Smirke, Thomas Banks and William Hamilton, laying out their diverse ways of expressing notions of individualism, humour, eccentricity and naturalism. It also argues that Boydell’s gallery radically redefined the dynamics of display and cultural aesthetics at that time, shaping both an English school of painting and modern exhibition practices.

SURVEY OF LONDON Volumes 49 and 50 BATTERSEA The south London parish of Battersea has its roots as a working village, growing produce for London markets, and as a high-class suburb, with merchants’ villas on the elevated ground around Clapham and Wandsworth Commons. Battersea enjoyed spectacular growth during Queen Victoria’s reign, and railroads brought industry and a robust building boom. The two latest volumes of the Survey of London trace Battersea’s development from medieval times to the present day. Offering detailed analysis of its streets and buildings, the books are a trove of architectural and British history. Profusely illustrated with new and archival images, architectural drawings and maps, these volumes are welcome additions to the acclaimed Survey of London series. Andrew Saint, vol. 49, is the general editor of the Survey of London and the author of Richard Norman Shaw. Colin Thom, vol. 50, is senior historian, Survey of London, English Heritage.

49: Public, Commercial and Cultural November 520 pp. 286x222mm. Joseph Monteyne is associate 200 colour + 250 b/w illus. professor in the history of art at the Rosie Dias is associate professor in HB ISBN 978-0-300-19616-0 £75.00 University of British Columbia. the history of art at the University of 50: Houses and Housing Warwick. November 520 pp. 286x222mm. 200 colour + 250 b/w illus. August August HB ISBN 978-0-300-19617-7 £75.00 288 pp. 256x192mm. 288 pp. 256x192mm. 55 colour + 101 b/w illus. 50 colour + 95 b/w illus. 2-volume set HB ISBN 978-0-300-19635-1 £35.00 HB ISBN 978-0-300-19668-9 £45.00 HB ISBN 978-0-300-19813-3 £135.00

COLLECTIONS THE PAUL MELLON CENTRE

Collections News

A selection of materials from the Library Collection relating to Chatsworth Millar’s observations on a visit to Chatsworth House in 1947, p. 57, Notebook IV, Oliver Millar Archive

RESEARCHING THE COUNTRY HOUSE One of the key subject strengths of the collections is material relating to the Country House. The Library’s holdings are particularly strong in this area and include books on the history of country houses and their architecture and collections; multiple editions of guides to individual houses; family histories; and auction catalogues of country house ‘on the premises’ sales. Materials on such complementary subjects as garden design, interior decoration, and furniture are also collected. In the Archive, the notebooks of Sir Oliver Millar (1923-2007) are a significant resource. Millar worked in the Royal Household from 1947, eventually becoming Surveyor of the Queen’s Pictures (1972-1988). Throughout this time, and almost until his death, he maintained a series of notebooks in which he documented his observations and opinions on the art and related material he viewed in private and public collections in the UK and all over the world. There are 30 notebooks in total, which Millar meticulously indexed by both collection and artist. The material is an incredible resource for scholars, who are able to pinpoint relevant material with ease. The Brinsley Ford Archive also contains material of value for researchers interested in the country house. Sir Brinsley Ford (1908-1999) was a gentleman-scholar, connoisseur and collector who spent over 40 years researching the Grand Tour. His archive contains a series of files (828 in total) pertaining to British and Irish travellers to Italy in the eighteenth century. The files are full of information about travellers who, inspired by the architecture they saw, returned home to develop their own estates. They also contain information on the art, books, pictures, sculpture, and items of culture, which were acquired on the tour and shipped home for display in country houses all over the United Kingdom. As well as containing images of paintings and sculpture in country houses, the Centre’s Photographic Archive contains two other useful sequences of material: the Decorative Painting section, which includes images of town and country house interiors; and the Sculpture by Location section which contains images of country house collections of sculpture.

After a recent Research Lunch, on 24th May given by Jocelyn Anderson on ‘Ornaments and Honours: Country Houses as Cultural Treasures in the Eighteenth Century’, Collections’, staff spoke to participants about material of relevance to the subject held in the Library, Archive and Photographic Archive. A display of carefully selected items was made available in the Public Study Room, organised into several groups of material, each focusing on a particular house or collection: Blenheim Palace; Castle Howard; Ickworth; Strawberry Hill; and Chatsworth. The section on the latter, for example, included country-house guides dating from the 1970s, in some cases interleaved with room guides, and books dating from the late nineteenth century onwards. These items were complemented by the Oliver Millar notebooks which include many pages of detailed references made during visits to Chatsworth in 1948 and 1997 and which include diagrams of decorative features on the walls and ceilings of several locations in the house. A file of images from the PMC’s Photographic Archive, including images taken in Chatsworth of decorative panels in various rooms, completed the display. Collections staff are happy to provide tours for scholars. Please contact us on: collections@paul-mellon-centre.ac.uk.

Fellowships and Grants New Mid-Career Fellowship Announced A new category of fellowship aimed at Mid-Career scholars will be instigated from the academic year 2014/2015 to bridge the perceived gap between our Senior and Postdoctoral Fellowships. The Paul Mellon Centre plans to award three Mid-Career Fellowships annually, they will each carry funding of £12,000 and will be for a four-month period. The closing date for all our 2014/2015 fellowships is 15 January 2014. Further details and application forms can be found at www.paul-mellon-centre.ac.uk/17/ Closing date reminder The closing date for the Autumn round of grants is 15 September 2013. Full details and application forms are on our website at www.paul-mellon-centre.ac.uk/179/

ya l e c e n t e r f o r b r i t i s h a r t 1080 Chapel Street, New Haven, Connecticut 06520 USA

EXHIBITIONS

LECTURES

The following have been organized by the Yale Center for British Art.

The Military Artist in Jamaica and India: Abraham James and the Representation of Colonial Martial Masculinity

Sculpture by Nicola Hicks

For complete details of the following exhibitions and programs, please visit britishart.yale.edu, phone +1 203 432 2800, or email ycba.info@yale.edu.

1 4 NOVEM BER 2013–9 MA R C H 2 01 4

The work of British sculptor Nicola Hicks, MBE, is almost exclusively concerned with animals. Her striking, often life-size creatures are typically executed in straw and plaster, and often cast in bronze. This exhibition brings together seven works by Hicks, which will be displayed amidst works from the Center’s permanent collection. The exhibition has been selected by Nicola Hicks in conjunction with Martina Droth, Associate Director of Research and Education and Curator of Sculpture at the Center, with Lars Kokkonen, Postdoctoral Research Associate in the Department of Research.

Art in Focus: St Ives Abstraction ST U D ENT GUID E EXH I B I TI ON TH RO UGH 29 SEPTE MB E R

Curated by Yale undergraduates in the Student Guide Program and drawn from the Center’s collections, this exhibition focuses on paintings and sculptures by artists working in St Ives in the mid-twentieth century. Artists featured include Ben Nicholson, Barbara Hepworth, John Wells, Roger Hilton, and Patrick Heron.

P U B L I C AT I O N

William Henry Fox Talbot: Beyond Photography Edited by Mirjam Brusius, Katrina Dean, and Chitra Ramalingam, this book is the twenty-third volume in the series Studies in British Art, published by the Center and the Paul Mellon Centre for Studies in British Art, London, in association with Yale University Press.

FR I DAY, 4 O C TO B ER, 5 : 30 P M

K. Dian Kriz, Professor Emerita of Art History, Brown University In this keynote lecture for The Ends of War, the 2013 conference of the Northeast American Society for Eighteenth-Century Studies, Dian Kriz examines images of the martial body by an amateur artist and professional soldier at the turn of the nineteenth century.

Authorial Identity and the Languages of Late Elizabethan and Jacobean Portraiture

WEDNESDAY, 16 OCTOBER, 5:30 PM

Tarnya Cooper, Chief Curator, National Portrait Gallery, London This talk will explore how the growth of interest in portraiture in the late sixteenth century provoked the invention of different modes of portrayal.

The Ladies Library: Or, Benjamin Franklin’s Sister’s Books FR I DAY, 8 N OV EM BER, 5 : 30 P M

Lewis Walpole Library Lecture Jill Lepore, Professor of American History, Harvard University The author of Book of Ages: The Life and Opinions of Jane Franklin, Jill Lepore will discuss her work reconstituting the lost library of Benjamin Franklin’s sister.

Sculpture by Nicola Hicks W E D N E SDAY, 13 N OV EM BER, 5 : 30 P M

An opening conversation between artist Nicola Hicks and independent art curator and writer Patterson Sims.

B U I L D I N G CO N S E R VAT I O N The first phase of the Center’s building conservation project began in the summer and is expected to continue until January 2014. During this time, the Center (including the Reference Library and Museum Shop) is open for its regular hours and the fourth-floor galleries displaying the Center’s collection of British art through 1850 remain on view. However, access to the Prints and Drawings, and Rare Books and Manuscripts collections is available by appointment only, and two weeks’ advance notice will be necessary. Due to the extensive work on the building, the next cycle of Visiting Scholar Awards will be for the period 1 July 2014 to 31 December 2014. Regrettably, the Center will be unable to accommodate visiting scholars in 2015. Applicants should take these restricted dates into account when stating their preferred month(s) of tenure. More information about the Visiting Scholar program may be found online at britishart. yale.edu/research/visiting-scholars.