Skip to main content

Full text of "Bulletin of the Metropolitan Museum of Art 1912-07: Vol 7 Iss 7"

See other formats







PUBLISHED MONTHLY PRICE TEN CENTS 


BULLETIN OF 
THE METROPOLITAN MUSEUM 
OF ART 


VotuME VII NEW YORK, JULY, 1912 NUMBER 7 





THE RING 
BY 
JOHN W. ALEXANDER 








BULLETIN OF THE MI 


\ POLYPTYCH REPRESENTING 


THE LIFE OF SAINT GODE- 
LIEVI 
* HIS curious and fascinating work, 
a product of the Bruges School 
of the late fifteenth or early 
sixteenth century, was bought 
by the Museum at 


the dispersal of the 
Dollfus Collection in 
Paris. The painting 
is not of the highest 
order but it exempli- 
fies the delight in 
ornament and intri- 
cate detail, and the 
decorative beaut\ 
common to the tradi- 
which it Is 
the offspring. While 
lacking the eloquence 


tion Ol 


of the great Flemish 
masters, it has the 
simple charm that 
the direct telling of a 
deeply felt tale never 


fails to give 


The altar-piece 
consists of five parts; 
the large centre 


panel 44 In X 57 In. Is 
flanked on either side 
by two hinged shut- 


ters 44 In. X 104 In. 


TROPOLITAN 





MUSEUM OF ART 
Saint James and Saint John the Evangelist, 
With the altar-piece open, all five panels 
are filled with the life of Saint Godeliéve, 
The catalogue of the Tollin collection? 
of which the work formed part before its 
acquisition by M. Dollfus) gives the story 
of this saint but upon 
authority, nor can | find in the usual books 
of reference any story 
of sufficient detail to 
nel 


fails to say what 


explain all the 
dents portraved 


As an outline of the 
saint’s life is neces- 
sary to the under- 


standing of the pic- 
tures, | will venture 
to translate what 
seems essential in the 
legend as given in the 


catalogue: 


\t this epoch 
1007-1070) there 
lived at Ghistelles 
Saint Godeliéve,' who 
is held in great ven- 
eration in all Flan- 


ders. 

“ Bertolf, lord of 
the manor of Ghis- 
telles, had heard high 
praise of a young 
3oulogne, 
belonging to the 
family of Hemftrid, 


woman ol 


painted on both (HE LIFE OF SAINT GODELIEVE lord of Longfort. 
sides. With the shut- PANELS I AND 2 Fame named her 
ters closed. the out- voung, beautiful, 
side shows four standing saints and the modest, virtuous, and Bertolf was ena- 
portraits of the two donors. At the left} mored before ever he saw her and asked 


is Saint James the Greater, as the protec- 
tor of a kneeling donor, then Saint Nicholas 
with the three 

tated from the 
On the third panel is a 
whom the Dollfus catalogue 
Ephron, and on the fourth is Saint John 
[he arms 
figure of 


vouths whom he resusci- 


salt vat at his feet. 
warrior-bishop 


Saint 


calls 


Evangelist with a second donor. 
of the donors appear above the 


Collections de teu M. Jean Dollfus 


*Catalogue des objets d'art et de la haute 
curiosité composant la collection de M. A 


I ollin 


Godeltiéve, 
drawn 


But 


herself 


her hand in marriage. 
for it she, felt 
to a monastic life and her parents did 
not attempt to thwart her, so Bertolf so- 
licited the help of the counts of Flanders 
and by their 


Was more 


and Boulogne persuasion 
the resistance of Godeliéve and the scruples 
of her parents were vanquished. The 


marriage was performed with pomp 


M. Croquery of Lille has written lately a life 
of St. Godeliéve 


‘ Godeliéve in Flemish signifies Friend of God 


120 











BULLETIN OF THE METROPOLITAN MUSEUM OF ARI 


‘“‘Bertolf now took his bride to his castle 
where his mother met them, and here 
faded their hopes of happiness for the 
mother hated Godeliéve at first sight and 
as the son had alwavs been under the 
mother’s dominion, she made it appear 
to him that his choice was a bad one, and 
his mind became poisoned against his 


to execute his design during his absence 
Bertolf started for 
night the two entered Godeliéve’s bed- 


Jruges and at 


chamber and strangled her with a long 
piece of cloth, chosen so that there should 
be no trace of their crime on the body of 
the victim. The murder done, they 


perceived spots of blood in the eyes and 





THE LIFE OF SAINT GODELIEVI 
PANEI 3 


wife. Then Godeliéve had to submit not 
only to the outrages of her mother-in-law, 
her husband and the servants, but to 
material privations as well. But she bor 
all with angelic patience. 

“Bertolf regretted his marriage more 
and more, and urged thereto by his wicked 
mother planned to do away with Godeliéve 
so that he might be free to contract an- 
other union. To avoid suspicion he pre- 
tended that his old affection had returned 
and then announced his intention of mak- 
ing a pilgrimage to Bruges, first instructing 
two of his faithful retainers (Lambert and 


Hacca 


history has preserved their names) 


127 


ears, and to wash these away, plunged 


the body head foremost in the castle well 


then laid her on her bed as life-like as 
might be. The next day the body was 
found and though Bertolf and his mother 


made great show of lamentation, they were 


believed by all to be the assassins of the 


beloved Godeliéve She was canonized 
a few vears later (1084). 
“Bertolf remarried but remorse for his 


crime burned into him. In expiation he 
went on pilgrimage to Jerusalem. On his 
return he retired to the Abbey of Saint 
Winoc in Bergues where he died in most 


edifving repentance (1075-1080). 








BULLETIN OF THI 


The painter of the altar-piece was more 
familiar with the details of the legend than 
the compiler of this story, which fails to 
explain several scenes of the picture. The 
beginning of the painting is the panel at 
the left where Godeliéve’s family is shown. 
Next is the meeting with Bertolf. In the 
background Godeliéve does good works, 
and in a balcony 
Bertolf is seen asking 
the parents for her 
hand. The large cen- 
tral panel is divided 
into three compart- 
ments, in the first of 
which is a repast at 
which the saint’s 
parents entertain a 
visitor (probably the 
Count of Flanders or 
the Count of Boul- 
ogner). In a chapel 
in the background 
Godeliéve is praying 
while angels do the 
tasks she has been 
assigned. The mar- 
riage takes place in 
the centre compart- 
ment before the altar 
of the Virgin, and in 
the third division of 
this panel is the 
home-coming to the 
castle of Ghistelles, 





METROPOLITAN MUSEUM OF ART 


happenings after the saint’s death — the 
people of Ghistelles mourning over the 
fatal well, and how Godeliéve sent a token 
to Bertolf. The right compartment of 
the background shows a funeral in front 
of a church which may refer to the end of 
Bertolf ‘‘in most edifying repentance” 
as a hand in rays of light stretches out from 
heaven in be nedictio 
toward the coffin. 
According to a 
statement in the 
Tollin catalogue the 
altarpiece of Saint 
Godeliéve comes from 
the Church of Ghis- 
telles near Bruges. 
B. B. 


A RELIEF 
BY DONATELLO 


HE Museum 
recently pur- 
chased at the 
sale of the 
Dr. J. Hampden 
Robb collection a 
terracotta relief of 
the fifteenth century 
representing the Ma- 
donna holding the 
Child. The wonderful 
composition of the 
group, in which the 


and the introduction THE LIFE OF SAINT GODELIEVE Virgin presses the 
in the narrative of PANELS 4 AND 5 Child close to her, 


the wicked mother 

and also of a little prattling maid who does 
not appear in our story, but in the picture 
carries tales to Bertolf and his mother and 
trouble to Godeliéve. The fourth panel 
tells of the strangling of the saint and the 
incidents which lead up to it 
privations, Bertolf and his mother chiding 
her, the false reconciliation where Bertolf 
is attended by a devil and Godeliéve by an 
angel, and the murderers leading her 
from her bedroom. In the last panel, 
Lambert and Hacca dip the body of 
Godeliéve in the well, then lay her on her 
couch (the head of this figure has real 
beauty) and above these groups are the 


Godeliéve’s 


with a sad expression, 
as if conscious of the tragic future, is well 
known from the several different versions 
in which it occurs, and its authorship has 
been ascribed, undoubtedly rightly to the 
Florentine master, Donatello, by Bode, 
Schubring, and other critics. The group 
is usually called the Veronese Madonna 
as one of the versions adorns a corner in a 
street, the Via della Fogge, in Verona, and 
it must have been a famous work in its 
day, as at least four other replicas of the 
period are known to exist. These are in 
stucco and terracotta and are now in the 
Bargello, the Louvre, the Kaiser Friedrich 
Museum in Berlin, and in a private col- 


128 


; 
j 
j 
| 
' 





BULLETIN OF THE METROPOLITAN MUSEUM OF ART 


lection in the latter city. The version 
owned by the Metropolitan Museum is 
executed in terracotta and is in its details 
one of the best of all, although it would be 
difficult to say that our group was the 
first of the different versions to be made. 
Since no one has yet proved that the com- 


position is not by Donatello we may 


recognize his workmanship at once. What 
other sculptor could have filled the simple 
plastic forms with a similar force and 
passion of feeling, who else could have 
given the Madonna such strong classical 
beauty together with an almost modern 
intensity of expression, at once tragic and 
heroic; who else could have formed a 





MADONNA 


ascribe our group to him with as much 
right as those in the Louvre, the Bargello, 
and the Berlin Museum are called by his 
name. And indeed it would be hard to 
prove convincingly the authorship of any 
other artist, for there are at best none too 
many men to whom works of the greatest 
merit can be ascribed, and when the high 
quality of this group is considered in con- 
nection with the number of Donatello’s 
pronounced and characteristic traits which 
it exhibits, it seems impossible not to 


AND CHILD 
BY 
DONATELLO 


child so absolutely naive and life-like and 
have made the group as a whole an em- 
bodiment of the highest religious devotion 
of which the period was capable? No 
sculptor of the time — excepting Michel- 
angelo - ~ possesses in such a degree 
Donatello a feeling for the true signifi- 
cance of his subject, for the heart and 
character of his models, combined with an 


ads 


artistic intelligence of the highest order 
which enables him to give to his work the 
vitality of outline, the subtlety of surface, 


129 








BULLETIN OF THE METROPOLITAN MUSEUM OF ARI 


and the expressive simplicity of plane that 
make his sculptures the masterly works 
of art they are 

As this composition in all its different 
versions is quite in the style of the works 
which Donatello executed for the Church 
of S. Antonio in Padua, and since, as has 
been stated, one of the replicas 1s now in 
Verona, and another was originally in 
Venice, both very near Padua, it is gen- 
erally believed that the groups were made 
by Donatello while he was staying in Padua 
just before the middle of the century 
Compositions such as this exercised the 
strongest influence on the artists of North- 


ern Italy and one can not imagine how 
Mantegna and the Bellinis would have 
succeeded without Donatello’s noble pre- 
cedent in expressing the most tragic 
moment of the relationship between the 


Christ Child and His Mother 


DECORATIVE PANELS 

BY HUBERT ROBERI 
UBERT ROBERT was perhaps 
the most popular and successful 
among the various French paint- 
ers of the eighteenth century 
who devoted themselves to producing 
decorative landscapes of a romantic and 
Italianate character, and the Museum 1s 
fortunate in being able to exhibit eight 
panels by him in his best manner, recently 
lent by Mr. J. Pierpont Morgan. These 
are now placed in the Louis XVI room 
on the second floor of the Wing of Decora- 
tive Arts, where they show to advantage 
in relation with the objects of the same 
period in the Hoentschel Collection. They 
are admirable examples of a phase of 
French decorative painting heretofore very 
inadequately represented in the Museum. 
Robert, who was born in Paris in 1733, 
spent many years of study in Italy, and 
returned to Paris in 1765 to gain instant 
recognition with his skilful and charming 
renderings of Italian landscape and Roman 
ruins. He was soon famous as “Robert 
des Ruines” and from the time of his 
return honors and success never failed. 


In two vears he was made an Academician, 
later he became Director of the Musée 
des Arts, keeper of the Musée Royal, and 
landscape architect to the king. He died 
In 1508. 

Never in the least a realist, Robert 
idealized the romantic aspect of classical 
suave and graceful way very 


ruins in 
characteristic of the eighteenth century 
His knowledge of the great remains of 
Roman architecture was exhaustive, and 
ancient buildings 


both in the delineation o 
actually extant, and in the creation of the 
purely imaginative ruins which he delighted 
to invent with such unending variation he 
showed an extraordinary architectural 
sense. Yet he was never in any degree a 
classicist, as the next generation was to 
understand the term, and his desire was 
not to reconstruct Rome as she really 
was, but to show her vast and splendid 
ruins, softened by time, and _ sheltering 
the life of a later and very different day. 
His crumbling temples, and shattered 
monuments, his caves and waterfalls, the 
small gracious figures peopling his long 
green avenues and delicious gardens, are 
all part of the Italy of the eighteenth cen- 
tury, seen through the Parisian eves of a 
court painter and suffused with a poetry 
peculiar to his time. 

Mr. Morgan’s eight paintings, six of 
which are uprights and two overdoors, 
form a compete series which was evidently 
intended to be inset into the paneling of a 
room. The scenes depicted are all different 
and all are apparently purely decorative 
in purpose, as none of the ruins and build- 
ings represented can be identified as 
existing elsewhere than in the painter's 
imagination. Five of the panels show re- 
mains of classical architecture with many 
figures in the foreground, a sixth is a 
charming garden scene with a féte champé- 
tre in progress, and the remaining two are 
rocky landscapes, the one a mountain 
gorge with a waterfall and Spanish peas- 
ants dancing in the roadway in front, the 
other — perhaps the most beautiful of the 
whole set — the interior of a high grotto 
looking toward the sea, with fishing 
boats in the distance. The last is signed 
and dated 1784, and from their similarity 


130 





” BULLETIN OF THE 


in style all the pictures were apparently 
painted in the same period. Robert at 
that time was at his best, his imagination 
unflagging, his touch sure, his color delicate 
and rich, as Mr. Morgan’s panels amply 
testify. 


a P. 


ANTIQUITIES FROM BOSCOREALE 
IN THE FIELD MUSEUM 


HE Field Museum of Natural 
History in Chicago has issued a 
antiquities 
which, for 


publication on its 


from Boscoreale, 
comparative studies with our own 
examples, will prove of great interest. 
\s is well known, Boscoreale, situated 
about one and a_éehalf miles’ north 


of Pompei, has vielded some of the most 


interesting discoveries of recent vears. 


METROPOLITAN 


MUSEUM OF ART 


is largely 


which 


collec t rT n 
villa in 


Museum 
famous 


I he Field 
derived from the 

was found the treasure of gold coins and 
silver vases now in the Museum of the 
Louvre; a few pieces came from neighbor- 
ing villas, none, however, from that in 
which our own frescoes were discovered. 
Ihe collection consists of eighteen frescoes 
in bronze, glass, 


iron. The 


and a number of utensils 
stone, and 
they dv not 


terracotta, silver, 
frescoes, though 


with our own in importance, form an inter- 


compare 


esting series, the subjects being mostly of 
an architectural or decorative character. 
Among the other pieces the most valuable 
three legs in the 


very 


bronze table with 


is a 
form of lions’ hind legs, naturalisti- 


cally modeled. The text of the publica- 


tion is by Herbert F. De Cou; there are 
forty-nine plates in which every object 
of the collection ts illustrated. 

G. M. A. R 





THE CHINESE 


BY 


STATUETTE 


RICHARD E, MILLER 


13 








BULLETIN OF THE METROPOLITAN MUSEUM OF ART 


THE VALUE OF PHOTOGRAPHS AND 
TRANSPARENCIES AS ADJUNCTS 
TO MUSEUM EXHIBITS 


USEUM authorities are depend- 
ent in forming a collection of 
antiquities on the chances of 
the market and of excavation 
[hey may have very good fortune in one 
direction and find serious lacunae un- 
avoidable in another. Further, one of 
the major arts, architecture, can never 
be adequately represented within the 
limited space of a Museum interior. | 
affirm this despite the report current this 
past winter that Mr. Morgan had bought 
the island of Philae at the first Egyptian 
Cataract and was bringing its temples to 
The Metropolitan Museum! If, then, 
the attempt be made, as in our Egyptian 
rooms upstairs, to illustrate the suc- 
cessive stages of a national civilization 
and art, supplementary photographic 1l- 
lustrations render the picture of a given 
period far more nearly complete than it 
could be without them. Consider the 
early period in Egypt when the land was 
emerging from barbarism. We possess a 
considerable knowledge of that formative 
time derived from contemporary graves. 
But merely to show in our exhibition cases 
pots, maces, slate palettes, and other small 
objects found in these graves which 1s 
all we can show at present in the original 
would be to tell but half the tale. Here, 
as in other rooms of the Egyptian section, 
glass positives at the windows supplement 
the original objects. In the three frames 
of positives within the First Egyptian 
Room we are able to exhibit the methods 
of burial of more than five hundred years, 
and in passing from the primitive grave, 
only a hole dug in the sand, on to the 
larger brick-lined and brick-roofed tombs 
of the end of the period one has traced the 
emergence of the instinct and the ability 
to construct buildings. These primitive 
tombs cannot be called architecture in 
any high sense of the term, but they are 
the beginnings of the development which 
‘Report of an address made at the session of 
the American Association of Museums, June 10, 
1912 


was to culminate in the mighty temples of 
egvpt and are essential to the story of the 
History of Egyptian Art as we are attempt- 
ing to tell it in our rooms. Again in our 
Sixth and Seventh Rooms it would be a 
pity to miss from the impressions to be 
gained there of the art of the Egyptian 
Empire, the views and plan of the palace 
of Amenhotep III, at Thebes. I might 
thus point out in every room the way in 
which the glass positives at the windows 
and the photographic enlargements on 
the walls and pedestals supplement that 
which it has been possible to obtain in the 
way of original objects 

[he use of photographic illustrations 
sometimes obviates the necessity of plac- 
ing casts in the same galleries with 
originals. The photographic illustration 
is an obvious substitute, the cast is not 
always so easily recognized as such by the 
untrained observer and the presence of 
casts among originals, particularly 
skilfully colored, is likely to lead to con- 
fusion in the minds of many people as to 
what 1s ancient and what is modern in the 
collection. Architectural models, how- 
ever, are not open to this objection, for 
they are not in the size of the originals and 
could never be mistaken for originals. 

But perhaps even more important than 
their function in supplementing the original 
material in museums is the explanatory 
value of photographic illustrations in 
relation to the main exhibit. There may 
be museum authorities who think it un- 
wise to attempt to embrace in their ex- 
hibition rooms anything more than can be 
duly represented in original objects. But 
no one can dispute the fact that it is our 
business to make the original objects as 
attractive and intelligible to the public 
as possible. The Egyptian department 
of this museum has found glass positives 
and photographs an indispensable help to 
this end. In many rooms it is possible 
to turn from the objects in the cases to 
pictures showing the conditions under 
which they were found. For instance 
about one half of our Fourth Room is 
given to the contents of an unplundered 
tomb of 2,000 B. C. which was excavated 
by the Museum’s Egyptian Expedition in 




















BULLETIN OF THE 


At the window all the stages in 


1907. 
the clearing of the tomb are shown, first 
the top of the tomb shaft as it appears at 
the level of the desert surface, then the 
first chamber of the tomb as yet uncleared, 


débris and 
jars; the 


chamber freed of 
filled with numerous pottery 
visitor then has to look but 
room to see these same jars occupying a 
wall-case, further views show the second 
chamber before and after clearing, the 
opening of the coffin revealing for the first 
time to the modern world the necklaces, 
bracelets, ceremonial whip and other fune- 
rary equipment of the deceased Snebtes, 
all of which may be seen in near-by cases 

The Egyptian collection has been built 
up in three ways, by gift, by purchase, and 
by excavation. Most valuable of all is 
the material obtained through the excava- 
tions conducted by our own Metropolitan 
Museum’s Expedition to Egypt, because 
we have the full scientific records of the 
conditions under which each object was 
found. The photographic illustrations 
both glass positives and prints — serve to 
keep before the public the nature and the 
value of this work as the people turn from 
the material results of the exc; vations 
in the way of actual antiquities to the 
pictures of these same objects as they were 
found 

But even for the purchases and gifts 
about whose provenance nothing is known 
we are able to do something. When the 
actual object cannot be shown in position 
in Egypt, it is often possible to exhibit 
related material under the conditions of 
finding. Then it is often desirable to 
show a photograph of a complete object 
to make an original fragment intelligible. 
On loan in our collection at present is a 
wooden panel from a chair found by Mr. 
Theodore M. Davis in one of the royal 
tombs at Thebes. Even though the label 
states the fact that the panel is from a 
chair, it would be imp ssible for the visitor 
unfamiliar with Egyptian furniture to 
visualize the object of which this mere 
fragment remains. But we were able to 
place on the pedestal a photograph of a 
complete chair from another royal tomb 
with two such panels in position. 


next that 


across the 


METROPOLITAN MUSEUM OF 


ART 


The use of photographs occasionally 
has a bearing on the much-vexed question 
of how far to restore objects. [he prin- 
ciple we trv to follow in the Egyptian 
department is to restore accessories when 
by so doing the object gains in aesthetic 
value, but not to restore essential parts. 
In the latter case a photograph of a similar 
complete object may serve to explain our 
fragmentary one and relieve us of the 
necessity of restoring where restoration 
would seem a sacrilege. Let me_ illus- 
trate this. In the Sixth Egyptian Room 
is a red quartzite portrait head of that 
remarkable religious revolutionist and 
visionary, King Amenhotep 1V. The head 
is incomplete, having lost the headdress 
and whole back part as well as the eyes 
which were inset. We have restored the 
headdress in plaster tinting it the general 
tone of the stone, but we should not dream 
f renewing the Che 
however, is a mere accessor) 


( eves. headdress, 


to the realis- 
tic and subtly modeled face, and by supply- 


ing it this masterpiece of portraiture 


regains much of its original effect. On the 
other hand in our Fifth Room may be 
seen absolutely unrestored a_ colossal 
lion’s head of limestone which lacks the 


greater part of the muzzle. We cannot 
bring ourselves to fill out this essential 
part of the powerful animal’s head with 
modern work but we have placed on the 
pedestal a photograph of a similar colossal 
head of a lion found practically uninjured 
in the German excavations at Abusir 
which will aid the visitor to complete in 
imagination this impressive work 
Finally let me say a few 
the popular appeal of photographic illus- 
trations. Undoubtedly this appeal ts 
greater in the case of glass positives, which 
are more vivid and give the illusion of 
reality better than the flat print, but 
what I have to say applies to some degree 
also to large photographs. These illus- 
trations relieve the monotony of the 
rooms, they attract attention and _ hold 
it often when the original objects in cases 
fail to do so, but interest once awakened 
is transferred to the all-important material 
in the cases and thus the pictures help in 
promoting the education of the public. | 


words about 


> 


> 








TROPOLITAN MUSEUM OF ARI 


»a distinct memory « 


ur Museum workmen used 


often to stop and look ; he glass positives 


legitimate interest 


Few people who 


traveled widel\ 


pictures which 


baskets of sand and transport heavy stone 


slung to poles, and as they otherwise 
employ the ancient methods of the Nile 
Valley. 

How far the use of glass positives is de- 
sirable in other departments of an Art 
Museum than the Egyptian is more than 
| would presume to judge. The tdea is 
not a new one in Museums of Natural 
Historv, but so far as | know, has never 
been tried on so extensive as scale as here. 
We feel that the experiment with us has 
been a wholly successful one and | shall be 


very glad if the brief statement of our 


| 


aims and results here attempted offers 


any suggestions to other museum officers 





SUMMER 


V. WATROUS 











CHRIST 
BY 


ELLIOTI 


RECENT 


} 


) 


PAINTING B \LEXANDER 

IN MEMORY OF ARTHUR Hoppock 

HEARN.— The Ring, by John W. 

\lexander, which was one of the 
successes at the last Autumn exhibition of 
the National Academy of Design, has been 
given to the Museum by Mrs. Mary Hearn 
Greims in memory of her brother, Arthur 
Hoppock Hearn, and has been shown since 
the first last month in the Room ol 
Recent Accessions. It represents a young 


,r 
i 


ol 


woman sitting in a window-seat with her 
large straw hat on her knees, looking indo- 


lently at a ring which she holds in het 
right hand. The sunlight shines in at the 


window and the soft curtains back of the 
sitter are gently ruffled by the breeze. A 
sentiment of tranquillity pervades the pic- 
ture. It evokes the drowsy feeling of a 
summer afternoon in pleasant surround- 
ings. 

With this gift from Mrs. Greims the 
Museum owns three works by Alexander 

the portrait of Walt Whitman given in 
1891 by Mrs. Jeremiah Milbank, and the 
Study in Black and Green purchased out 
of the Hearn Fund in 1908. 


3. 


B. | 


STILLING 


D 


THE TEMPEST 
AINGERFIELD 


ACCESSIONS 


ADDITIONS TO THE HEARN COLLECTION. 

rhe following pictures have been re 
cently purchased out of the Hearn Fund 
The Chinese Statuette by Richard | 
Miller, Christ Stilling the Tempest b\ 
Elliott Daingerfield, Passing of Summer by 
Harry W. Watrous, Metropolitan lower 
by Guy C. Wiggins, and Morning Light 
by Eugene Speicher. 

It mav be well at this time to review thi 
rapid growth of the Hearn Colle« n « 
American Pictures. Since the reception of 
the Hearn Fund in 1906 the total number 
of purchases to date is twenty-six. But 
these are overshadowed by the importance: 
of the gifts received from Mr. Hearn for the 
collection, which have included very not 
worthy examples by the most famous art 
ists, in some cases of works which it would 


otherwise have been impossible to secur 


By the gifts which number fiftv-one, Mr. 
Hearn has lightened the Museum’s task 


in torming a representative conte mporary 
American collection of the most difficult 
and expensive part of the work, and has 
enabled the income of the fund to be con- 
centrated on the acquiring of current pro- 
ductions as shown in Galleries 13 and 14. 








LLETIN OI THE 

PoRTRAIT MAN, rHE MaAsTER 
OF THE HOLZHAUSEN PorTRAITS (CONRAD 
Von In Monatshefte 
iir kunst wissenschaft \ugust, 1911, 


| 
' 
Franz Rieffel has an essay on the pictures 


OF A BY 


the 
lor 


(CREUZNACH 


of the Holzhausen Collection which were 
lent at that time to the Stadel Institute 
at Frankfurt. Accompanying the articl 
are certain illustra 
tions of the works 
discussed, several of 
which are by the 
artist who is the 


painter ot our 
ture One of these 


pic 


of Gil- 
Holz- 


1535 


is a portrait 
brecht von 
hausen, dated 
and with a 
monogram, CVC 
According to recent 
researches this mon- 
ogrammist is iden- 
tified with Conrad 
Creuznach. 
native ol 


signed 


von 
He was a 


Frankfurt and was 


METROPOLITAN 








ARI 


MUSEUM OI 


TI 


conventional perspective three sides of an 


1e background represents in somewhat 


apse or bay of a chapel. The lower half 
of the wall is decorated with an engraved 
three nar- 


The 


and 


and gilded pattern; above are 


row, pointed windows with tracery. 


painted blue; the ribs 


vaulting 
window 


1s 
framework, gilded. 

The paintings on 

the doors represent 


four saints: on the 
left door, inside 
Saint Barbara; out- 
side, Saint Sebas- 
tian; on the right 
door, inside, Saint 


Margaret; outside, 


Saint John the Bap- 


tist They recall 
the manner of Bar- 
tholomaus Zeit- 


blom, a of 
the school ( 


died 


painter 
yf Ulm, 
who in, or 
shortly after, 
While the unknown 


carver of this altar- 


1515 


influenced by the shrine belongs clear- 
work of Diirer to lv to the Suabian 
whom indeed the School, its painted 
Portrait of a Man doors, as well as 
was until late times, other evidence of a 
attributed B. B stylistic character, 
PORTRAIT OF A MAN permit one to as- 

AN ALTAR-SHRINI BY sign, at least ten- 
WITH PAINTED THE MASTER OF THI tatively, the  pro- 
Doors. \mong HOLZHAUSEN PORTRAITS duction of it to the 


the recent purchases 

in the Accession Room 

German altar-shrine with painted doors, 
The shrine encloses 

wood of the Virgin 

and wearing a gilded 


this month is a 
dating about 1500. 
a high relief in 

standing, crowned 
mantle lined with blue, over a red gown, 
supporting on her left arm the nude Christ 
Child, while in her right hand she holds 
a gilded apple or ball. Kneeling at the 
right in the foreground is the miniature 
figure of a bishop (the donor) who wears 
a gilded mitre, a red chasuble, a dalmatic, 
and blue alb. His hands, presumably 
folded in adoration, have been destroved. 


local school of Ulm. 
With the doors closed the shrine measures 
20{ inches in height, 43 inches in depth, 
and 15? inches in width; with the doors 
open, 323 inches in width, 32 inches in 
depth. 
Since the 
nu- 


sculptures in 
Museum’s collection are neither so 
merous nor widely representative as 
those of the French and Flemish sections, 
the addition of this characteristic and 
beautiful example of one of the German 
at its best particularly 
welcome. J. B. 


the German 


SO 


schools is 


136 








THE METROPOLITAN TOWER 


BY 
GUY C. WIGGINS 





MORNING LIGHT 
BY 
EUGENE SPEICHER 








NOTES 


The follow- 


™y HEFFIELD PLATE. 
ing additions to this collection by 
purchases made during the past 
month, were a small round tea-urn 

with a large pineapple finial, and gadrooned 
base: a cotfee-pot, beautifully chased; a 
pair of candlesticks, square on plan, chased 
with masks and rams’ heads, etc.; a sugar- 
bowl of beaded wire with a round gallery 
dozen 


around the base and one plain 


teaspoons, hall-marked 1802, suspended 


] =e , 
around the lip} a cake-basket, oval, pierced 


and chased; a fruit-basket in the form of 


boat, the upper part pierced; and two 
small round wire baskets of square shape; 
small salver and sauce-boat; all of the 
ghteenth century 
Of the early part of the nineteenth cen- 


late el 


tury are a large tray, twenty-one inches in 


diameter, flat chased in the centre, with 
pie-crust border, on four moulded feet; 
a salver with flat chased centre and chased 
border; ; \ large round tea- 
pot, flat chased, with G. R. under a crown, 


been the property of 


snuffer-tra\ 


is said to have 
Ceorge lV. 
We have had lent to us by Lieut 


C. D. Stearns, a round wire cake-basket, 


Com. 


and a sugar-bowl, also of round wire, both 
of the late eighteenth century, and a bowl 
with moulded edge and base, of the nine- 
teenth century. 5. hs. Ds 

[HE GERMAN FLEET. In connection 
with the visit of the German fleet to this 
country, five of the educational institu- 
tions of the city, The Metropolitan Mu- 
seum, The American Museum of Natural 
History, the Public Library, the Botanical 
Garden and the Zodlogical Society have 
issued a special folder of information in 
German for distribution to the officers and 
crews. This is entitled Wichtige 6ffen- 
tliche Institute der Stadt New York and 
contains with illustrations the kind of 
information that might be found useful 
by those visiting the various buildings. 


MEETING OF THE AMERICAN Associa- 
TION OF MUSEUMS. \ 
\merican Association of Museums’ seventh 
annual meeting was held at The Metro- 


politan Museum on Wednesday the 12th, 


session of the 


beginning at 10 A. M. 


\n address of welcome was delivered by 
Mr Robert \ de Forest, and the follow- 
Ing papers were read: 


The Value of Photographs and Transparencies 
as Adjuncts to Museum Exhibits, Caroline | 
Ransome 

The Care and Classification of Photographs at 
the Metropolitan Museum of Art, Ethel A 
Pennell 

lhe Functions of a Museum, Paul M. Rea 

[he training of Museum 
Louis Pollard 

Board of Trustees and the Executive Officers of 
Museums, Henry L. Ward. 
Why “A Museum °’” Chester | 


I rustees, Charles 


PR 
poone 


Luncheon was served to the members of 
the Association at one o'clock and after- 
wards an opportunity was given to visit 
the various departments not usually open 
to visitors, the photograph department, 
the workroom of the repairer of tapestries, 
the repair shop, the printing office, and 
the shop of the armorer. 


PUBLICATION, Les Points Dt 
Though the liberality of Miss 
laylor Johnston, to whose in- 


the collection of lace the 


\ New 
FRANCE. 
Margaret 
terest in 
Museum has been much indebted in the 
past, a volume entitled Les Points de 
France will soon be placed on sale, at the 
catalogue stands and in the hands of the 
dealers. 

lhe work is a translation by Miss John- 
ston of a brochure written by Ernest 
Lefébure for the International Exhibition 
held in Paris, 1900. We quote from Miss 
Johnston’s preface: 

“An important part of the artistic life 
of Paris consists of the loan collections 
which, from time to time, bring into view 


135 








the 

tere: 
seur 
toge 
Fret 
Frat 
vels 
com 
min 
and 


Ern 
for 

orig 
to 
enti 
and 
peri 
the 

| rel 
Pou 
artis 
Bail 
illus 
kinc 
a lit 
man 
and 
few 

exhi 
lect 
Mu: 
own 
és 
tion 


som 











BULLETIN OF THE METROPOLITAN MUSEUM OF ART 


the private treasures of the nation, and in- 
teresting indeed is the company of connois- 
seurs who assemble for the Private View. 

“The exhibition of 1900 thus brought 
together many of the more important 
French laces, and notably the Points de 
France of the period of Louis XIV, mar- 
vels of work and design, created at the 
command of the King and of his great 
minister, Colbert, from Venetian traditions 
and inspiration. 

“An interesting brochure by Monsieur 
Ernest Lefébure was written at that time 
for private distribution, to explain the 
origin of these beautiful laces. It is much 
to be regretted that this booklet is now 
entirely out of print, for it gives a simple 
and consecutive account of the great 
period of lace-making in France, and of 
the evolution of a new and characteristic 
French stvle from the earlier Venice 
Points, on lines adapted to lace by leading 
artists of the day Lebrun, Bérain, 
Bailly, Bonnemer. The large number of 
illustrations, correctly named as to both 
kind and period, makes this pamphlet 
a little gallery of art, which should reach 
many who may never have the rare chance 
and pleasure of being in Paris during the 
few weeks when a loan collection is on 
exhibition. An even more extensive col- 
lection of laces was shown in 1906 at the 
Musée des Arts décoratifs, a museum that 
owns several beautiful Points de France. 

“It therefore seems a valuable contribu- 
tion to the literature of lace, to translate 
some few of these interesting pages for an 


American public, which already has a 
number of specimens at hand in our own 
Metropolitan Museum of Art in New York. 
A very few years ago, these Points de 
France were as entirely beyond our reach 
as the Memlings or Botticellis of European 
galleries; but generous gifts and bequests 
have started an historic sequence, which 
the future will certainly complete.” 

The volume is a large octavo, with 
twenty-nine illustrations, handsomely 
printed by Bruce Rogers at the Riverside 
Press in Cambridge. 

[he price of the volume in paper cover 
is $1.50. In ordering by letter, nine cents 


should be sent for postage. 


THE Liprary.— The additions to the 
Library during the past month were one 
hundred and ninety-six volumes, divided 
as follows: by purchase one hundred and 
eightyv-three; by gift thirteen. 

The names of the donors are Hon. 
McDougall Hawkes, Gen. Rush C. Haw- 
kins, Messrs. M. Knoedler & Company, 
Mr. Lair-Dubreuil, Miss Florence N. Levy 
Mr. J]. Pierpont Morgan, Miss Frances 
Morris, Messrs. F. Muller & Company 
Mr. Bernard Quaritch, Mr. P. F. Schofield, 
and Mr. Frederick J. Waugh. 

he photograph collection of tl 
rary has been enriched by the gift from Mr. 
Bernhard Berenson, of Florence, of sixty- 
seven photographs of the paintings in his 


, 
1¢ | ID- 


possession. 
The attendance during the month was 
eight hundred and nineteen. 








COMPLETE LIST OF ACCESSIONS , 


MAY 20 TO JUNE 20, IQI2 


CLASS 


ANTIQUITIES CLASSICAL 


FLoor l, ROOM 40 \ 


| NGRAVINGS 


| loor II, \W ing | 


MEDALS. P1 AQUES, ETé 


METALWORK 


MISCELLANEOUS 


PAINTINGS 


} loor II, Room 13 


Floor II, Room 15) 


OBJEC] 


*left arm of a statue, fifth cen- 


tury B.C 


Athenian lekythos, second half 
of fifth century B. C 


Banner Russian, sixteenth 
century; banner, probably of 
Sienna, Italian, seventeenth or 
eighteenth century; flag, Dutch, 


dated 1652 


rSalt-glaze caudle cup, English, 


eighteenth century 


rl he Valley Farm by Charles 


Francois Daubigny 


flen engravings, English, nine- 


teenth century 


+l wo brass medals, Admiral Ed- 
ward Vernon, Portobello, Eng- 


lish, 1739 


tGold medal, commemorating the 
Centenary of the Conquest of 
Trinidad by Great Britain in 
1797 — English 
+Bronze vase, Chinese, Chou dyn- 
asty (1122-225 B.C 
wen “Seven preces O 1e1 ield 
| ty | f Sheffield 
Plate, English, late eighteenth 
century 


tHammered-iron figure of a mouse, 
by Yamado Muneydshi (Cho- 
zaburd), Japanese, modern 


Deed, dated 1025 
‘Lucretia, attributed to José 
Ribera 


Christ Stilling the Tempest, by 
Elliott Daingerfield; Chinese 
Statuette, by Richard | 
Miller; Morning Light, by 
Eugene Speicher; Passing of 
Summer, by Harry W,Watrous; 
The Metropolitan Tower, by 
Guy C. Wiggins 


Worcester Cathedral, by John 
Sell Cotman 


*The Acropolis at Athens, by V. 
G. Stiepevich 


*Not yet placed on Exhibition. 
tRecent Accessions Room (Floor |, Room 3) 


140 


Sct 
SOUL RCI 
TEX 
Purchase 
Purchase 
Pure hase 
Cos 
Purchase 
Purchase 
Purchase 
Wor 
Purchase 
Gift of Mr. R. Morgan 
Olcott 
Purchase 
Pt rch “i ANT 
i 
Purchase 
CLo 
Gift of Miss Emma F. I 
Goodwin. 
Purchase. Met 
I 
Purchase Par 
| 
Gift of Mr George \ 
Hearn, in exchange. 
Gift of The Grolier Club oa 








BULLETIN OF THE METROPOLITAN MUSEUM OF ART 


CLASS OBJEC] SOURCI 
REPRODUCTIONS *Two plaster casts of a fragment 
of an archaic stele Purchase 
SCULPTURI : tAltar shrine with doors, German, 
about 1500... Purchase 
TEXTILES Piece of Genoese bobbin lace, 


Italian, seventeenth century; 
embroidered towel, Italian, 
eighteenth century . Purchase 


tPiece and fragment of lace, Span- 
ish, nineteenth century... Gift of Miss F. Draper 


tEmbroidered muslin cape, Italian, 


early nineteenth century... Purchase 
CosTUMES fLace shawl, from Madeira, Por- 
tuguese, early nineteenth cen 
tury Gift of Mrs Leonard I 


Opedy: ke 
fWedding dress of Mrs. Simeon 
Draper, (1811-1905) French, 


1534; tortoise-shell comb, 

Italian, nineteenth century.... Gift of Miss F. Draper 
WoopworK AND FURNITURI fSatinwood commode, decorations 

by William Hamilton, R. A., 

English, eighteenth century... Purchase 


LIST OF LOANS 


MAY 20 TO JUNE 20, I9Q12 


CLASS OBJEC] SOURCI 
ANTIQUITIES CLASSICAL Apulian vase, fourth century B.C 
Floor 1, Room 40A Lucanian vase, fourth-third 
century B. C Lent by Major G. Creighton 
Webb 
Ciocks, WATCHES, ET¢ Silver watch, made by Cornelis 
Floor Il, Room 32) Uytemweer, Rotterdam, 1702- 
1752 Lent by Mr. H. G. Ockers 
METALWORK [wo bowls and a cake-basket, 
(Floor I], Room 22) Sheffield Plate, English, late 
eighteenth and early nineteenth 
century Lent by Lieut.-Comm. ‘ 
D. Stearns 
Floor Il. Room 9 Silver tablespoon, G. Hanners, 
maker, Boston, early eighteenth 
century Lent by Hon. A. T. Clear 
water 
PAINTINGS The Guitarist, by Edouard 
Floor 11, Room 21 Manet, dated 1860 Lent by Mr. William 


Church Osborn 
*Portrait of Sir William Pepperell, 
by John Symbert Lent by Mrs. Underhill A 
Budd 
*Not yet placed on Exhibition 
tRecent Accessions Room (Floor 1, Room 3) 


j 


141 





| LITAN MO Or The Museu , 
1 I I IP.) © P.M | 
l 
| ) ( \ | IO A.M 
s " . 
‘N ‘ } I i 
N. J ( ( e are 
( I I j 
\1 
( ( r Per 
ri ¢ e ¢ ed 
i 
| 
i ( 
Wo | I bry ( 
OFF] P ( Secre 
1 ] t r e I 
| ( - 
. \ t Secret 
) : Co1 R ‘ ( 
‘ ‘ 
i ¢ 1 
4 \ 
\ I I \ \ nece i 
, 


( I THE COLLECTIONS OF THE MUSEUM 

{ ly \ I (“Gs r of Ir rmation pive nl as eek ae 

: ’ 15 i It b ¢ 
> 


oe Mes XPERT GUIDANCI 








| he M « ert 
> I »< > e 
BENEFACTORS re 
y \ t 
I LOWS i ‘ Vl RPI i il} E 
( P ‘ 
| | y F¢ . LI I I t 
| \ R { t ce T 
‘ i 
THE LIBRARY 
. The I Gallery 14, I ' 
\ 2 ( Art 
| P \ F S } 
¢ I ana ¢ e 
\ TTR \ N 
' UBLICATI » 
The } M t 
‘ ‘ er i ri 
T ¢ h ( ¢ c ry n 
I é et l the } 
I c | 
J e Museum 1 i es PHOTOGRAPHS ON SALE 
os Photogray pies of all objects belonging to the 
; e Ar rt M y the Muse | recn 
. t 
\ os 
" \venue ¢ ( ‘ mail, 
[ \ g I not 
| \ Sex 
ee ed,§ I< I t P Pach Br Che De P 
i i ( r C ( | 4 B ( ent 
M \ Vie C & ( P Sec ( leafiet 
are i ed c =— RESTAURAD 
¢ ¢ I 
\ $1 be Ar eme¢ ¢ 
\ 1 | / 
I Life c N é ea