John Galen Howard 1864-1931 GUIDE TO THE LOAN EXHIBITION OF THE J. PIERPONT MORGAN COLLECTION THE METROPOLITAN MUSEUM OF ART : GUIDE TO THE LOAN EXHIBITION OF THE J. PIERPONT MORGAN COL- LECTION NEW YORK MCMXIV COPYRIGHT BY THE METROPOLITAN MUSEUM OF ART FEBRUARY, GIF! fa INTRODUCTION .892 THE J. PIERPONT MORGAN COLLECTION INTRODUCTION T: HE exhibition which, through the courtesy of Mr. J. P. Morgan, the Metropolitan Museum now offers to its visitors, and which is described in the following pages, is spoken of as the " Morgan Collection." It is, however, only that part of his collection or more properly collec- tions which the late Mr. Morgan allowed to accumulate in Europe, and sent to this country during the year be- fore he died. To form an idea of the extent of his col- lections in their entirety, it should be remembered that in addition to what is now placed on view, there is in the Museum a vast amount of material belonging to them, distributed through its various departments, such, for example, as the large gallery of Chinese porcelains, the rich and important Hoentschel collection of mediaeval works of art, the Merovingian and Germanic antiquities, many paintings exhibited in our picture galleries, and in- dividual objects in our Egyptian and Classical collections; and besides all these there are the treasures in his Library books, manuscripts, prints, drawings, medals, as well as vii THE MORGAN COLLECTION the works of art, chiefly Italian, which adorn its walls and cabinets. Had such an assemblage represented the results of several generations of a family of collectors, it would have been a most remarkable achievement, but formed as it was by one man, and during a comparatively short period of his life, it is probably without parallel in the history of collecting, as there is to-day no collection which in range, variety, and the high average of quality outranks it. Mr. Morgan always had a passionate love for beautiful things, but although he began to acquire these in his student-days, it was not until the latter years of his life, when he relaxed somewhat his close attention to busi- ness, that he gave full play to his ambition as a collector. During that time he purchased with almost feverish zeal, willingly pursued by dealers wherever he went, they know- ing it was well worth while to save their best things for him, prince of collectors as he was in more ways than one. In many cases, of course, he bought individual objects as they were offered to him, but it was also part of his policy to secure entire collections when he could, and when he knew them to be of recognized high quality, and thus he often reaped the benefit of a lifetime of patient and ex- pert collecting in some special branch. A characteristic instance of his methods he used to describe with great enjoyment, his story being as follows: "I heard that Mr. So-and-so had a certain object in his collection that viii INTRODUCTION I was very anxious to secure, and in the hope of being able to buy it, I obtained an invitation to visit the col- lection, which I had never seen. But when I saw what treasures the man had, I said to myself, 'What is the use of bothering about one little piece when I might get them all?' So I asked him at once if he would take so much for his entire collection; he said he would, and I bought it then and there." Another important collection, this time one which he knew well, he bought as he was getting into his automobile to take the steamer for Europe. Just at that moment a dealer came along and told him the collection was for sale. "Very well," said Mr. Mor- gan, "if you are authorized to negotiate for it, you may buy it for me," and with that, off he went. The present exhibition consists entirely of material which has never been seen in this country before, with the exception of the paintings, which have been shown in our Gallery of Special Exhibitions during the past year, and five Gobelin tapestries. It comes from his London res- idence, No. 13 Prince's Gate; his country seat, Dover House, near Putney; the Victoria and Albert Museum at South Kensington; the National Gallery, where the Raphael hung for a number of years, and Paris, where many things were stored from the time when he purchased them. All this part of his collections is therefore now brought together for the first time, and it is doubly to be regretted that he could not have lived to see them thus ix THE MORGAN COLLECTION exhibited, for it may well be doubted whether even he realized what a bewildering abundance of splendid objects he had accumulated, or what a display they were ca- pable of making. A summary of the component parts of the exhibition was given in the Museum Bulletin for last June, when Mr. Morgan's son, the present owner of the collection, announced his consent to the holding of a temporary ex- hibition of all the objects which had been sent over. As they are more fully described in the Guide itself, this introduction may be confined to a general account of their arrangement. In the installation of the Morgan collection, an ar- rangement has been followed which is based mainly upon the chronological sequence of the material exhibited, though it has not been possible to adhere strictly to this system in all details. The tapestries, for example, of which there are thirty-six, could not all be crowded into the rooms to which their periods would assign them, and the exhibition as a whole would have lost much of its effective- ness had this been attempted. They have therefore been distributed through the various rooms and corridors frankly for decorative effect, where they would show to the best advantage, and where they would best serve their purpose to enliven the background, keeping the various types in places where they would harmonize with the objects about them. x INTRODUCTION With the chronological sequence as a basis, the gal- leries are arranged as follows : n ANCIENT ART: Egyptian, Greek and Roman bronzes, ivories, etc., Byzantine and Romanesque ivories and enamels, Arabic and Persian glass. 12 THE GOTHIC ROOM. Mediaeval sculptures in various materials, ivories, enamels and reliquaries. 13 FIRST RENAISSANCE ROOM, the chief feature being the collection of bronzes, with Delia Robbia terra-cottas and the triptych by Filippo Lippi. 14 THE LARGE RENAISSANCE ROOM. In the centre of the main wall the Raphael, and this and the other walls lined with cases of Italian majolicas with two reliefs, by Rossellino and Donatello, above them. On the floor, cases of reliquaries, crystals and Renaissance glass. 15 LATER RENAISSANCE; paintings by Van Dyck and the Dutch School, boxwood and hone- stone carvings, later Limoges enamels, and jewelry. 16 XV1-XVIII CENTURIES; paintings, gold and silver plate, ivories, enamels, etc. 1 7 Called the " E N G L I S H " R O O M, because the dominating feature is the English paintings, though xi THE MORGAN COLLECTION the furniture and other objects in the room are French of the XVIII century, there being no English decorative works of this period in the collection. 18 FRENCH, XVIII CENTURY, the walls hung with Gobelin and Beauvais tapestries, and the furniture and other objects in the room being French of that period. 19 THE "FRAGONARD" ROOM. It was the late Mr. Morgan's wish that the famous Frago- nard panels from Grasse should be exhibited in the Museum in an exact reproduction of the room in which they were hung in Prince's Gate, and thanks to the co-operation of his son this has been done with the actual woodwork of the room itself. The only change is that for the fireplace which stood in the house, a doorway has been substituted, to admit of free passage- way through the room. 20 FRENCH PORCELAINS. 21 THE COLLECTION OF WATCHES. 22 GERMAN PORCELAINS. 23 THE COLLECTION OF MINIATURES. As to the decorative treatment of the galleries to serve as a setting for this great variety of material, that will explain itself to those who visit the exhibition, and it is difficult to describe adequately to those who do not. xii INTRODUCTION Briefly it may be said that the walls of Galleries 11-16 have been hung with inexpensive materials of different shades and textures, with a view to avoiding monotony of effect, and also to harmonizing with the tones of the objects which predominate in each room. The two XVI 1 1 century rooms, 17 and 18, have been given a paneled effect, the one painted a soft English green and the other a French gray. The walls of the galleries around the area are finished with a rough plaster surface, tinted in a creamy tone, as an appropriate background for the tapes- tries which surround them, and a color which should not be too sombre for the porcelains; and the Miniature Room is covered with a soft, greenish-gray fabric, hung in straight folds. The work of installation has been shared by various members of our staff. The general plan of arrangement and the decorative scheme were decided upon by a sort of committee consisting of the Director and Messrs. Valentiner, Burroughs, Breck and Friedley. The min- iatures have been arranged by Mr. Burroughs, and the ancient bronzes by Miss Richter. But as the bulk of the material consists of objects belonging to the Decorative Arts, so the burden of the work has fallen upon that department of the Museum, and to Messrs. Valentiner, Breck and Friedley belongs the principal credit for the result produced. The preparation of the Guide has been distributed as xiii THE MORGAN COLLECTION follows: Gallery 1 1 is described by Gisela M. A. Richter and Robert T. Nichol, No. 12 by Robert T. Nichol, Nos. 13 and 14 by Joseph Breck, No. 15 by W. R. Val- entiner, Nos. 16 and 21 by Bruce M. Donaldson, Nos. 17, 1 8, 20 and 22 by Durr Friedley, and Nos. 19 and 23 by Bryson Burroughs. In conclusion, it is an especial satisfaction to record the fact that, with the exception of the manufacture of the materials used on the walls, all the mechanical labor of installation has been performed by the Museum's own force. The Museum may well be proud of having in its employ a force of mechanics who responded so readily and so intelligently to the extraordinary call that has been made upon them during the months that this installation has been in progress. EDWARD ROBINSON. xiv TABLE OF CONTENTS TABLE OF CONTENTS PAGE INTRODUCTION v GUIDE i Gallery 1 1, Ancient Art: Egyptian . 4 Greek and Roman . . 4 Byzantine and Romanesque . . 1 1 Arabic and Persian 21 Gallery 12, Gothic Period 27 Gallery 13, Renaissance Period 39 Gallery 14, Renaissance Period 51 Gallery 15, The Northern Renaissance and Baroque Periods 69 Gallery 16, The Baroque Period . .81 Gallery 17, Eighteenth-Century, English and French . . 103 Gallery 18, Eighteenth-Century, French . . . . 1 1 1 xvii CONTENTS PAGE Gallery 19, The Fragonard Room 117 Gallery 20, French Porcelains 121 Gallery 21, The Collection of Watches 127 Gallery 22, German Porcelains 135 Gallery 23, The Collection of Miniatures . . . .139 BIBLIOGRAPHY 153 xvin GUIDE TO THE COLLECTION GALLERY ELEVEN CENTAUR, ARCHAIC GREEK ROOM I I, CASE B GREEK MIRROR V CENTURY B. C. ROOM I I, CASE B GALLERY ELEVEN CLASSICAL, BYZANTINE AND ROMANESQUE PERIODS IN Cases A-E have been placed Mr. Morgan's collection of CLASSICAL ANTIQUITIES. Of these by far the most numerous are the ancient BRONZES, which number in all ninety-four pieces. They consist not only of statuettes, but of all manner of household articles and utensils, such as lamps, mirrors, vases, horse- trappings, strigils, ladles, weights, and ornaments from couches, thus illustrating the manifold uses to which bronze was put in antiquity. 1 Such utensils are not only interesting on account of the light they throw on the daily life and customs of the ancients, but because each is an artistic product in itself. For it is one of the dis- tinguishing traits of antiquity that the decorative instinct pervaded all classes of the community, and was shared alike by the simple artisans and the sculptors and painters. The majority of these bronzes belong to the Roman 1 These have been catalogued by Cecil H. Smith in a large folio volume, fully illustrated. 3 THE MORGAN COLLECTION period; but the earlier periods are also represented, occa- sionally by examples of the first order. Case A In Case A have been assembled a few EGYPTIAN BRONZES, all dating from the Ptolemaic and Roman periods. The most important is a large statuette of a Seated Cat, in splendid preservation and of good exe- cution. Case B The bronzes of GREEK WORKMANSHIP will be found chiefly in Case B. The earliest is a remarkable little group of a Centaur and man (perhaps to be identified with Pholos greeting Herakles), dating from about the eighth century B.C. It is of very primitive style, but of great importance on account of the rarity both of grouped statuettes and of mythological scenes at so early a period. The base has on its under side a number of engraved lines and a zigzag pattern in openwork, so that the group probably served as a seal. A beautiful example of Greek archaic art (sixth century B. C.) is the statuette of a galloping Centaur about to throw a peculiar object which he holds in both hands. The modelling shows great vigor, and the rapid forward motion is admirably represented. Other important pieces are a fifth-century mirror sup- ported on a stand in the shape of a female figure, of good workmanship and rare completeness; the cover of a mirror decorated with a charming toilet scene; a remarkable figure of a draped warrior, of the sixth century B, C.; the handle 4 GALLERY ELEVEN of a vase with the fore-part of a Siren on the lower attach- ment; and a large statuette of a nude warrior of fourth- century style. The bronzes of ROMAN WORKMANSHIP, whether re- producing earlier Greek types or new creations of the period, have been placed chiefly in Cases D and E, Cases though some will also be found in Cases A and B. A fine example is the large statuette of Dionysos, 15^ inches high, represented as a smiling boy wearing a panther's skin. The other statuettes include several figures of Aphrodite, Hermes, Victory, Eros, Harpokrates, and Lar, all favorite subjects of that period. There are several excellent specimens of Roman lamps, suspended from chains, and jugs, chiefly from Boscoreale, some covered with the beautiful dark blue patina which distinguishes many bronzes from that site. Besides bronzes, Mr. Morgan's collection includes a few specimens of classical art in other materials. There are two charming examples of Tanagra statuettes, both of standing, draped women, in excellent preservation and of unusual size. Two marble statuettes represent Aphrodite, one, partly draped, is an attractive piece of fourth-century style, the other is a somewhat indiffer- ent Roman work reminiscent of the Knidian Aphro- dite. Of special interest is a group of silver vases and utensils, delicately worked in the style of the later Greek period. They consist of two cups, a ladle, a safety pin, 5 THE MORGAN COLLECTION and a dipping rod, and are said to have been found together in a tomb at Olbia. In addition should be mentioned some MISCELLA- NEOUS PIECES of gold jewelry, a few silver and faience statuettes, three pieces of glass (in Case K), of which one is a bowl with several figures roughly incised, an amber relief, and three terracotta vases. Of the latter the most interesting is a jug with trefoil mouth covered with a greenish vitreous glaze. It is decorated with a spirited scene in relief of dancing figures, caricatured in the exaggerated manner prevalent in late Greek and Roman times. Case C in Case C will be found a piece of unusual interest and importance. It has been restored as a seat with curved rests decorated with bone carvings and glass inlay; but it must originally have been considerably longer and have served as a C O U C H, in which case the two curved rests would have had more use and the whole be better proportioned. This form of couch is that adopted by the Romans from the Greeks, and pop- ular with them down to the end of the first century A. D. A number of examples with bronze fittings are known, but specimens with bone decorations are rarer, the best known having been found at Norcia, Ancona, and Orvieto, of which the last is now in the Field Museum at Chicago. The bone carvings, both on the seat and on the stool (which is exhibited in the same 6 PART OF A ROMAN COUCH ROOM I I, CASE C BYZANTINE SILVER DISH VI CENTURY A. D. ROOM I I, CASE I GALLERY ELEVEN case), are of rough workmanship, but combine well with the gaily colored mosaic inlay to give the richness of effect so appreciated by the Roman temperament. With this piece should be compared a few fragments of bone and ivory carvings, belonging approximately to the same period, which have been placed in Case L of the same gallery. In the summer of 1902, two Greek peasants living at Karavas, in the island of Cyprus, came upon a TREASURE consisting of eleven silver dishes and a quan- tity of gold jewelry. Five of the dishes and a few pieces of the jewelry were kept in Cyprus, and are now housed in the Nicosia Museum. The rest, after various vicissitudes, became the property of Mr. Morgan. This part of the treasure is now exhibited in Case I. The Case six plates, of which the largest is about 20 inches in diameter, are decorated with scenes from the Biblical story of David. The jewelry consists of necklaces, brace- lets, earrings, and a girdle of gold medallions and coins ranging in date from 408 to 685 A. D. This treasure is of unique importance in illustrating by a series of splendid monuments the silversmith's art in the early Byzantine period (about the sixth century A. D.), which had heretofore been scantily represented. It shows the dependence of that art on classical models and forms an important link between the early Christian monu- ments and the Byzantine art of the ninth and tenth 7 THE MORGAN COLLECTION centuries. With regard to its artistic merit, the com- positions show little inspiration, but every piece is beautifully worked, and we may surmise that the whole treasure was the product of a skilled and painstaking artisan. Fortunately the preservation is astonishingly good, and with the exception of a little corrosion in a few places, the pieces look as if they might have been made yesterday. Room 1 1 contains besides the five cases (A, B, C, D, E) of objects of Ancient Art described above, several other cases and many individual objects illustrative of some of the decorative arts between the fifth and fourteenth cen- turies. All of these are of European origin except the single case (R. n, Case L) which contains very beautiful examples of Syrian enameled glass mosque lamps, etc., manufactured principally in Syria for distribution through the countries of the Levant, notably Egypt, under the Mameluke Sultans, and other parts of the Mohammedan East between the thirteenth and sixteenth centuries. The other cases contain almost exclusively examples of the great Byzantine and Gothic schools of Mediaeval Europe in Enamel and Carved Ivories. The separate objects comprise Tapestries, Carpets, Vases, Statuettes, and two large screen-pieces consisting of small ivory plaques, forming each a narrative sequence. By enameling we understand the method of decorating the surface of metal (usually gold, silver or copper) with 8 GALLERY ELEVEN vitrified colors, that is, colors reduced by the action of fire to the consistency of glass. Of this method there are three main processes (in chronological order) cloisonne, clampleve, and painted enamel. The first is always the process used in the Byzantine enamels, and (we may observe incidently) in the later Chinese and Japanese schools. It means covering the surface to be decorated with cloisons, that is, small cells or compartments, "cloisters/' for the sepa- rate colors, by means of fine wires soldered on, and filled with the enamel paste before filing, the whole being afterwards rubbed down and polished. The second is always the Gothic or Mediaeval way, including the great schools of Germany, France, England and Burgundy, and of the workmen in British India to-day, who produce the gorgeous enamels of Jaipur, Delhi and Lahore. It consists in hollowing out on the metal surface channels and spaces to be filled with the different colors, thus forming a champ leve, or field of color raised to the level of the original surface. The third (but we shall find few, if any, examples in these two rooms) was a method, using neither cloisons nor channels, which brought Enameling much nearer the arts of Painting and Engraving, and so did away with its own distinctive character and raison d'etre. It will perhaps be not amiss to add that by trans- lucent enamels we mean colors permitting the passage of light: also that these naturally belonged to the cloisonne 9 THE MORGAN COLLECTION or Byzantine process, the foundation of which was usually gold, and are seldom or never found in the champleve, or Gothic examples (usually on copper) till about the four- teenth century, when the process of basse taille, or engrav- ing in relief the bottoms of the channels, afforded a field for their use, the limpid enamels permitting the pattern to show through. This was immediately employed, principally by the Flemish or Burgundian craftsmen and those of Siena and Northern Italy, with exquisite results, especially in small objects, shrines, chalices, reliquaries, etc., of gold and silver. Beginning now with the objects and cases in Gallery 1 1, in order (that is, from the left on entering), there will be found in the first corner on a pedestal, a large Chinese vase, or sacrificial vessel, of bronze, belonging to the Chow Dynasty, about B.C. 1500. This is supposed to be the best age of the art of bronze-casting in China, and its remoteness gives us some idea of the early civilization of this wonderful people. Omitting the cases of objects of Classic and Ancient Art (dealt with in another paper), we may notice on the walls a piece of fifteenth-century tapestry, delightfully warm and rich in color, and naive and sincere in design. It is French work of the later fifteenth century and be- longed formerly to the noble family of Sambola of Cata- lonia, in the Kingdom of Spain. It is meant to illustrate the several clauses of the Apostles' Creed. In the first 10 IVORY [i\ F.AKl.Y CHRISTIAN, V CINIIKY GAI I.I KY I 1, CASE F I EAF OF A UIl'IYCII IVORY SPANISH, X Cl.NTUKY (, M.I.I- !>,Y II, C \SI (, HUNTING HORN IVORY SYK1 \N, XII Cl N ll'KY (r\M I |v Y II, CASI (. GALLERY ELEVEN compartment is the Eternal Father, crowned and robed both as Pope and Emperor, creating the heavens and the earth: in the second, the Baptism of Our Lord by St. John the Baptist, if not in historic sequence with the follow- ing subjects, yet introduced because of the proclamation at that time by the Father's voice "This is my beloved Son*'; in the third, the Archangel Gabriel announcing to Mary her conception of the Son of God; in the fourth, the Birth of the Lord at Bethlehem; in the fifth, the Passion, Crucifixion, and Death, all summed up in the familiar group of the Crucifixion; in the sixth, the Lord's Body prepared for burial; in the seventh, the Descent into Hell, and setting free the souls of the Old Testa- ment Saints the "Harrowing of Hell" of the old writers; in the eighth, the Resurrection; in the ninth, the Ascen- sion; in the tenth, the Last Judgment; in the eleventh, the Descent of the Holy Ghost on the Blessed Virgin Mary and the Apostles at Pentecost; in the twelfth, Our Lord in Heaven between the Blessed Virgin Mary and St. John Baptist, guarding and blessing His Church on earth, at the gate of which sits St. Peter, holding the Keys of the Kingdom; in the thirteenth, the Guardian Angel guiding a soul to the tribunal of Penance, where the priest absolves it; in the fourteenth, Our Lord reigning among the Blessed forever. Continuing now at Case F, we find various objects and Case F fragments of early Byzantine and Mediaeval ivories. THE MORGAN COLLECTION Particular attention is directed to the circular cyst or pyxis, probably from its decoration, intended for some ecclesiastical purpose early Byzantine work of the sixth century; and near it a cup or beaker, boldly and well carved in relief with nude figures of bacchants, probably a somewhat rude Coptic transcription of a Classic model. On the shelf below these is a remarkable oblong box of wood, covered with finely carved ivory plates, representing, on front, back and sides, scenes from the life of the beasts of the forest and of the chase, and on the lid two scenes of the human life of an earlier period, one of a combat of gladiators, the other from some classical comedy. This is fine and careful work belong- ing to the period of conscious imitation of Classic models, about the ninth century. Case G j n Case G, among the various Byzantine and Mediaeval objects, perhaps the most noteworthy is the beautiful and delicately carved fragment from the throne of Don Jayme I, King of Arragon and Majorca in the thirteenth century, representing a knight in the armor of the period (barred helmet and the suit of chain-mail reinforced on the forearms and legs with steel plates), mounted on a horse vigorously climbing a wooded hill The herbage and small wild-creatures beneath their feet, and the con- ventionalized border above of wreathen climbing plants, and beasts, are tenderly and skilfully treated. On the next shelf is a maimed Crucifix, fine and dignified French 12 ENAMEL PLAQUE RHENISH, XII CENTURY GALLERY I I, CASE J THE OPPENHEIM RELIQUARY SILVER OVERLAID WITH ENAMEL <>N GOLD HY/.ANT1NF., IX CENTURY GALLERY I I, CASE J GOLD AND ENAMEL PLAQUES BYZANTINE, IX CENTURY GALLERY I I, CASE J RELIQUARY LIMOGES ENAMEL FRENCH, XIII CENTURY GALLERY I I, CASE H GALLERY ELEVEN work of the twelfth century; and on a lower one a really noble tablet of the diptych type, evidently one of a series of subjects from the Gospel history, containing two inci- dents of the Resurrection; the lower, that in which Our Lord appears to St. Mary Magdalene (the Noli me ian- gere of so many later artists) with the legend above, Dns Marie loquitur (The Lord speaks to Mary); and in the upper half, the Lord joining the two disciples on their walk to Emmaus on the evening of the first Easter Day. This is dignified Spanish work of the tenth century. In the same case are several beautiful ivory heads of crosiers (French crosse), and also several carved ivory horns ("oliphants"), the largest covered with delicate intricate geometric design, Oriental both in origin and taste; the others, whatever their provenance (supposedly French or German, twelfth century), certainly inspired by Oriental models. In Case H are four reliquaries of the shape which the Case H French call ckasse, that is, suggesting a small gabled house or chapel, though the word itself means no more than "coffin" or "bier/* These are all admirable ex- amples of the splendid champieve enameling of Limoges at various periods during the thirteenth century. It may be well to note on the two larger the delicate chasing or engraving which covers the gilded surface of the copper, a feature characteristically French, and serving to dis- tinguish it from contemporary work of the great German 13 THE MORGAN COLLECTION schools. The smallest of the four (that to the visitor's left) bears on the gable at either end a pointed heraldic shield, probably the Arms of the great family of La Tour d'Auvergne, in right of their viscounty of Turenne. This, and the benitier (Holy Water bucket) above, are of an earlier date than the other reliquaries. In the bottom is a very fine enameled Crucifix, good and strong French work of the thirteenth century, and a group in repousse copper, gilt, of the Virgin Mary with the Divine Child on her knee in the act of blessing, both royally robed and crowned. Turning now to the central floor-case, which we shall consider somewhat out of order (for chronology's sake), Case L an d beginning at the north side of Case L, we find some admirably perfect examples of ivory Consular diptychs of a very early Byzantine era, 521 A. D. Perhaps it will be as well here to recall the meaning and origin of the "Consular Diptych." Diptych, of course, means a book, "table/' or pamphlet of two leaves. It is a pure Greek word; and being also official, we rightly trace its use to the years succeeding Constantine, who transferred the seat of Empire from Rome to Byzantium (Constan- tinople), after which Greek rapidly became the official language. The Romans, always tenacious of ancient forms, continued long, even under the Empire, to elect Consuls, and it became customary for these magistrates on their election to present to the Emperor, the Senators, 14 IVORY PLAQUE SPANISH, XIII CENTURY GALLERY II, CASE G IVORY PLAQUE BYZANTINE, IX CENTURY GALLHKY II, CASE I - / jH ',:. dd CONSULAR DIPTYCHS IVORY ROMAN, VI CENTURY GALLERY II, CASE L GALLERY ELEVEN and their friends, sometimes even to their powerful clients, as memorials of their election, and of the games which they gave in its honor, ivory diptycbs, or folding-tablets, bearing their "image and superscription," together with various emblematic figures and designs. Those curious about the matter will find it fully discussed in any dic- tionary of Classical Antiquities or Encyclopedia. Here we need only note that the Church early adopted the use of such diptycbs, sometimes, indeed, the very Consular ones themselves, making the necessary erasures and sub- stitutions, for recording her illustrious ones, inscribing them with the names of the local Martyrs and Patrons, the local Bishop and reigning Emperor, and generally with the catalogues of living and dead to be specially com- memorated at Mass. Later the name came to be applied to any two-leaved folding tablets containing representations of Sacred and devotional scenes. In the Middle Age the triptych, or three-leaved form, became the favorite. Modern art- jargon has even invented the barbarism polyptycb, for one of more than three leaves. In this Case are both leaves of a true Consular diptych. The inscription at the top of the left one records the name of Flavius Petrus Sabbatius Justinianus, who was Consul Ordinarius, that is, gave his name to the year, in 521. Each leaf bears also an inscription within a garland, addressed to the donor's friends and supporters. That 15 THE MORGAN COLLECTION on the left means, "Gifts of little cost, it's true, but pro- lific of honors" (which might be incriminating in a dis- puted election !) : the right reads, " I the Consul offer these to my Fathers/' that is, "my honored Conscript Fathers/' the Senate. On either side of this veritable Consular diptych are the two leaves of a "converted" one, or, perhaps, a later copy of an old one, in which the Classic types have been made to do duty for Christian heroes. It certainly antedates the creation of traditional Christian types, and it is hard to recognize in the smooth-faced youths of the diptych leaves, those rugged and bearded protagonists of the Christian Church, Saints Peter and Paul. Yet such they are, and St. Peter bears his very modest keys, and St. Paul his precious volume in hands veiled according to the antique and Oriental reverent method, still familiar to anyone acquainted with the Liturgy of the Catholic Church, in the veiling of the hands of the Subdeacon who holds the paten at High Mass, or of the Priest, who gives Benediction with the Blessed Sac- rament. To the right of the St. Paul is a very queenly and reverent Madonna holding the Divine Child, probably cut from the plaque of which it formed part, beautiful and careful work in the highest style of the court carvers of the tenth or eleventh centuries. Turning the corner there is time here to notice only a plaque, book-cover, probably, of minute and exquisite finish, showing a throned Christ of early youthful type, surrounded by the symbols 16 GALLERY ELEVEN of the Four Evangelists; and near it another very won- derful one, also Byzantine of the eleventh century, be- tween pillars and under a canopy of delicately carved trellis-work, a dignified yet pathetic Crucifixion; with unutterable pity the Savior seems to be inclining down- wards His Hands full of pardon for the guilty race, typi- fied by the prostrate form of our First-Father Adam at the roots of the Cross, in response, as it were, to the decree of the Eternal Father, to gain whose ear Mercy and Justice seem contending in the small group below. On either side of the Redeemer stand noble grieving figures of the Mother and St. John: the traditional group of the Crucifixion (the Rood of Mediaeval churches) fixed for ever for Christian Art. On the next long side of the case we have time here only to note the strange Russian plaque (ninth or tenth century), of Our Lord's entry into Jerusalem on the first Palm Sunday, in which He is mounted on a horse instead of the ass of the Gospel narrative, and in which, the strewn garments, for lack of perspective, seem to stand rigidly on end, as though frozen before they reached the ground; and close by it a small minutely carved and colored ivory disk with figures of the three great " Doc- tors " of the Eastern Church, Saints Basil, John Chrysos- tom, and Gregory Nazianzen. In order to follow uninterruptedly the tradition and development of Christian Art, we must pass from the wan THE MORGAN COLLECTION beauty of these pallid or dusky ivories to the blazing Case J splendors of the early Byzantine enamels in Case K. Here the supreme treasures are doubtless on the long north side of the case, and chief among them the two small, much-battered figures fixed side by side on a vel- vet plaque. From the fragmentary lettering on them, we know them to be the Sorrowful Mother-of-God and the Beloved Disciple, St. John, in the attitude in which tradition has fixed them on either side of the Crucified Son and Savior. The marvel is that despite the rigid canons of his art, and perhaps, indeed, through them, and despite the reverent restraints of Religion, the artist has yet contrived to give such human individuality and emotion to these stiff little hieratic figures. They are types, indeed, of the sacred personages they represent; but one has only to glance upwards at the purely vacuous representations of corresponding personages in that sump- tuous jewel, the "Oppenheim" reliquary, to see how individual as well as traditional has been the treatment of the unknown artist of these precious fragments. They are doubly interesting as exemplifying the perfect expres- sion of Christian Art attained before the outbreak of the desolating Iconoclastic ("Image-breaking") Contro- versy in the eighth century. This, having been waged relentlessly by four Emperors, Leo Isauricus, Constan- tine Copronymus, Leo Armenius, and Theophilus, for more than a century, violently interrupted the develop- 18 GALLERY ELEVEN ment of Sacred Art, scattering the artists in exile and de- stroying their works; but the traditions embodied in those two fragmentary figures had been firmly fixed, and once the ban was raised in the ninth century, it started with renewed impulse from the highest achievements of the old tradition until it blazed forth in that splendid series of sacred images forming the great glory of this collection. This includes representations of Our Lord Himself, His Mother, John the Baptist, His chief Apos- tles, and various military Saints, among them, St. George. It will be at once observed that the conventional robing of the various sacred personages has been fixed for all time: the chiton and limation of Our Lord and the Apos- tles; the palla (drawn over the head) of the Virgin Mary; the "rough garment" of camel-skin of St. John Baptist; the noble and military chlamys, badge of patrician rank and high military command, of St. George and his brother soldiers. This splendid series belongs to a period between the tenth and eleventh centuries. We must be content here to draw attention to two other objects only, mere fragments too, belonging to the same resplendent period of the enameler's art. These are a segment of a circular band and a plaque of irregular shape, once doubtless parts of backgrounds, the circular one, perhaps, of a halo, of icons of the Virgin Mary. Here we are in the purely decora- tive field of Oriental Art, an endlessly repeated fixed design, which yet grows no more wearisome than the THE MORGAN COLLECTION changeless succession of the starry heavens, which began their courses before the creation of Man. This is radiant jewellery multiplied to cover spaces not spots, and to charm at once by the color and prolong the attention by the plan. It is a far cry from this to the strangely different, but no less noble, MEDI/EVAL CHAMPLEVE ENAMELS OF LIMOGES, which lie in the end compartment of this case to the right. Again conven- tional design and harmonius color; but somehow we are in a freer atmosphere, emblematic of that magnificent Europe joyous yet serious strenuous yet contemplative warlike yet religious the Europe of cathedrals and castles of craftsmen's guilds and Free Cities which was springing into being under the great Popes, Emperors, and Kings of Christendom. One is conscious in all the characteristic Art of these wonderful centuries of an amazing, widespread vigor and individualism, all disci- plined and useful, full of achievement, because ultimately submissive to Divine Authority in Church and State. Sanity was its leading characteristic. No one then had to apologize for the errors of "the artistic temperament/' Its two supreme poets were Dante, the eager politician, and Chaucer, the laborious and honest collector of the Port of London. Its clergymen were not only philos- ophers and scholars, but statesmen and men-of-affairs, guiding the policies of Kings and peoples, Alcuin and 20 GALLERY ELEVEN Suger, Gerbert (Pope Sylvester II), and St. Thomas a Becket. // was above all a PRACTICAL age, and its Art existed to beautify the daily life of men high and low and to decorate the common articles of everyday use. Unless one grasps this fact, one can never appreciate at their proper worth the artistic relics of the Middle Age. Before, however, leaving this room for Gallery 12, where we shall again encounter objects of Christian Art, we must spend a few moments looking at the central floor-case K, which contains principally examples of Case K EASTERN GLASS, constructed under Mohammedan influence; the larger pieces for use in Mohammedan mosques. The most noteworthy of these are four MOSQUE-LAMPS, i.e., lamps meant to be suspended by cords or chains in the interior of mosques, or shrines, or in mausoleums, or over the tombs of illustrious dead. The offering and maintenance of them lighted is a common act of devotion. It will be observed that the four principal ones, and indeed, all such lamps, show only slight variations from a common form: a foot of varying height; a capacious body, more or less oval, for containing the oil; and a deep and flaring mouth or throat to protect the flame. Those which we shall particularly consider are all, too, of similar material and decoration a clear transparent glass, with conventional applied ornament in coloured glass, producing the effect of enameling. They are 21 THE MORGAN COLLECTION commonly spoken of as "Arabian," evidently from the consciousness of the well-known origin of the Religion of Islam; also, probably, because the Saracens, whose conquests first brought Western Christendom into con- tact and conflict with it, were originally an Arabian people. But as a matter of fact those we are considering, and most of those of similar character, were made in Syria, probably near Damascas, and distributed by caravans throughout the Mohammedan Levant. The following is what we are told specifically of the four in question, derived presumably from the inscriptions and other marks on each. No. i (circ. A. D. 1286). A tomb-lamp intended for the mausoleum of an Emir, Ala-el-Din Aydekin, etc., etc.; el-Boudokdar, etc. i. e., "Ala-el-Din, etc., the Bowman/' either from some office he himself held at the court of the Mameluke Sultans (then rulers of Egypt), or what we should call his "surname/' With reference to this, the lamp is decorated with his badge, a sort of bastard heraldry which the Moors and Saracens (and through them the Mamelukes and Turks) seem to have borrowed from the Crusaders. This is the significance of the two bows back-to-back in the red medallion both on the body and the throat of the lamp. No. 2 (circ. 1329). This was made for the Mosque of (i.e., built by) Kossoum in Grand Cairo. This person was a Mameluke, a favorite of the reigning Sultan, who 22 GALLERY ELEVEN promoted him to be one of his cup-bearers and finally an Emir, and at his death, left him guardian of his son, Abu-Bikr, whom Kossoum promptly exiled and murdered: a fate which overtook himself before long, about 1341. His badge, a red cup on a particolored medallion of white and gold, refers plainly to his first office at court, from which, probably, he continued to be designated throughout his life. No. 3 (circ. 1348). This lamp (also Cairene in pro- venance) is said to have been made and hung up in honor of El-Melik-el-Nasser, Son-of-Kalaoum, one of a group of Mamelukes, who seem between 1293-1340 to have been engaged in various attempts to set up for them- selves an independent petty sovereignty. The badge on this is a heart-shaped or top-shaped medallion of clear glass, bearing an Arabic inscription said to mean, "Glory to our lord the Sultan, the King." No. 4 (circ. 1393). This is said to have been made in honor of the Sultan, El Melik, el Zaher, etc., etc., the first of the Circassian Sultans, who from serving in the Mame- luke guards raised themselves to this pre-eminence be- tween the years 1382-1392. The badge or signet on this lamp is a gold medallion bearing a device or inscription in three lines, said to mean, "(i.) El Zaher; (ii.) Glory to our lord, the Sultan, the King; (iii.) May his victory be glorious." Attention is also directed to the two smaller mosque- 23 THE MORGAN COLLECTION lamps of sapphire-colored glass, with intricate conven- tional decoration in polychrome "enamel/' There are also in this case four minute objects, three at least undoubtedly genuine, which deserve considera- Case K tion. These are the small disks of glass lying towards the corners of the top shelf and showing portraits and in- scriptions impressed in gold-leaf on the reverse of the glass. They are very ancient examples of the art now known as EGLOMISE, OR J/ERRE EGLOMISE. It consists in painting on the back of glass, in gold and colors, the requisite design, and then imposing on it a corresponding plate of glass, and fusing the two together by a gentle heat. This naturally requires extraordinary care and delicacy of treatment, but when successful, pro- duces a picture indestructible by anything short of vio- lence. The application to the process of the term eglomis'e is a strange example of retro-active nomeclature. In the late eighteenth century, a Paris picture-framer named Glomi was in great request among connoisseurs for the excellence of his work. He professed to have invented (and there is no reason to doubt his sincerity) a new method of framing, particularly adapted to the tinted engravings of the day, which consisted in laying down on the reverse of the glass certain lines and bands of gold with a background of blue-black varnish or lacquer, to form a setting for the picture, inside the actual frame. This obtained great vogue, and the "new" process was 24 GALLERY ELEVEN called after its inventor eglomise, or, rather pictures so treated were said to be eglomists done in Glomi's style. When, at a later date, mediaeval and even earlier ex- amples of a corresponding art were discovered, the term was conveniently transferred to them, though owing its origin to something which occurred many centuries later. GALLERY TWELVE GALLERY TWELVE GOTHIC PERIOD GALLERY TWELV E GOTHIC PERIOD 1 ASSING now into Gallery 12, the first thing to attract our attention on the right as we enter is an admirable oblong panel of EARLY THIRTEENTH-CENTURY TAPESTRY: not embroidery or darned-work, like that of Bayeux, but real tapestry, a woven web of haute lice, vertical loom, always the characteristic method of the Parisian and best French schools, to which this belongs. The subject, one need hardly say, is the traditional and symbolical representation of the Crucifixion, with the historical figures of the Blessed Mother and St. John on either side accompanied by later saints, who are only present from local devotion and because all sanctity is the fruit of the Cross. In this case they are two Virgin- Martyrs: the one to the right of the Cross very evidently St. Catharine of Alexandria; the one to the left, probably, St. Margaret of Antioch. Immediately below this is A LARGE GABLED SHRINE, AUMRY, or, possibly, tabernacle or repository for the Holy Sacrament, although the present use of stationary taber- 27 THE MORGAN COLLECTION nacles, on or above an altar, dates only from the sixteenth century. It is of wood covered inside and on the front with plates of Limoges enamel of the thirteenth century, and heightened with figures in relief of copper gilt. It was unfortunately buried for centuries, probably to save it from destruction or desecration, and nothing is more fatal to the beauty and splendor of enamel; it requires, therefore, some effort of the imagination to restore to it its original brilliance and charm. The principal group inside represents with great simplicity and dignity the Descent from the Cross; those inside the folding-doors represent, three on each side, scenes connected with the Resurrection. On the right, that is, Our Lord's right, beginning from the bottom (and in mediaeval subjects divided into compartments, it will usually be found that a vertical series begins at the bottom, and several horizontal series, at the left-band of the bottom row), the liberation from Hell of the souls of the Old Testament Saints : the Three Maries at the empty Sepul- chre; the appearing of the Lord to St. Mary Magdalene. Those on the left : Our Lord joining the Two Disciples on their journey to Emmaus; His recognition by them at the supper at Emmaus; His satisfying the doubts of St. Thomas. On the outside of the doors are figures in re- lief of Our Lord in Glory surrounded by emblems of the Four Evangelists; and of Our Lady, by four Angels. It will also be noted that throughout, even in Death on the 28 GALLERY TWELVE Cross, the Lord is regally crowned, signifying that His endless triumph had now begun. Worth more than a glance, too, is the short band of faded TAPESTRY, beautiful ENGLISH WORK OF THE LATE THIRTEENTH CENTURY, representing a Cruci- fixion with attendant Saints: on the right of the Cross SS. Peter and James-the-Great; on the left SS. Paul and Andrew. Several things concur to fix the date of this piece within a year or two: not only the architecture, which could not be later than the early fourteenth century, but the heraldries and the Saints. Of the shields in the spandrels of the arches, those to the right and left of the Cross are the royal arms of England (Edward I) and of Castile and Leon (his beloved and heroic Queen Eleanor). She died in 1290, and the King in 1307; and this was probably executed before her death, or as part of one of the many and various memorials which he dedicated to her memory immediately afterwards. Of the Saints, too, St. James, Santiago, is the renowned patron of Castile, and St. Andrew, much honored in other parts of Spain, especially in Catalonia. The other two com- plete shields are: the lion, that of Mowbray, Earl of Arun- del, ancestor of the present Duke of Norfolk, and the three chevrons, that of the DeClares, once Earls of Pem- broke. In Case A are several beautiful and characteristic Case A FRENCH IVORIES: a large group of the Madonna and 29 THE MORGAN COLLECTION the Child, with the benignant and caressing suggestion so distinctive of such groups of the fourteenth century; on a lower shelf a strange and almost unique representa- tion, at least in ivory, of the same subject, in which the Virgin holds on her knees a carved wooden cradle, or creche, while she raises the Infant with her left arm and wraps him in swathing-bands with her right. This interesting and unusual representation is thought to be probably of South French origin, possibly from Auvergne, and the disfiguring narrowness of the shoulders and ungracefulness of the head, so strangely inconsistent with the ample draperies and well-managed lower part of the figure, to be attributable to the awkward shape and size of the ivory with which the artist had to work. Beside it is another grave and well-modeled representation of the same group, in which the Child is sitting on His Mother's knee as on a throne, and raising His Hand in Blessing. In the same case, on the top shelf, is a small spirited carving of the thirteenth century, one of a set of chessmen, representing a mounted knight encounter- ing a dragon. Cases A, B Against the wall between Cases A and B is a remark- able WOODEN STATUETTE of the Virgin, crowned as a Queen, the features strangely elongated, it is true, but the whole figure noble and gracious, and the draperies preserving the best traditions of art. Case B In Case B is a small ALTAR-PIECE, mainly of ivory, 30 Z H >. ui f> e u * to n ss X > U ai Z UJ UJ J GALLERY TWELVE set in a frame of CERTOSINA WORK, that is, wood inlaid with minute, and generally geometric, designs, in ivory, bone, mother-of-pearl, etc., and consisting of small plaques, each representing a particular scene and forming part of a narrative sequence. The three com- partments represent, respectively, in the center, scenes from Our Lord's Life, from His Conception to His Cruci- fixion; and on either side, the lives of the two St. Johns St. John Baptist's at the right of the central group, and St. John the Evangelist's at the left. Unfortunately several of the panels have been displaced, and in one the figure of the Virgin is missing. In Case C is an extraordinary RELIQUARY, which Case C perhaps better than some more showy pieces exhibits the amazing facility of the Mediaeval craftsman and his absolute mastery over his material. It represents, when closed, the Madonna and Child: opened, as displayed, it reveals a three-quarters figure of Our Lord, supporting on His palms His Cross, which is al- most of the tau-shape. On the inside of the doors, which necessarily follow more or less the modulations of the fig- ure of which they form part, at the right of the Cross, are enameled six scenes from Our Lord's Childhood: the Annunciation; the Nativity; the Adoration by the Wise Kings: at the left, the Announcement to the Shepherds; the Presentation in the Temple; Our Lady and St. Joseph, evidently seeking Our Lord on their return from His 31 THE MORGAN COLLECTION first Passover. If the group were of some plastic sub- stance, it might not be so wonderful, but when we think that it is carved from wood, and overlaid with enameled copper, and consider the difficulties of such work on an irregular surface, our wonder can only be equaled by our admiration. It is French work of Limoges of the thirteenth century. In the same case is a large IVORY PLAQUE of the Descent from the Cross, of the same type as that in the great enameled shrine which we first noticed, but a cen- tury later, and none the better for that. In the same case is another amazing object, A SMALL IVORY representing a shepherd-boy asleep on top of a terraced hill on which stand exactly balanced sheep; and birds drink from formal fountains, as in some Byzantine mosaic. It is somewhat startling to find that this is a naive I ndo- Portuguese representation of the six- teenth century, of the youthful St. John Baptist. Case D In Case D, most noteworthy JSACARVED AND PAINTED WOODEN GROUP, FRENCH FIFTEENTH CEN- TURY, of the Visitation of the Virgin Mary to St. Eliza- beth. The figures are noble and graceful, as well as tenderly affectionate, and each bears inserted on her breast a long cabochon crystal, the traditional Me- diaeval treatment, to recall the Gospel narrative that the younger Mother bore at that moment in her bosom the Lord of Life, and the elder His Forerunner, St. John 32 MADONNA FRENCH, XIV CENTURY GALLERY 12, CASE C DESCENT FROM THE CROSS FRENCH, EARLY XIV CENTURY GALLERY 12, CASE C VISITATION WOOD FRENCH, XIV CENTURY GALLERY 12, CASE D PRAYING FIGURES FRENCH, XIV CENTURY GALLERY 12, CASE F MADONNA FRENCH, XIV CENTURY GALLERY TWELVE Baptist, who, yet unborn, recognized the presence of his God. Two LARGE SILVER RELIQUARIES, in the not unusual form of a hand and forearm, are ex- ceedingly fine types of French work of the fifteenth cen- tury. In the next case the two FIGURES OF MOURNERS Case from a tomb, and the kneeling ones of a King and Queen, also from a funereal group, deserve attention. These are all characteristic examples of such work in France in the fourteenth century. In Case G are a strong and convincingly REALISTIC Case GROUP of "plain people," carved in oak, Flemish work probably Antwerp of the fifteenth century; some of the miraculously delicate and intricate German carved wood- work of the sixteenth century, in the large dark-colored shrine; and a curious, MUTILATED FRAGMENT IN MAR- BLE of the Death of the Virgin, in its naive and unhesi- tating realism, recalling Wohlgemuth (Durer's master) and other primitive Germans of the fifteenth century. Standing against the wall, further on, is a charming youthful ST. MICHAEL SLAYING THE DRAGON: spirited French work of the fifteenth century, not distinguished by strength, but beautiful and graceful. Behind him hangs one of those far-sought INDIAN CARPETS of char- acteristic design, which, never very plentiful (India, in these fabrics, followed and was eclipsed by Persia), have become increasingly rare since British occupation. 33 THE MORGAN COLLECTION Case H In case H are several striking examples of the COM- BINATION OF DIFFERENT METHODS OF ORNAMENT. Most conspicuous is the large triptych of wood overlaid with copper gilt and silver, and decorated with a large medallion of the Madonna and Child, early, stiff hieratic work, more Romanesque than Gothic, and twelve smaller plaques representing various scenes of huntingjand hawk- ing, of war and peace, all in French enamel of the thir- teenth century. The central panel is, besides, thickly en- crusted around the sacred image with antique gems, cameos and intaglios; and the two wings with cabochon stones and crystals. The same union of enamel with inscribed gems will be observed in the three crucifixes and two of the reliquaries, chasses, on the lower shelf, all likewise of the thirteenth century. On the same shelf is a very curious example of eglomist work of the fifteenth century, an amusingly naive and realistic representation of Our Lord speaking with the Woman of Samaria. Cases Passing now to the floor-cases, the first two (I and J) contain almost entirely a very complete and representa- tive collection of FRENCH IVORY CARVINGS of the thirteenth and fourteenth centuries. Those still preserv- ing traces of color are particularly worth notice, for example, that representing on either side of the cen- tral panel Our Lord's entrance into Jerusalem on Palm Sunday, the Agony in the Garden, the Washing of the Feet, and the Crucifixion; and another, of equal delicacy 34 ST. MICHAl L STONL IKHNCII, XV CF.NTURY G. \l.l. IKY 12, NOKIII W.M.I. GALLERY TWELVE and beauty, containing seven scenes from the Passion of Our Lord, the Palm Sunday Entry, the Last Supper, the Washing of the Feet, the Flagellation, the Crucifixion, the Descent from the Cross, and the Resurrection. In both end compartments of the same case are very inter- esting ivory combs, and on the north side, among many other things, a small circular crocketed disk with three figures on horseback, one with hawk on wrist, either going to or returning from the chase. There is also an ex- quisitely delicately pierced carving, or carving a jour, as the French call it, representing four figures, two men and two women, each under a Gothic canopy. Also a very beautiful diptych showing on one leaf the Nativity and the Adoration of the Magi, and on the other the Cruci- fixion and the Coronation of the Virgin. In Case J there is time only to draw attention to an Case] elaborately beautiful PEAR WOOD TRIPTYCH (in the west end compartment) representing the symbolic Cruci- fixion between the emblems of the Four Evangelists, and in either wing St. John Baptist and St. Benedict. On the north side are two amazingly delicate plaques, carved a jour, representing a series of scenes from the life of Our Lord and His Mother. There is also a very lovely and ingeniously carved ivory head of a crosier, the curve of the staff being formed of a foliated shoot, and the center or- nament representing on one side the Crucifixion and on the other the Virgin between Angels. 35 THE MORGAN COLLECTION Case K With Case K we have reached the borderland some- times in actual date, though not in feeling, overpassed it of the Gothic or Mediaeval period. Both the drinking- horns here shown are splendid examples of goldsmiths' work in Germany of the fifteenth century, particularly the one crested with the figure of St. Michael and said to have come from the treasury of the Church of Castro- Jerez, in the province of Burgos in Spain. Very striking, too, is the noble figure of St. Christopher winning his name, "The Christbearer," also from a church, this time (as is the group itself) a French one, Castelnaudary, near Toulouse. The statuette of the Virgin and Child is essentially and typically German work of the fifteenth century, reminding one inevitably of the charming Virgins of Shongauer, and Israel van Mechenen and others of Diirer's predecessors and contemporaries. In the same case is one of those wonderful locks which show us how no part of a building, or any object worth making, was allowed to go undeco rated. This is iron-work, French of the sixteenth century, and represents the Last Judgment and the Locks of Doom: on one side St. Peter admitting the Blessed into Paradise, on the other the torments of Hell. Cases L, In Cases L, M and N are chiefly a group of GOTH I C ENAMELS COVERING THE THIRTEENTH AND FOURTEENTH CENTURIES. They are vary largely of the early noble German schools : Lorraine, and the valleys IVORY DISC BURGUNDIAN, XV CENTURY (i\I LERY 12, CASE J DRINKING HORN GERMAN, XV CENTURY GALLERY 12, CASE K SILVER MADONNA GERMAN, XV CENTURY GALLERY 12, CASE N GALLERY TWELVE of the Rhine, and Moselle, contemporary with the best French period of Limoges, and generally to be distin- guished from it by greater robustness and originality, a greater freedom of handling, and wealth of color. Notable in this respect is the resplendent PORTABLE RELI- QUARY in the eastern compartment of Case L, quatre- foiled in shape, and said to have contained, so the Latin legend on it runs, some of the hair of St. Mary Magdalene. It is great work of the Rhenish school in the thirteenth century. Case N contains some of the most precious examples in the whole collection : another PORTABLE RELIQUARY, burse-shaped, of enamel, set about with cabochon crystals, work of the Moselle region of the early thirteenth cen- tury; above all, the large and magnificent ciborium, enameled inside and out, of the end of the twelfth cen- tury, and from Lorraine. The subjects on the lid are the Nativity, the Presentation in the Temple, the Bap- tism of Our Lord, His ascent of Calvary, His Crucifixion, and Resurrection. On the lower half are represented six Old Testament types of the Incarnation and Redemp- tion. Inside, on the lid is represented Christ in Glory; on the bottom the Agnus Dei. There is also on the upper shelf another very beautiful CIBORIUM, of fair colors and elegant shape: French work (probably Limoges) of the early fourteenth century. Its six panels show scenes from the Passion and Resurrection of Our Lord, and it is 37 THE MORGAN COLLECTION topped royally with a crystal orb. It is very lovely and precious; but one seems to feel just the faintest suggestion of mechanical precision, and an absence of that inex- haustible wealth of thought, design, and love lavished on the great German work below. Another of the sumpt- uous treasures of this case (N) is the little ENAMELED AND JEWELED SHRiN E enclosing a figure of the Mother and Child. It is delicate and beautiful work of the fourteenth century, probably Burgundian or Flemish, reminding one, in its splendor of pure, harmonious color, of the pictures of the great contemporary Flemish painters Memdling, the Van Eycks, and their fellows. Its fold- ing leaves are ingeniously contrived entirely to enclose, at will, the sacred figures; and they are enameled within and without, as is also the base, with that glowing, trans- lucent enamel which we spoke of at the beginning as the great glory of this period of the art. The Cross is of pierced pearls and precious stones. There are also here some admirable examples of niello-work, damascening in black on silver, whose chief artists were the Italians of the fourteenth and fifteenth centuries, notably the Sienese. And there are other things, which the lovers of beautiful things (les vrais amateurs) will find out for themselves. KM I.KJl/ARY (,()! It, I N VMM AM) Jl \VM S BURGUNLJIAN, XIV CHNILKY GALLERY 12, CASE N GALLERY THIRTEEN RENAISSANCE PERIOD GALLERY THIRTEEN THE RENAISSANCE PERIOD O NE branch of art which attained a remarkable de- velopment during the Renaissance was that of bronze casting. This art had not, of course, remained in abey- ance during the long centuries which intervened between the fall of the Classic World and the rebirth of civilization at the close of the Dark Ages, but it was not until the fifteenth century that the art of the bron^ier became a popular and well-established means of expression. This newly revived art flourished particularly in Italy. Many are the names of the great Italian sculptors who worked at one time or another in bronze. The fifteenth and sixteenth centuries witnessed in Italy the production of a vast quantity of bronze sculptures which range from such monumental figures as the Gattamelata of Donatello to the unpretentious medal of some anonymous artist. The larger sculptures, either in the round or in relief, have always held the interest of the historian, but it is only recently that the smaller works, the statuettes, domestic 39 THE MORGAN COLLECTION utensils, plaquettes, and medals have been accorded the attention which they merit. The STATUETTES, perhaps the most interesting class of this material, may be divided into two main groups, original works either studies for larger sculptures or made for their own sake and copies more or less free after classical originals. Comparatively few monuments of ancient sculpture were known in the Renaissance, and these were zealously treasured by their fortunate owners. In consequence, many an amateur of antiquity had per- force to console himself with copies. The large number of such bronze copies which have come down to us attests the extraordinary enthusiasm for classical antiquity which characterized the culture of the Renaissance and the popularity in which certain works were held. Classical example was also responsible in a large measure for the development of the medallist's art, and its influence is frequently apparent in the subjects of plaquettes and in the motives which ornament the ink-stands and mortars and other domestic utensils upon which the Renaissance bronze worker so often lavished the full measure of his genius. In designing small bronzes the sculptor enjoyed, as a rule, more freedom in the choice of subject and treat- ment than he did in his larger works, particularly in those intended for the adornment of the Church. He was free to model the nude human body and to design his work to be seen not from one point of view alone, but from al 1 40 GALLERY THIRTEEN sides. It would consequently be impossible to arrive at any just opinion of Italian Renaissance sculpture with- out taking into proper consideration the small bronzes which often represent a sculptor at his happiest moment of inspiration and execution. During the Renaissance these bronzes were highly valued, not only by the great princely patron, but also by the more humble amateur who graced the shelves of his study with a few choice medals and little figures. Such a room Carpaccio has painted in one of his decora- tions for S. Giorgio degli Schiavoni, representing St. Jerome reading in his quiet study. The small bronzes to be found in the art cabinets of the sixteenth and seven- teenth centuries were prized for their decorative value during the two following centuries. But it is only lately that the systematic collection of Renaissance bronze has met with attention and, particularly in the case of the statuettes, has been made the subject of scientific re- search. A distinguished pioneer in this field of study has been Dr. Wilhelm Bode, whose catalogue of Mr. Morgan's collection of Renaissance bronzes is a splendid achieve- ment of criticism. Among the private collections of Renaissance bronzes (not including medals and plaquettes) which have been formed within the last few years, none is more important either in the number of objects contained or in the high average of quality than Mr. Morgan's. THE MORGAN COLLECTION This collection fills nine wall cases and four floor cases. Some of the larger pieces are shown on pedestals. The ar- Case L rangement of the Italian BRONZES begins on the left as one enters the room, but the first case (L) on the right contains a number of EARLY MEDIAEVAL PIECES, for the most part of FRENCH or GERMAN origin. They have been included with the Renaissance material exhibited in this room to show the continuity of the metal working tradition, which may be studied in its origin among the classical bronzes of Gallery 1 1 . Of these early pieces, many of them in brass, there should be especially noted several fine pricket candle-sticks, illustrating in their grotesque combinations of human figures and monsters, the inventive fantasy of the Middle Ages. In this case there are also several later German works, notably a remark- able reliquary bust of Saint Catherine by the famous Case M sculptor, Veit Stoss. In the floor case (M) oppo- site, the exhibition is continued. Here are rare ewers representing, for example, a knight on horseback, or Samson struggling with the lion. Another important work is in the shape of a man's head. Typical examples of thirteenth-century bronze casting are three recumbent lions designed for the base of a candelabrum originally in the Cathedral of St. Hubert in Luxemburg. An ex- tremely fine reliquary bust should also be noticed. Cases The arrangement of the ITALIAN BRONZES be- A and B gins with the first case (A) on the left as one enters the 42 mi \<\ sruKi C.TION './() VI ( (.Mil I I \ I \M WAI. I. HERCULES ANTONIO POLLAIUOLO CASE A HERALDIC FIGURE BERTOLDO DI GIOVANNI CASE A GALLERY THI RTEEN room. In this case and in the floor-case (B) near by are exhibited FLORENTINE BRONZES of the fifteenth and sixteenth centuries. Bertoldo di Giovanni, the pupil of Donatello and first master of Michelangelo, is represented by two characteristic figures, a Hercules and an heraldic figure of which the pendant is in the Liechten- stein Collection. They illustrate admirably his severe and forcible style. Two other works to be noted in con- nection with these are an Athlete, of the school of Ber- toldo, and a Hercules, an early copy after the master. An artist of even greater distinction was Antonio Pol- laiuolo. His Hercules, the central figure in Case A, is one of the most striking pieces of the collection. In vigorous modelling and beauty of design, it would be difficult to surpass. The figure, which represents Her- cules after his victory over the Cretan Bull, has been left rough cast and not worked over with the chisel, as was frequently the case with Renaissance bronzes. Also by this artist is a figure of Marsyas, a work inspired by a classical original, and a graceful figure of the shepherd Paris. Another famous bronze worker of the fifteenth century was Andrea del Verrocchio. To this master is attributed a small figure of Hercules. With these rare fifteenth-century bronzes of the Florentine school may be mentioned two large and important reliefs, shown on the east wall of the gallery, by Lorenzo Vecchietta, one of the most admirable sculptors of the Sienese school. 43 THE MORGAN COLLECTION The Resurrection, executed in 1472, shows in particular his austere style and technical ability. With Leonardo da Vinci and Michelangelo we bridge over the fifteenth and sixteenth centuries. One of the most interesting bronzes in the floor-case B is the atelier copy of a model by Leonardo for his celebrated equestrian statue of Francesco Sforza. The Moses in the same case is an interesting work by a follower of Michelangelo, and the Pietk is a copy of the master's original in St. Peter's, Rome. A third bronze, Samson slaying the Philistine, reproduces a clay model by Michelangelo in the Buona- rotti Collection, Florence. Francesco da San Gallo is represented by a powerful bronze, undoubtedly his mas- terpiece, of St. John the Baptist. Far removed from the harsh strength of this sculptor is the ultra-refined art of Benvenuto Cellini, perhaps the most typical artist of the High Renaissance. A Triton blowing a long horn closely approaches Cellini's style, as also do a small figure of a Griffin, the foot or support of a coffer, and the beautiful group of the Triumph of Virtue over Vice, almost cer- tainly the work of the master. Associated with the Florentine School, although he was not an Italian by birth, is Gian Bologna. The collection contains several fine examples by this master, notably the signed group of Nessus and Dejanira, shown in Case B. Two lamps, harpies mounted upon dolphin-like monsters, are un- common examples of Gian Bologna's utilitarian bronzes. 44 slt'DY FOR AN int IMK1\N MOM 'MINI \l Ilk \ .MODI I HY LI-ONAKDO l).\ VINCI CASI-. 15 NESSUS AND DEJANIRA GIAN BOLOGNA CASE B QUEEN TOMYRIS WITH THE HEAD OF CYRUS. BARTOLOMEO BELLANO CASE 1) A SATYR FRANCESCO DA SANT'.AGATA CASE D SATYR, INKSTAND RICCIO CASE E GALLERY THIRTEEN PADUAN BRONZES, the most numerous class of Re- naissance bronzes, fill the two cases against the west wall, and one floor-case near by. The Paduan school owed much to the inspiration and example of the great Floren- tine master, Donatello, who worked in Padua for ten years from 1443 on, and established, there a foundry and school which flourished for nearly a century. Two ornamented caskets in Case C, generally ascribed to Cara- Cases c, D and E dosso, are attributed by Dr. Bode to some unknown follower of Donatello. The first great sculptor of the Paduan school, Bartolomeo Bellano, was also closely associated with the Florentine master. The collection is particularly rich in works by Bellano. In the floor-case E is one of his rare and undoubted originals, Neptune riding the Sea Monster, one of the principal pieces in the former Spitzer and Hainauer Collections. Other impor- tant bronzes are the Marsyas in Case C, Queen Tomyris with the head of Cyrus, the David, and the gilded bronze figure of Venus, the last three in Case D. To the school of Bellano is attributed a small statuette in gilded bronze of St. Jerome. The great master, however, of the Paduan school was Andrea Briosco, called Riccio, the pupil of Bellano, who flourished in the latter part of the fifteenth century and early in the sixteenth. A large number of extremely fine works by this master, as well as a representative gathering of school works, are included in Mr. Morgan's collection. 45 THE MORGAN COLLECTION Among the originals by Riccio should be noted in Case E one of the artist's masterpieces a statuette probably representing Susanna, a Triton bearing a Nereid on his back, and a large ink-stand of a seated Satyr holding a cornucopia which serves as a candle-stick. This last bronze is characteristic of a large group of similar decora- tive pieces by the master and his assistants and imitators. Another fine original by him, in this class of objects, is the lamp in the form of an ancient galley. The collection is unusually rich in these decorative objects, ink-stands, hand-bells, mortars, and lamps, which may be seen in all three cases. Different in character is the work of a highly original sculptor, Francesco da Sant'Agata, who flourished in the first half of the sixteenth century. By this master there are two original works in the collection, and a later copy after a third. The Satyr and the Nude . Youth with his arms upraised are notable for their beauty of form and graceful movement. Paduan artists were especially successful in their studies of animals, and the visitor should note among these works several studies of horses and a curiously life-like and amusing figure of a goat. Before leaving the Paduan bronzes, there remains to be mentioned the bust portrait of Marcantonio Passeri, professor of philosophy at the University of Padua, which is exhibited on a pedestal in one corner of the room. Un- assuming, yet full of life, this admirable work has been tentatively attributed to Riccio. NEPTUNE RIDING A SEA MONSTER BARTOLOMEO BELI.ANO CASE E APOLLO L'ANTICO CASF r. SUSANNA RICCIO CASE T GALLERY THIRTEEN VENETIAN BRONZES, particularly the decorative ob- jects, are closely related in style to the Paduan produc- tions. A representative group of this material will be found in Case F. With one exception, a little St. Sebas- Ca se F tian, and, possibly, the delightful study of a young child, executed in the fifteenth or early sixteenth century, these bronzes all belong to the High Renaissance. The two great sculptors of this period were Jacopo Sansovino and Alessandro Vittoria. In the style of Sansovino are an elaborate door-knocker, and an ink-well, the bowl of which is supported by three seated male figures, and the cover, crowned with a standing putto. By Alessandro Vittoria is a pair of candle-sticks; and two ink-wells illustrate the manner of his school. Two unusual bronzes, probably representing the elements Earth and Fire, are interesting pieces. The large portrait medallion on the floor of the case, by Andrea Spinelli, is a typical example of Venetian work in relief. In Case G are grouped several important works of the Case G NORTH ITALIAN SCHOOL. Two early bronzes are es- pecially interesting. The first of these is a small eques- trian figure representing Alberico Magno de' Suardi, a North Italian work of about 1450. The other is a high relief of the Assumption, in the style of Amadeo, a char- acteristic production of the Lombard school. Unusually important is a group of four figures by the rare Mantuan master known as L'Antico, whose works have the elegance 47 THE MORGAN COLLECTION and distinction of the classical originals he so much ad- mired. A statuette of Apollo, originally holding a bow, is obviously inspired by the Apollo Belvedere. Classical influence is also apparent in the Hercules and in the little figure of Cupid bending his bow. More original perhaps, at least instinct with more personal feeling, is the figure of Venus, who holds a round mirror in her hand. Case H In Case H are bronzes of THE SIXTEENTH CEN- TURY, for the most part unassigned to any school. One of the largest pieces, a Gazelle, is presumably, however, a North Italian work. The bust portrait of Pope Gregory XIV, dating probably about 1590, is one of the most effective in the small group known of similar pieces. Several little figures of Boys and Cupids are charming genre subjects. A Nude Warrior in the style of the Florentine, Domenico Poggini, should be noticed. Cases In Cases I andj are other examples of SIXTEENTH landj AND SEVENTEENTH-CENTURY BRONZES. Among the former in Case J should be noticed one or two examples by Florentine followers of Giovanni Bologna. Another Florentine, Pietro Tacca, whose work extends into the middle of the seventeenth century, is represented by two typical works, an old man riding a goat, and a quite extraordinary inkstand decorated with figures repre- senting the martyrdom of St. Laurence. The classicism of the LATE RENAISSANCE, which had little of the naive, romantic enthusiasm of the early period, is 48 1 \ !' i 'S I ' >! M . :' > I* \^si KI RIO io (r) ANDREA SPINELLI, MEDALLION VENETIAN SCHOOL CASE F RELIQUARY BUST, ST. CATHERINE VEIT STOSS CASE L GALLERY THIRTEEN illustrated by several bronzes in this case, for instance, the Meleager, and two large groups of Mercury and Cupid, probably by Francois Duquesnoy. Bronzes similar in character fill the floor-case I. In this case, besides several fine Italian pieces of the late Renaissance, is an import- ant example of GERMAN BRONZES in the early sixteenth century, Eve, by Hans Vischer of the school of Nuremberg. In Case K is another interesting Case K German bronze, a man holding prickets for candles, by Peter Vischer the Younger. Another German bronze is the high relief traditionally described as Aristophanes, but which, as the motto would indicate, more probably represents Hippocrates. The other bronzes in this case are principally FLEMISH OR NORTHERN FRENCH. These last include an interesting group of seated women, bathing or arranging their hair, by some follower of Gian Bologna. Among the Flemish bronzes may be noted a statuette of Diana, dating about 1650, and two figures of animals, a hound and a bull, exemplifying the skill of the Flemish bronze workers in this class of objects. In examining the bronzes the visitor, of course, has not failed to notice the Delia Robbia SCULPTURES and other material exhibited in this room, together with the collection just described. It has seemed better, how- ever, to describe these objects apart from the bronzes rather than in order as one proceeds around the room. 49 THE MORGAN COLLECTION At the left of Case G is a beautiful terracotta medallion of the Madonna and Angels by Luca della Robbia. The two charming reliefs in ENAMELED TERRA- COTTA of the Virgin adoring the Christ Child, which hang on the south wall, represent a somewhat later phase of the della Robbia school when the refined grace and elegance of Andrea had taken the place of Luca's greater simplicity. Three medallions with coats-of-arms sur- rounded by wreaths of fruit and leaves are notable for their splendid decorative effect and rich harmony of colour. Two MARBLE SCULPTURES deserve more than the brief line which can be given them. These are the small relief of the Adoration of the Magi, attrib- uted to Mantegazza, and the beautifully designed and executed frieze hanging on the west wall. Above this frieze is the well-known ALTAR-PIECE by Era Filippo Lippi, painted, according to Vasari, for Alessan- dro degli Alessandri, who is represented kneeling in the foreground with his two sons. On the opposite wall is a late fifteenth-century TAPESTRY, charming in colour, which represents the Judgment of the Emperor Otho. GALLERY FOURTEEN GALLERY FOURTEEN RENAISSANCE PERIOD GALLERY FOURTEEN THE RENAISSANCE PERIOD T HE exhibition of Renaissance material is continued in Gallery 14, which has for its central feature the famous altar-piece painted by the youthful Raphael for the nuns of the Convent of St. Anthony of Padua in Perugia in 1504-05. The largest collection shown in this gallery is that of ITALIAN MAJOLICA, which fills twelve wall cases arranged in order around the room, beginning at the right of the south entrance. In its extent and the remarkable quality of the pieces which compose it, this collection, one of the finest in private possession, illustrates in an exceptional way the splendid achievements of Renaissance ceramic art. The Italian ware known as M A J O L I C A differs in its technical aspect from the earlier pottery in the thin coat- ing of opaque, and generally white, stanniferous enamel which protects the surface. This use of stanniferous enamel, probably introduced by or learned from Moorish potters, or directly from the Orient, was known in Italy THE MORGAN COLLECTION at least as early as the later years of the fourteenth cen- tury, and eventually superseded in popular favor the manufacture of slip-covered "sgraffito" ware, covered with a transparent, plumbeous glaze, which was the characteristic faience of the Middle Ages and continued to be produced, side by side with true majolica during the Quattrocento. The name "majolica" is derived from the little Spanish island of Majorca, a half-way port in the maritime commerce between Italy and Spain. At first used only to describe the lustred faience imported from Spain, its use was later extended to include as well the lustred productions of the factories at Gubbio and Deruta. To-day, although incorrectly, we commonly des- ignate as "majolica" not only the lustred, but also the unlustred enameled Renaissance pottery, and give to the earlier slip-covered ware with transparent glaze the some- what unfortunate name of mezza-majolica. To return, for a moment, to lustred majolica. The application of metallic lustre to enameled pottery appears to have been derived, together with the use of stanniferous enamel, from Saracenic or Oriental potters. The great develop- ment of this art in Italy was largely due to the skillful direction of the Gubbio furnaces, where it attained its highest perfection. Pesaro and Deruta claim its still earlier use, but in the sixteenth century the great center of lustring was undoubtedly at Gubbio, where pieces often painted elsewhere, notably in Urbino and Castel 52 GALLERY FOURTEEN Durante, were enriched with metallic lustre, the glitter of gold and silver, and most prized of all, a glowing ruby- red. Aside from enameled floor-tiles and sculptures in enameled terracotta, for example, the della Robbia re- liefs in Gallery 13 and in this room, together with two Gallery interesting though scarcely beautiful portrait busts by an artist of far less merit, the usual examples of Italian majolica may be broadly divided into two classes: one, of objects destined for daily use; the other, of decorative pieces, piatti di pompa, large plates to be suspended from the wall or exposed upon credence or sideboards, huge vessels, ornamental pieces which attest the Renaissance love of magnificence and splendor. To this second group belong most of the richly decorated majolica pieces, but this does not argue any lack of beauty in the simpler objects. On the contrary, they are often superior both in design and shape. A well-known class of objects combines both utilitarian and decorative purposes. These are the slightly concave, cylindrical jars intended to hold drugs and accordingly known as "pharmacy vases," or albarelli (little trees), so called because of their resemblance to the short lengths of bamboo which con- tained the spices imported from the Orient. From the standpoint of pure decoration, early Rena- issance majolica is often in many ways finer than the later productions. Ornamental motives, whether or 53 THE MORGAN COLLECTION not with representative elements, are treated conven- tionally in a way suited to their decorative purpose. Even when portraits or figures are introduced, they are rendered naively, so that they tell rather as decoration than as representation. But with growing technical facility and the natural change in taste which marked the transition from the spontaneity of the early age to the elegance and luxury of the High Renaissance, there came a growing fondness for a more pictorial rendering of subjects, rarely the invention of the majolica painter, but copied as a rule from contemporary engravings and wood-cuts. Marcantonio's engravings after Raphael were much favored, as several pieces in the present collection bear witness. This tendency was unfortunate on the whole; the Massacre of the Innocents, for example, does not commend itself particularly as an appropriate sub- ject for the decoration of a plate from which one expects to eat. But this must be said by way of justification the plate was intended only secondarily for use; its principal service was to make part of the brave show which decked the sideboard of some stately room. A few words must be said upon the wide variety of subjects which the majolica painter was called upon to represent. For the religious-minded patron there were figures of saints and incidents from holy legends. Equally popular were the scenes from classical fables and ancient history, portrait- heads of Roman emperors, gods and goddesses, all intended 54 VIRGIN AND CHILD, ENTHRONED WITH SAINTS BY RAPHAEL VASE WITH ORSINI ARMS AND PORTRAIT OF A MAN TUSCAN, XV CENTURY CASE A PLATE PORTRAIT OF A LADY TUSCAN, XV CENTURY CASE A PLATE BEAR HUNT CAFFAGGIOLO, XVI CENTURY CASE C GALLERY FOURTEEN to win the heart of the devoted humanist. Finally, for the lover, amorous scenes, portraits of the betrothed, clasped hands and affecting mottoes. The arrangement of the exhibition, which has had to be a somewhat flexible one, begins with the pieces in the first case (A) on the right of the south door. In this and Cases A the following case (B) are shown several fine QUATTRO- CENTO pieces, probably Florentine, certainly of TUS- CAN MANUFACTURE. Among these should be noted a large vase ornamented with a portrait-head and a shield of arms framed in wreaths; a plate with the portrait of some gallant's inamorata; another with a symbolic figure of Time copied from an early engraving. In strength and beauty of design these pieces are typical of the finest productions of the fifteenth-century potters. A little later is the splendid vase, in Case A, with plastic as well as painted ornamentation, probably intended for the decoration of an altar. At CAFFAGGIOLO, near Florence, there was early developed one of the most important factories of painted majolica. Commencing towards the end of the fourteenth century, the industry flourished for over two centuries, particularly in the sixteenth century under the later pa- tronage of the Medici. The wares of this fabrique are remarkable for richness of glaze and coloring, in which a deep blue and strong yellow predominate. Several ex- amples of this ware, at certain periods, closely resembling 55 THE MORGAN COLLECTION Case C Faentine majolica, are shown in Case C and elsewhere. Together with this Tuscan majolica there is exhibited in Case B an example of the so-called MEDICI WARE, the earliest known European porcelain of which examples have survived to us. Of this rare product of the Floren- tine factories towards the end of the sixteenth century, there are known hardly more than thirty pieces. Besides the piece just mentioned, there are on exhibition in the Museum two other examples of Medici porcelain acquired by Mr. Morgan at the Taylor sale and placed at that time in our Wing of Decorative Arts as a loan. While speaking of Tuscan ware, mention may be made of a fine plate in Case B, typical of the elaborate patterns of the manufactory in Siena. The question of priority among the great centres of majolica production in Italy has never been satisfactorily settled. There can be no doubt, however, that one of the earliest potteries was established at F A E N z A . From the latter part of the fifteenth through the sixteenth century, the industry flourished in no uncertain way, reaching its apogee early in the Cinquecento. Faenza was not only one of the earliest and most productive centres, but in point of quality and artistic excellence its wares were Cases D, rivalled by few. In cases D, E, and F are exhibited several examples of early majolica made in Faenza and a representative gathering of the most characteristic productions of the later Faentine potters. The most 56 LARGE JUG FAENZA, CASA PIROTA, XVI CENTURY CASE F TWO-HANDLED VASE FAENZA, XV CENTURY CASE E PLATE WOMAN WITH LUTE DERUTA, XVI CENTURY CASE G PLATE PORTRAIT OF MAN DERUTA, XVI CENTURY CASK G PLATE SAINT M A KG A R ET MAESTRO GIORGIO, GUBBIO, 1527 CASE J GALLERY FOURTEEN important atelier of this period was the Casa Pirota, a bottega which flourished for a decade or more from about 1525 onwards. Its numerous productions are character- ized by a fondness for painting a bercttino or sopra a^urro, that is, upon a deep blue background, utilizing this color always a favorite one with the Faentine artists for the shadows of the design. In Case F are shown several typical examples of the Casa Pirota ware, notably a splendid large pitcher with a figure of a musician (Apollo?) and two portrait-heads painted in medallions upon the richly patterned blue ground. From the Faenza productions we pass to those of D E R u T A , exhibited in Case G, with a few pieces in Case H. The nine large plates in Case G, with their char- Ca *e acteristic pale gold or chamois lustre, reminiscent of the imported pieces from Spain, are a remarkably fine group of this attractive ware at its best period, the early part of the sixteenth century. These plates, together with the three in Case H, illustrate not only the technical peculiarities of the ware, but also the usual range of sub- jects occurring in Deruta majolica: ideal heads of heroes or of beautiful ladies surrounded with flowers, twining ribbons bearing names and amorous inscriptions; repre- sentations of saints, especially of St. Francis, since Deruta was so near Assisi; coats-of-arms, and profane subjects, such as the nude woman with the lute or Diana and her nymphs bathing, two fine plates in Case G. In this case 57 THE MORGAN COLLECTION are also two beautiful portrait-heads, and a representa- tion of St. Francis, notable for the depth of color and the bright golden lustre. Of the Deruta masters we know only one who signed his pieces with his name and locality: El Frate in Deruta. To this master, active between 1541 and 1554, may be attributed a plate in Case I, signed el frate 1545. It is widely different in style, however, from the pieces just noted, and attests the changes which set in towards the middle of the century. One of the most important and flourishing centres of ceramic art in the sixteenth century was U R B i N o , although the potteries there do not appear to have been established as early as those of Faenza and Deruta. The characteristic style of the Cinquecento Urbino pieces is easily recognized. They usually are decorated with figure compositions grandiose in style and design, copied from engravings, or with fanciful arabesques or grotesques, and in color show a fondness for shades of yellow and green and deep cobalt. The names of many of the Urbino masters are known. The Fontana family produced many artists, of whom perhaps the most celebrated was Case H Orazio, by whom there is in Case H a large, deep dish decorated with grotesques and a central composi- tion representing Samson slaying a Philistine. Another well-known artist working at Urbino was Francesco Xanto Avelli da Rovigo, many of whose pieces were subsequently enriched with metallic lustre at Gubbio. 58 PORTRAIT BUST ITALIAN, ABOUT I 5OO PLATE WITH THE ARMS OF ISABELLA D'ESTE. NICCOLO PELLIPARIO, CASTEL DURANTE, XVI CENTURY CASE L PLATE DECORATED WITH GRO- TESQUES. CASTEL DURANTE, DATED 1537 CASE L BM MONSTRANCE SILVER-GILT AND ENAMEL ITALIAN, XV CENTURY CASE M GALLERY FOURTEEN Such a piece is shown in Case I. Two other interest- Case I ing examples by this master, although without lustre, may be seen in Case H. Besides these Urbino plates and bowls shown in Cases H and I, there should also be noted two large ink-stands with figures in Case I, and a large cistern, a typical example of the magnificent "show pieces" produced by the Urbino masters. The fame of the potteries at GUBBIO rests almost solely on their productions enriched with metallic lustre. Not only were objects of local manufacture so treated, but, as it has been said, painted majolica pieces were sent to be lustred at Gubbio from the ateliers of Faenza, Urbino and Castel Durante. Towards the end of the fifteenth century a certain Giorgio Andreoli, better known as Maestro Giorgio, came from his native Pavia to Gubbio, where he soon acquired renown for the beautiful quality and color of his lustre, particularly of the deep ruby-red which was quite unique in the history of Italian ceramics. Maestro Giorgio' s dated pieces range between 1519 and 1537, but it is probable that he did not die until 1552. In Case J, together with other lustred Gubbio pieces Case J of great beauty, are several signed examples by this famous master. Hardly less beautiful is the shimmer- ing lustre on the majolica pieces exhibited in Case K. Case K Several painted and lustred plaques with figures, notably the large framed piece hanging above Case L, should also be noted. 59 THE MORGAN COLLECTION Case L In Case L we have, finally, examples of the very im- portant potteries of CAST EL DURANTE, which emerge into history at an early date, although we are able to assign with certainty to this atelier only its produc- tions during the High Renaissance. The Castel Dur- ante pieces are remarkable for their decorative use of such motives as grotesques, trophies of arms, musical instruments, and similar devices; and for the beautiful quality of the white enamel. The favorite colors are blue, green, and yellow. The Morgan Collection contains one of the few signed pieces of the Castel Durante ware, a large plate representing a female saint hung by her feet, signed by Sebastio de Marporio and dated 1510. Three celebrated pieces in the collection are exhibited in Case L. These are three plates with coats-of-arms and legendary scenes which originally formed part of a magnificent service made for Isabella d'Este (d. 1539) with the Este-Gonzaga arms. Five other pieces of this famous set are dispersed among the Alphonse de Rothschild and Campe collections, the Bologna Museum, the British Museum, and the Victoria and Albert Museum. This service, one of the finest achievements of Italian ceramic art, has been attributed to Niccolo Pellipario (called also Niccolo da Urbino), whose descendants, settled at Urbino, there assumed the now famous name of Fontana. The floor-cases M, N and P contain principally examples of ECCLESIASTICAL METAL WORK, crosses, 60 GALLERY FOURTEEN monstrances, reliquaries, paxes, and other pieces of church furniture in silver-gilt or gold, ornamented with enameled plaques, verre eglomise panels, crystal, precious stones, or other materials which served the goldsmith in his sump- tuous art. Perhaps the favorite means of adornment were the small plaques of TRANSLUCENT EN AM EL over silver carved in very flat relief basse-taille, as the process is known. In the fourteenth century and throughout most of the following, this variety of enameling enjoyed great popularity in Italy. The Morgan Collection contains many superb examples of these lovely enamels so rich in color and so effective in design. Unfortunately silver offers but little "grip" for enamel, and it is seldom that a piece has come down to us intact. These translucent Italian basse-taille enamels are comparatively rare to-day, and their large representation in the collection is particularly noteworthy. A splendid example of fourteenth-century Sienese work is shown in Case M. This is a chalice Case M ornamented with a number of small enameled silver plaques, gorgeous in color and of great historical in- terest, since from an inscription we learn that this chalice was originally the property of the Abbey of St. Michael in Siena, founded in the eleventh century, and at the time the chalice was made, belonging to the Order of Vallombrosa. Another fine piece is the large cross, in the same case, ornamented with enameled plaques. Another similar cross is shown in Case N. But before 61 THE MORGAN COLLECTION leaving Case M, mention must be made of several impor- tant pieces, notably a large silver-gilt monstrance with an enamel representing St. Peter, and a remarkable silver gilt pax with a relief of the Flagellation in wrought gold against an enameled background, attributed to Averlino (Filarete) or, by other critics, to Moderno. This pax was made for Cardinal Borgia (d. 1 509) when Archbishop of Monreale, andjormed part of the treasure of the Cathe- dral of Tarazona, Aragon. A small casket in VERRE EGLOMIS should also be noted in this case. The term "verre eglomist" is derived from a certain French goldsmith and glass-painter of the eighteenth century named Glomi. Although the process of painting on glass is of great antiquity, this name has come to be used as a convenient description for all painted decoration applied to the under surface of panels of rock-crystal or glass. Two diptychs, rare and early examples of verre eglo- Case P mist, are shown in the floor-case P. Translucent enamels, however, form the most important class of material in this case. Notable is a set of Sienese enamels on small medallions, a large morse, and several plaques in trans- lucent enamel from the extremities of a cross. Equally interesting are four lockets and the two plaques orna- mented with engraved designs on silver filled in with a black composition material, known as niello. Case N In Case N are two large crosses decorated with NIELLO plaques, beautiful examples of fifteenth-century Italian 62 CHALICE SILVER-GILT AND TRANSLUCENT ENAMEL- SIENESE, XIV CENTURY CASE M I 5 AX SILVER-GILT, WITH CENTRAL PANEL OF VERRE EGLOMISE MILANESE, LATE XV CENTURY CASE N SMALL SHRINE ROCK-CRYSTAL, ENAMEL AND JEWELS SPANISH, XVI CENTURY CASE N GALLERY FOURTEEN work in this fascinating branch of the goldsmith's art. One of the most important pieces in this case is the large silver-gilt pax enriched with enamel, precious stones, and verre eglomist panels. This admirable piece dates from the late fifteenth century and is probably Milanese in origin, although some critics hold it to be French. It closely resembles the famous Baiser de Paix, in the Louvre, presented by Henri III to the Chapel of the Order of the Saint Esprit. It is regrettable that the coats-of-arms which would have aided in determining the origin of the Morgan pax have been removed. Sim- ilar in style to the verre eglomist central panel is a late fifteenth-century pax with a painting under glass repre- senting the Madonna and Child and four saints. The arms are those of the Benucci family of Montalcino whence this pax is said to have come. A small reliquary of silver-gilt, richly jeweled, in this case is one of the most interesting objects in the collection. In the centre is a large sapphire engraved with a representation of the Crucifixion, and above it, is an amethyst carved to repre- sent the head of Christ. Both these jewels, together with the small gold cross at the top of the reliquary, are much older than their present setting, which dates from the early seventeenth century, and are said to have formed part originally of the celebrated treasure of the Cathedral of Oviedo in Spain. The workmanship is Spanish, with the exception of the foot, which was probably added to ' THE MORGAN COLLECTION the piece in Flanders. Another Spanish piece is a small portable reliquary of rock-crystal and enameled gold, originally in the possession of a member of the Campana family and said to have been in the Relicario of the Cathe- dral of Santiago de Compostella in the latter part of the sixteenth century. Of great beauty and interest is the small shrine or reliquary composed of a jeweled base and an octagonal piece of rock-crystal, within which is set a group representing the Crucifixion, wrought in gold and enamel. This piece came originally from the con- vent of the Carmelites de Peneranda de Bracamonte in the province of Salamanca. It is said to have been set upon a wonderful rock-crystal tabernacle, richly mounted in enamel, which served as a reliquary. This small shrine is Spanish work of the sixteenth century. Another piece of similar date and notable for the beauty of the enameling is the so-called Guzman cross of rock-crystal and enameled gold. The original mount, however, would appear to have been ebony. A few other examples of crystal are shown in Case N, but the greater number Case O of these rare objects will be found in the adjoining Case O. The art of working ROCK-CRYSTAL in the Middle Ages and Renaissance was one of considerable im- portance, and the various vessels carved from it and beau- tifully engraved with ornamentation and figures were always highly prized. Large clear pieces were extremely difficult to obtain, and hence the material was regarded EWER ROCK-CRYSTAL Mil .AN' I SI , XVI CI.N I I i O OVAL PLAQUE BATTLE SCENE. ROCK-CRYSTAL GIOV. BERNARDI OF CASTEL-BOLOGNESE (1495-1555) CASE O TAPESTRY. THE CRUCIFIXION BRUSSELS, ABOUT I E> F the skirt, was supposed to be emptied of its contents at one effort, without spilling the wine in the small cup, which revolves on a swivel, and which likewise was emptied at a draught. Another of these cups, different in decorative features, by a Nuremberg silversmith of about 1550, is shown in Case E, second shelf, extreme left; a third, of another type, without the small revolving cup, late sixteenth century, is in the same case on the extreme right THE MORGAN COLLECTION end of the shelf. A fourth, a figure in Hungarian cos- tume, wrought by Master Jorg Rutel, of Nuremberg, about 1595, is in Case F, top shelf, extreme left; and another type of Wager Cup, shaped like a windmill, of Dutch workmanship, dating from the seventeenth century, is also to be seen in Case F, top shelf, extreme right. One of the succeeding developments in the taste for showy pieces of plate in the form of animals was that which prevailed from about the middle until the end of the seventeenth century for large EQUESTRIAN FIGURES, like the statuette of a cavalier in the costume of Louis XIV Case H on a prancing horse (Case H, top shelf, center). This collection contains one example of what might be termed ECCLESIASTICAL ART in the fine ebony triptych, with silver-gilt enrichments, by the famous silversmith of Augsburg, Matheus Wallbaum (center, Case L). In its architectural features it follows the well-known traditions of Northern Europe, treated, however, in the characteristic manner of the Renaissance. The center panel is painted with the Adoration of the Magi; the right with the Presentation in the Temple; and the left with the Circumcision. The small rect- angular panel below contains a painting of the Flight into Egypt. These painted panels were done by one Anton Mozart a follower of J. Breughel and D. Vinchebooms whose initials and date, "A. M., 1598," are signed in the central panel. 90 CHINA OF MIN(", I'l K'lol) GERMAN GOLD MOLNIS GALLERY 1 6, CASE B i:\VAl.II-.K ON IIOKSI.HACK GERMAN, AUGSBURG, XVII CENTURY ^ GALLERY SEVENTEEN THE EIGHTEENTH CENTURY W 1TH a few exceptions all the objects in the Morgan Collection not already discussed are of European origin and were made during the eighteenth century. The exceptions are the older miniatures and watches in the two special collections elsewhere described, the Gothic and seventeenth-century tapestries hanging in the corridors, and a few specimens of Chinese porcelain contemporary with the French furniture in Galleries 17 and 18, and of a type much appreciated in Europe at the time of its man- ufacture. Although in this portion of the exhibition it has not been possible to follow a precise chronological arrangement, the objects of earlier eighteenth-century workmanship are largely confined to Gallery 17. This room has been paneled in green, in a manner suggesting one of the lofty halls found in English houses of about 1730, and the BRITISH PAINTINGS of slightly later date which fill the walls thus hang against a back- ground reminiscent of that for which some of the pictures were doubtless originally intended. Beginning at the 103 THE MORGAN COLLECTION right of the door which opens into this room from Gallery 1 6, and proceeding toward the left, the paintings hang in the following order: 1 The Depositing of Giovanni Bellini's Three Pictures in the Church of the Redentore, Venice, by Turner. The subject is presumably imaginative, as no such occurrence is mentioned by Vasari. The three pictures portrayed are still in the Sacristy of the Chiesa del Redentore at Venice, but their attribution to Bellini has been severally questioned. Turner exhibited this painting in the Royal Academy in 1841. The Duchess of Devonshire, by Gainsborough. The subject of the picture is Georgiana, the wife of William, fifth Duke of Devonshire, and the eldest child of John, first Earl Spencer. She was born in 1757 and died in 1806. The picture was painted about 1787. Its early history is uncertain. After having been supposedly lost, it was discovered by a picture dealer in 1841. Originally a full-length, it had been cut down by its owner to fit a space over a mantelpiece. The story of the theft of the picture and its recovery is too well known to repeat. Miss Farren (Countess of Derby), by Lawrence. Eliza- beth Farren, a popular actress, was born about 1759. She retired from the stage in 1 797, when she married Ed- ward, twelfth Earl of Derby. Lawrence made the por- trait in 1790, when he was twenty-one years old, and Reprinted from the Bulletin for January, 1913. 104 GALLERY SEVENTEEN received 100 guineas for it. The picture was exhibited in the Royal Academy in the same year, No. 171, as Por- trait of an Actress. It was the artist's first success, and remains one of his most famous works. A stipple en- graving of the picture sold in May, 1911, for 500 pounds. The Godsal Children, called The Setting Sun, by Hoppner. The subjects were the three children of Mr. and Mrs. Godsal of Iscoyd Park, near Whitechurch, Flintshire. The work was exhibited at the Royal Acad- emy in 1789 as Portraits of a Young Lady and Two Children. A first state of a mezzotint engraved by Young in 1790 sold at Christie's in 1901 for 220 guineas, probably three times what Hoppner received for the original painting. Mrs. Scott Jackson (Lady Broughton), by Romney. The sitter was Mary Keating, who married Thomas Scott Jackson. Three years after his death, which occurred in 1791, she became the wife of Rev. Sir Thomas Broughton, Bart. Romney's diary mentions sittings for this pic- ture in 1784, and at the end of his ledger is this entry: "Lady Broughton, W. L. [whole length] cleaned and var- nished and sent to Oulton Park/' Lady Broughton's daughter by her first marriage and sole heiress, Maria, was married to Sir J. G. Egerton of Oulton Park, and from her descendants the picture was acquired. Mrs. Tennant, by Gainsborough. Mary, the daugh- ter of Rev. John Wylde, was the wife of William Tennant. 105 THE MORGAN COLLECTION She died in 1798. Her portrait was painted by Gains- borough about 1786. Mr. Morgan purchased the picture from Major C. R. Tennant, a descendant of the sitter. Lady Betty Delme and Her Children, by Reynolds. Lady Delme before her marriage was Lady Elizabeth Howard, daughter of Henry, fourth Earl of Carlisle. She was born in 1747 and married Peter Delme in 1769. The children are John and Emelius Henry, born in 1772 and 1774. The work was painted in 1777 and remained at Cams near Fareham, until sold in 1894 at Christie's, by order of Henry Delme. Lady Gideon, by Gainsborough. She was Mary Mor- row, who was born in 1743 and married Sir Sampson Gideon in 1766, about which time this picture was painted. Miss Ross (Mrs. Bell), by Raeburn. The sitter was Isabella Ross, who afterwards married George Bell, M.D. The portrait was painted in 1801 or 1802. A Scene on the River Stour, by Constable. The pic- ture is dated 1819 and was exhibited at the Royal Academy Exhibition of that year. A small finished study for it is the property of the Boston Museum. Lady Maitland, by Raeburn. Lady Maitland was Catharine Connor. She was married in 1804 to Rear- Admiral Sir Frederick Lewis Maitland, who was captain of the Bellerophon when Napoleon surrendered on board that ship in 1815. The picture was painted about 1817. Other paintings of this period are hung in the Miniature 106 SECRETAIRE OF MARIE ANTOINETTE FRENCH. XVIII CENTURY TALL CLOCK, BY BERTHOUD FRENCH, XVIII CENTURY GALLERY SEVENTEEN Room and in Gallery 18, and are described in order of their arrangement. Aside from the pictures, all the other objects exhibited in Gallery 1 7 are French and display the perfection of finish attained by workmen of that nationality in the eighteenth century, a perfection sought for in all phases of the life of the time and often achieved with brilliant success. The FURNITURE in the Morgan Collection is par- ticularly noteworthy because of the significant part played by the cabinet-makers in the history of the period, and the remarkable technical skill exhibited in these master- pieces of joinery. The individual productions of the great workmen of the time were rightly looked upon as works of creative art of a high order, and the makers enjoyed the patronage and protection of the King and the nobility, who vied with one another in acquiring examples of con- temporary cabinet-making. The EBENISTES as the cab- inet-makers were called, worked in conjunction with the metal chasers, or CISE LEU RS, who made mounts in or- molu, that is, chiseled and gilded bronze, with which the inlaid furniture was further decorated. The EBENISTES and to a less extent the CISELEURS signed their works as a painter signs a picture, and many of the pieces in the Morgan Collection bear the names of celebrated artisans of the time, including Riesener, Boudin, Dupre, Carlin, Burb, Joseph, Montigny, and Pasquier, The most nota- ble, although the latest, examples of furniture in this room 107 THE MORGAN COLLECTION and in the collection are the MARQUETERIE SECRE- TAIRE and the COMMODE, placed in the center of the north and south walls respectively. These two pieces, to- gether with a writing-table now in the possession of Baron Rothschild in England, formed a set once the property of the Duke of Hamilton, but originally constructed for the private apartments of Marie Antoinette at St. Cloud. They were made in 1791 by the most famous artist in wood of his day, J. H. Riesener, who signed and dated both secretaire and commode. The beautiful mounts in ormolu, with which the pieces are further decorated, have long been attributed to Gouthiere, but may possibly be the work of Thomire, who share between them the honor of being the best-known ciseleurs of the late eighteenth century. These two pieces are among the finest and most celebrated specimens of French furniture ever pro- duced and excel in quality any pieces of Louis Seize work remaining in France. The TALL CLOCK on the south- east wall deserve attention as being a remarkable piece of mechanism in a fine and characteristic case. The works are by Ferdinand Berthoud (1727-1807), a famous in- ventor and maker of clocks and astronomical instruments, and the author of various works on horology. The case is ornamented with bronzes executed, after designs of the sculptor Clodion, by Philippe Caffieri, of a distinguished family of metal workers. Around the wall is a set of TWO SOFAS and TWELVE CHAIRS in the style of Louis 108 MARQUETRY COMMODE FRENCH, XVIII CENTURY SECRETAIRE, ONE OF A PAIR, ORNAMENTED WITH SEVRES PLAQUES FRENCH, XVIII CENTURY GALLERY SEVENTEEN XV, which came from the collection of the Kings of Den- mark, to whom they are said to have been presented by the French monarch. This furniture is upholstered in characteristic tapestries made at the royal manufactory of Beauvais in the middle of the eighteenth century, the set being an admirable example of the decorative furniture coverings which formed an important part of the product of that factory. The CARPET in the center of the room was made at the Savonnerie, another state-subsidized institution which produced velvet-piled carpets largely for the court. Also in the center are three CHINESE VASES set in French mounts of ormolu, standing on a table which dates from the earlier years of the eighteenth century. Placed on tables and commodes in this gallery and the next are distinguished examples of the graceful and care- fully finished SCULPTURE produced by the French artists during the eighteenth century. In Gallery 17 the most noteworthy are the two small PAINTED PLASTER BUSTS standing on the secretaire of Marie Antoinette, al- ready described. Theseareby J EAN-ANTOINE HOUDON (1741-1828), and represent the sculptor's two children. One bust bears the seal placed there by its author when he exhibited the work in the Academy during his life- time. The BRONZE DIANA standing near by is also attributed to him. Houdon, one of the greatest portrait- sculptors of any period, was called by Congress to the 109 THE MORGAN COLLECTION United States to execute the statue of General Washington, now in the State Capitol of Virginia. Replicas of this work are familiar, as are those of the bust of Benjamin Franklin, which the sculptor carried out in Paris during the philosopher's embassy to France. no SOFA COVERED WITH BEAUVAIS TAPESTRY, STYLE OF LOUIS XV FRENCH, XVIII CENTURY GALLERY EIGHTEEN THE EIGHTEENTH CENTURY T HE walls of Gallery 1 8 are hung with TAPEST- RIES from the two great looms of the eighteenth cen- tury. Those with a deep rose-colored background on the north and west walls were made at the ROYAL MANU- FACTORY OF THE GOBELINS, at the end of the reign of Louis XV. This institution, established by Colbert early in the preceding reign, as a manufactory of furniture, hang- ings, and decoration for the royal palaces, has always held a pre-eminent place in the field of the Decorative Arts .of .the Rococo period, and is still maintained by the French government on practically its ancient foundation. Tech- nically Gobelin tapestries are considered unique, and at no period was greater skill of execution shown in the factory than when these five hangings were made, although the attempt to imitate in weaving a finished painting can scarcely be considered a logical form of decoration. These five tapestries are from the famous series illustrating the HISTORY OF DON QUIXOTE, designed originally in 1714 by CHARLES COYPEL, the painter, and frequently re- 1 1 1 THE MORGAN COLLECTION peated with many variations throughout the next seventy years. The five pieces in the Morgan Collection represent the combined work of Belin de Fontenay and Audran the Younger in the fifth and most successful phase of the design. The rose-colored ground was a new discovery never before used at the Gobelins factory and was con- sidered a noteworthy achievement. One of these five tapestries, that showing Don Quixote led by Folly, belongs to a set made in the atelier of Nielson, the head of the Gobelins factory, in 1783. It remained in the factory until 1810, when it was presented as an official gift to the Prince of Hesse Darmstadt. The other four Don Quixote tapestries were made in two other Gobelins ateliers, those of Cozette and Audran. These pieces were completed in 1 773, and were the next year presented by the new king, Louis XVI, to the aged Cardinal de la Roche-Aymon, Archbishop of Rheims and Grand Almoner of France who had confirmed, married, and crowned the young monarch. These five hangings were brought together some time in the nineteenth century and passed into the possession of the King of Spain, from whose collection they came into Mr. Morgan's hands. The two tapestries on the south wall of this gallery, together with the third hanging in the Miniature Room form, a unique set woven at the BEAUVAIS MANUFACTORY in 1733. This estab- lishment was scarcely less famous than that of the Gobelins, although the former specialized in works intended for use I 12 GOBELINS TAPESTRY, ONE OF A SERIES REPRESENTING SCENES FROM DON QUIXOTE FRENCH, XVIII CENTURY BEAUVAIS TAPESTRY, DESIGNED BY OUDRY FRENCH, XVIII CENTURY PAINTED FOLDING SCREEN, IN THE STYLE OF LANCRET FRENCH, XVIII CENTURY CLOCK WITH ORMOLU MOUNTS, SEVRES FRENCH, XVIII CENTURY GALLERY EIGHTEEN as well as decoration, such as the chair coverings, and fire screens already noted. The subjects illustrated in this set of hangings are scenes from Moliere's comedies and the cartoons for the series were drawn by J . B. OUDRY in 1732. His signature can be seen on each tapestry. Although other sets of the Moliere subjects were made at Beauvais, the borders and coloring used in these three specimens were never repeated, so far as is known. This is the more difficult to understand when one considers the charm of design and color, which makes these hangings almost perfect examples of the highest type of tapestry of the Rococo period. The SCREEN standing in the center of the north wall deserves special notice among the furniture in this room, having been painted by LANCRET, and illustrating a most accomplished phase of French design. The ormolu mounts of the large GRAY MARBLE CONSOLE TABLE placed against the east wall are attributed to GOUTHIERE, as are the two CANDELABRA in lapis lazuli and gilded bronze standing on commodes at the west end of the room. On the south wall is a SECRETAIRE curiously ornamented with miniatures behind glass. This piece, like Marie Antoinette's secretaire and com- mode, came from the collection of the Duke of Hamilton, at Hamilton Palace, and has always been said to have been made for Mme. de Pompadour. The various small pieces of furniture in this room, inset with decorative THE MORGAN COLLECTION plaques of Sevres porcelain, illustrate one of the most accomplished but least happy phases of French cabinet- making. Among the sculptures, the life-size BUST OF MME. ROLAND in the center of the west wall is the work of AUGUSTIN PAJOU (1730-1809), one of the deftest sculptors of an age rich in great technicians. Standing on furniture against the east wall are TWO SMALL GROUPS, the one in marble being by FALCONET in a monumental moment, the other, in terracotta, a beautiful work of CLAUDE MICHEL, called CLOD ION (1738-1814), examples of whose skill are perhaps more sought after than those of any other French sculptor. In this group of Cupid and Psyche, the visitor should note the remarkably lifelike quality of the terracotta and the extraordinary reality of the bodily surfaces, together with the lightness of touch and the engaging fancy of con- ception. Four smaller sculptures by the same artist, no less fine in quality, are exhibited in other parts of the room. In the center of the floor are FIVE CASES containing small objects of especial value, the magnificent toys in which this most sophisticated of periods delighted. Case C A gold clock in the form of a vase (Case C), enameled with medallions after Boucher and set with many jewels, was made by Coteau for Marie Antoinette. A miniature gold cabinet with eight drawers and surmounted by a tiny clock, although without a history, is no less exquisite as a piece of workmanship. The small silver-mounted porcelain 114 TERRACOTTA GROUP, CUPID AND PSYCHE, BY CLODION FRENCH, XVIII CENTURY SOFA COVERED WITH BEAUVAIS TAPESTRY, STYLE OF LOUIS XVI FRENCH, XVIII CENTURY ORMOLU TABLE, LAPIS LAZULI TOP FRENCH, XVIII CENTURY GALLERY EIGHTEEN cup of the variety usually called Lowestoft, but really made in China for the European market, is reputed to have been used by Prince Charles Edward, "the Young Chevalier", when he passed a night at Kingsburgh on the Isle of Skye in 1746. A plain English ring standing near the cup, with a model of a sailing boat, is engraved, " Lady Hamilton to Horatio Nelson, 1795," an inscription which makes any further explanation unnecessary. The two Cases A and B contain 1 58,8 N UFF- BOXES Cases A, B of French, English, German, and Russian workmanship made at various times throughout the eighteenth century. Many of these boxes are superbly jeweled and are further ornamented with miniatures of high merit by Cosway, Isabey, and others, vying in splendor of material and workmanship with the carnets de bal at the other end of the room. Personages famous in history were the original owners of many of the pieces; among them, Napoleon I, Catharine II, Maria Theresa, George IV, Marechal Lefebvre, and the King of Sardinia. One crystal box is lined with Marie Antoinette's hair and was a gift from the queen to the Comte d'Artois. Many of these elegant bijoux are signed by jewelers famous in their time. In another case (D) in the center of the room is the Case D Morgan collection of carnets de bal, the extravagantly splendid DANCE PROGRAMMES in vogue just before the French Revolution. These tiny objects, which contain always a little ivory tablet, a pencil, and "5 THE MORGAN COLLECTION sometimes other minute implements, are among the most exquisite vanities of the time, their manufacture having involved an extraordinary skill, together with the use of the most expensive materials. This collection of these dance programmes is unique. Case E In Case E is an important assemblage of the small ENAMELS ON COPPER made after 1750 at York House, Battersea. The pieces include snuff-boxes, patch- boxes, etuis, and jeweled caskets made chiefly in imitation of Continental models, but possessing in their bright and varied colors, in their bold and sometimes irresponsible brush work, a characteristic English quality. The marbles in the two gilded cases standing on the commode at either end of the north wall are the work of ETIENNE-MAURICE FALCONET (1716-1791), who is noted for the exquisite suavity of his small sculptures which he intended largely as mantel orna- ments. Nine of these graceful marbles of FALCONET'S are placed throughout this portion of the exhibition. 16 GALLERY NINETEEN GALLERY NINETEEN THE FRAGONARD ROOM GALLERY NINETEEN THE FRAGONARD ROOM "N OWHERE is Fragonard seen to better advantage," writes Lady Dilke of this remarkable series of decorations which she saw when they were in the house of M. Mal- vilain at Grasse in Provence, the home of the painter during his last years. The panels had been hung against the walls of the Salon with no effort towards decorative unity. When they passed into the possession of Mr. Morgan, he caused a room to be designed in which the paintings could be given a proper setting. The room was set up in Mr. Morgan's house in London. When the paintings were sent to America, the woodwork and plaster cornice of this room were placed at the Museum's dis- posal, so that it has been possible practically to reproduce the effect which the pictures had in Prince's Gate. The Romance of Love and Youth is the title which has been given the entire set, though without the authority of Fragonard, who, as far as is known, never named them. The pictures were begun about 1772 for the Pavilion of Louveciennes (Luciennes). which Louis XV was building 117 THE MORGAN COLLECTION for Mme. Du Barry from designs by Ledoux. For some unknown reason they were never put in place, but re- mained on the artist's hands. According to gossip Mme. Du Barry declined to receive them, being displeased with the subject of the picture, in which the heroine is shown mourning her abandonment by a faithless lover. She could not reasonably be expected to care to have such a possibility continually before her eyes or those of her visitors. The subject was, at least, undiplomatic. But whatever the cause, the pictures were in Fragonard's studio in Paris for almost twenty years. During the Ter- ror in 1793 he had them removed to Grasse, his native town, and placed them in the house of M. Maubert, with whom he lived. Here they remained practically unknown until 1898, when they were sold at auction by M. Mal- vilain, the grandson of M. Maubert. Messrs. Agnew were their purchasers, and in the autumn of the same year they were exhibited in London, when Mr. Morgan bought them. The pictures are as follows: 1 THE PURSUIT (La Poursuite). The heroine with out- stretched arms runs away from her admirer, who offers her a rose. Her companions try to hold her. 2 THE MEETING (Le Rendez-vous). The heroine sits on the grass by a statue. Her lover climbs the wall by means of a ladder. She looks over her shoulder as though fearing that she might be seen. Fragonard has given the pair the fea- tures of Mme. Du Barry and her Royal gallant, though much rejuvenated in both cases. 118 GALLERY NINETEEN 3 MEMORIES (Les Souvenirs). The heroine sits on a stone pedestal in a park, looking over old letters. Her lover stands by her, his arm around her waist. 4 THE LOVER CROWNED (L'Amant Couronne). The couple pose for a painter. The lover sits at his mistress's feet, and she holds over his head a crown of flowers. Portalis says (Fragonard, 1889). "This canvas is pictorically the splendid climax of all that has gone before. It shows the official triumph of love following upon the more intimate, the truer triumph that has preceded it. The colours in the paintings which open the series have, for all their exquisiteness, been tempered by a certain moderation. Here they burst forth in full splendour, in full passion, making together a bold and ringing harmony breathing forth a very paean of victory." 5 THE ABANDONMENT (L'Abandon). This, the final scene of the series, takes place in a garden in autumn. The heroine is seated alone at the foot of a column surmounted by a sun- dial fashioned as a Cupid sitting on the world. 6 LOVE THE VICTOR (L'Amour Vainquer). (This is the first of the minor designs, meant as subsidiary to the general theme of the main ones.) Cupid holding two torches flies above the clouds. In front two winged babies are kissing, and back of him are two others, one playing a cymbal, the other holding wreaths. A fifth in shadow, symbolizing Discord, holds a dagger in one hand and a bridle in the other. 7 LOVE THE JESTER (L'Amour Folie). Cupid flying holds a jester's bauble. 8 LOVE CHASING A DOVE (L'Amour Poursuivant une Co- lombe). 9 LOVE AS A SENTINEL (L'Amour en Sentinelle). Cupid stands beside a rose bush, holding an arrow; his quiver is on the ground before him. 119 THE MORGAN COLLECTION 10 LOVE THE ASSASSIN (L'Amour Assassin). Cupid grasps a dove which he is stabbing with a dagger. In addition to these ten panels are four others, of flowers with suggestions of landscape for backgrounds, which complete the unity of the scheme of decoration. 120 GALLERY TWENTY STATUETTES, MADAME DE POMPADOUR, AND LOUIS XV, BISCUIT DE SEVRES FRENCH, XVIII CENTURY BOWL AND EWER, MENNECY-VILLEROY FRENCH, XVIII CENTURY GARNITURE OF THREE FLOWER VASES, SEVRES FRENCH, XVIII CENTURY GALLERY TWENTY FRENCH PORCELAINS A FTER leaving the Fragonard Room, the visitor enters the long corridor, Gallery 20, all the cases in which are devoted to FRENCH PORCELAINS, with the exception of the two wall cases (A and B) on either side of the door through which the visitor has just passed. These cases contain several small FRENCH BRONZES, and a number of finer specimens of ORMOLU, some of which are the work of Gouthiere. The TAPESTRY over the door is Flemish, late sixteenth century, and the large figure pieces on the wall are of similar provenance but fifty or sixty years later. All of these tapestries, together with those in the opposite corridor, came from Knole, an historic English house, belonging to Lord Sackville, in Kent. The other cases in this corridor are arranged to show the complete development of the art of porcelain manu- facture in France. The making of porcelain in Northern Europe was brought about largely by the desire to pro- duce a ware rivaling in quality the Chinese products of 121 THE MORGAN COLLECTION the seventeenth and eighteenth centuries, which were imported in vast quantities after sea trade with the Far East became an established fact. The faience, which until the end of the seventeenth century had occupied the attention of the French potters, was too heavy in body and dull in glaze to prove a satisfactory substitute for the splendid productions of the Chinese kilns, and the ingenuity of the European potters was long exercised in discovering the secret of the brilliant and flinty paste of the Oriental ware. This quality was produced by the use of a clay known as Kaolin, which was not thought to exist naturally in Europe, and which the potters tried to repro- duce synthetically. At first they succeeded only in making a much softer body than that of the Oriental ware, the former being called soft paste in distinction to the hard paste of the latter, but early in the eighteenth century beds of Kaolin were discovered in Germany, and the man- ufacture was begun there of hard paste Meissen porcelain. The French potters, however, clung for a long period to their creamy soft paste, although they later attained great distinction in the making of true porcelain. In France porcelain manufacture was first attempted at Rouen, then at St. Cloud, and a little later at Mennecy, Chantilly, and one or two other places, all the productions being, of course, soft paste. The earliest specimens of French porcelain in the Morgan Collection are the pieces made at ST. CLOUD at the end of the seventeenth and 122 GALLERY TWENTY the beginning of the eighteenth century, which are ex- hibited on the top shelf in Case C. The rest of this case case c is devoted to CHANTILLY, which was manufactured after 1725 and imitates closely Chinese models. Cases D and Cases D, E E contain other specimens of soft paste porcelain manu- factured at MENNECY-VILLEROY between 1734 and 1773, at BOURGE-LA-REINE between 1773 and 1806, and at CREPY-EN-VALOIS between 1762 and 1770. There are in existence only a few specimens from these last two localities, their output being exceedingly small, The factories already noted, however, are chiefly remem- bered as pioneers, and the real manufacture of French porcelain began only with the establishment in 1738 of the Royal Manufactory at VINCENNES, which produced far more perfect pieces than had previously been pos- sible. The Vincennes porcelain in the Morgan Collection is shown in Cases F and G, the pieces most worthy Cases F G of attention being the three rare figure-groups of white enameled porcelain in Case F. The manufactory at Vincennes continued in operation until 1755, when for reasons of convenience it was moved to a better site at SEVRES, where the production of porcelain has continued almost without interruption down to the present day. Beginning with Case H, the remaining specimens of Case H porcelain were made at Sevres and illustrate the culmina- tion of ceramic art in France. The perfect potting of these pieces, the rich and extraordinary detail of their 123 THE MORGAN COLLECTION decoration, and the royal restriction on their general circulation the product of the factory being at the dis- posal of the King gave the ware enormous prestige in the eighteenth century and after. The earlier pieces of Sevres in the Morgan Collection, that is, those in Cases H and I, are of soft paste similar to that of Vincennes, but about 1770 the manufacture of true or hard paste porcelain was introduced at the factory and superseded the soft paste there, as elsewhere on the Continent. Most Cases J to Y o f the specimens in Cases J to Y, dating after 1770 are of hard paste. The two white statuettes on the top Case H shelf in Case H deserve particular attention, as they are among the notable productions of the Sevres factory. They are made of biscuit, that is, unglazed soft paste, and represent Madame de Pompadour and Louis XV. The figure of the Marquise bears the title " L'Amitie au Coeur," and was probably one of the nineteen figures made in 1755 at that distinguished lady's order, for gifts to her intimate friends. The statuette of Louis XV was not originally intended as a companion piece, although it is on the same scale as that of his favorite. The figure of the King is the reduction of his statue at Rheims by Pigalle, and was executed a little before 1 770 as a part of a huge porcelain table decoration made for the marriage banquet of the Dauphin, later Louis XVI, and Marie Antoinette. Both figures are mounted on decorated bases of fine quality. The rest of the Sevres porcelain 124 GALLERY TWENTY in this gallery is ornamental or table ware, and shows the various styles of shape and decoration popular until the Empire. 125 GALLERY TWENTY-ONE THE COLLECTION OF WATCHES T HE COLLECTION OF WATCHES, 1 both in quality and quantity, is the greatest collection of such material ever gathered together. It is composed for the most part of specimens from two large private collections, that of Carl Marfels, one of the most expert students of horology in Europe, and that of the late F. G. Hilton Price, a most enthusiastic collector. This collection gives the student a complete illustration not only of the gradual and steady progress of horological art, but also of the beauty of some of the finest examples of it in existence. The industry of watchmaking was begun shortly after the dawn of the sixteenth century. Peter Henlein (Hele), a locksmith of Nuremburg, invented a clock with a MAINSPRING, which permitted its use in traveling, and the demand for smaller portable timepieces was soon created. These timepieces were made of iron and steel, x The Numbers on the individual labels refer to the J. Pierpont Morgan Catalogue of Watches. 127 THE MORGAN COLLECTION due, no doubt, to the fact that they were the works of locksmiths. The watches were inaccurate, owing to the variation of the motive power of the mainspring. This defect was gradually overcome through the invention by Jacob Zech, in 1525, of the FUSEE. This equalizing device is in use to the present day and most watches after 1525- 1550 are so made. No. 103 belongs to the first period, having been made about 1550 in Nuremburg, and is consequently one of the earliest watches in existence. Brass was next substituted for iron and steel, the dials being made of different metals, elaborately decorated by chasing or engraving. In the year 1585 watchmaking was introduced into GENE VA by one Charles Cusin (No. 3) who, though he cannot be asserted to have been actually the first person who made watches in that city, nevertheless was respon- sible for the establishment of the industry which now gives employment to so many people and world-wide fame to the city. About 1600 occurs the earliest mention of the oval Nuremburg watch known as the NUREMBURG EGG, represented by Nos. 5, 102 and others. The WATCH- AND CLOCKMAKERS OF PARIS were granted a charter by King Francis I in the year 1544, and from that time formed a Guild with close and rigid restrictions. The collection, unhappily, does not contain any of the works of the 128 TABLE WATCH GERMAN, NUREMBERG XVI CENTURY THREE-SIDED WATCH FRENCH, LYONS, XVI CENTURY WATCH SET UPON A FINGER RING MADE FOR THE DUKE OF MANTUA ABOUT 1560 GERMAN, AUGSBURG, XVI CENTURY LIMOGES ENAMEL WATCH MADE BY DAVID RAMSAY, 1 6 1 0-2 5 ENGLISH, XVII CENTURY ENAMELED WATCH PORTRAIT OF FREDERICK WILLIAM, ELECTOR OF BRANDENBURG THE- WORK OF JEAN PIERRE HUAUD GERMAN, BERLIN, XVII CENTURY CIRCULAR ENAMEL WATCH WATCH GOLD WATCH ONE-HALF INCH IN DIAMETER SET IN A LARGE SET WITH PEARLS GERMAN, AUGSBURG, XVII METAL CLASP KNIFE PROBABLY SWISS OF THE CENTURY FRENCH, XVIII XIX CENTURY CENTURY GALLERY TWENTY-ONE original members of the Paris Guild, as it does of the English Clockmakers' Company. However, among the French watchmakers of importance and interest are Julien Le Roy, circa 1750 (No. 55), clockmaker to Louis XV; Pierre Le Roy, circa 1780 (No. 56), his son, of great note after him; Judith Lalement, circa 1660 (No. 4), one of the rare instances of a woman watchmaker; B. Cuper, circa 1600 (No. 7), a member of the renowned family which introduced watchmaking into Blois; Nicolas Bernard, circa 1580 (No. 23), a famous Parisian maker, and many others. Following the lead of their Parisian fellow-craftsmen, the ENGLISH WATCH- AND CLOCK- MAKERS obtained a charter in 1631, from King Charles I, which gave the Clockmakers' Company compre- hensive powers for ruling and protecting the craft. David Ramsay (No. 129) was appointed first Master of the Company and among the Assistants who were mem- bers at the time of incorporation were James Vautrolier (No. 132), Samuel Linaker (No. 133), Edward East (Nos. 134-37), John Midnall (No. 140), and Simon Bartram (No. 141). The BALANCE SPRING was first introduced by Dr. Robert Hooke, in 1659, but the next improvement was one more generally appreciable, namely, the addition of the CONCENTRIC MINUTE HAND in 1691. Daniel Quare (Nos. 164-66), clockmaker to King George I, not only 129 THE MORGAN COLLECTION first used this, but had also, in 1676, invented the re- peater action. One other important watchmaker, in the field of invention and improvement, was George Graham, represented in the collection by the dial of watch No. 163. He was the inventor of the mercurial pendulum and the "dead beat" escapement, and also improved the horizontal cylinder escapement. Other English makers of prominence were Thomas Tompion, 1638-1713, watchmaker to King Charles II, called the father of English watchmaking, who was buried in Westminster Abbey (Nos. 155-60); John Ellicott, circa 1760, inventor of the compensation lever pendulum (Nos. 187-88); William Anthony, circa 1571, one of the earliest of British makers (No. 125); Thomas Alcock, circa 1635, one of the petitioners for the incorporation of the Clockmakers' Company in 1630 (No. 138); Nicolas Vallin, circa 1650, maker of watch No. 143, and many others. GERMANY AND AUSTRIA are not as ex- tensively represented as either Great Britain or France, but the examples are quite as interesting. David Busch- man, circa 1640, an important maker in Augsburg (No. 89); Jan Jansen Bockeltz, circa 1640, an early watch- maker of Aix-la-Chapelle (No. 86); Nicolaus Rugendas, circa 1620, first of an illustrious line of Augsburg makers (No. 94) ; Racine, circa 1686, the single Berlin watchmaker; Johan Bock, circa 1620, a leader in the Frankfort trade, 130 GALLERY TWENTY-ONE among others, have all contributed to the collection examples of their craft. SWITZERLAND AND ITALY put forward as spokesmen, Diet Meye, circa 1570, of Basle, maker of an interesting watch in the shape of a book (No. 228); Jean Rousseau, circa 1640, of Geneva, of the same family as the philosopher Jean Jacques Rousseau and Jaques Rousseau the landscape painter (No. 230), and J. Tramieri, circa 1600, of Turin (No. 242). When it comes to HOLLAND and FLANDERS the number is indeed limited, but from them we select for mention No. 218, made by Jacob Ducimin, circa 1640, of Amsterdam; No. 220, made by P. Landre, circa 1630, of Brussels; and No. 222, made by Johannes Van Ceulen, circa 1680, of The Hague. No. 227 resembles two watches in the Kremlin Museum to such an extent that it too may be called RUSSIAN, and assigned to the middle of the sixteenth century. To protect the enamel and other decorations, outside cases came into use about 1640. These were made of shagreen, tortoise-shell, snake-skin, etc., a large number of which may be found in the present collection. About 1780 the S EC ON o-H AND was introduced and shortly after STOP-WATCHES are found. In 1704 M. Facie, of Geneva, discovered the art of piercing jewels for the bearings of watch-pivots and other THE MORGAN COLLECTION friction points. The DETACHED LEVER ESCAPE- MENT was invented by Thomas Mudge in 1765, and is practically the only movement now in use. WATCH C A s E s in repousse, both gold and silver, appeared about 1650, the inner case of plain metal, the second in re- pousse, and often a third of shagreen or some other material to protect the decoration. Sometimes a glass back was installed for the same purpose. In the NINETEENTH CENTURY the out- side cases and repousse work were abandoned and single cases substituted. These gradually came to be without ornamentation of any sort some engine-turned and others quite plain. Among the ENAMELED WATCHES are three of the rare painted Limoges, of which there are said to be only twelve in all the European [museums, and of these, six only in their original condition. The three in this collection are: No. 24, by 'Suzanne de Court; No. 30, attributed to Martial Reymond the younger; and No. 129 to some other member of the Reymond fa- mily. Of the later style of enameling (temp. Louis XIII), there are many excellent examples: Nos. 10, 38, 41, all by unknown artists; No. 48, by Robert Vauquer, one of the cleverest craftsmen in the school of Blois; and Nos. 77 and 78, by Christophe Morltere, also of Blois, whose work is rare. 132 GOLD REPEATER AND MUSICAL \\ATCH PRESENTED BY NAPOLEON TO MURAT ON THE FETE DAY AFTER THE BATTLE OF MARENGO IN l8oO FRENCH, XIX CENTURY GALLERY TWENTY-ONE In considering the work of the brothers Huaud, last of a dynasty of Poitiers goldsmiths, it must be stated that the three do not show equal talent. The highest place must be given to the eldest; his taste is more refined; he is nearer than the others to the Golden Age. One may search in vain among the works of Jean Pierre or of Ami for anything to match Pierre II's best enamels. Even between the productions of the younger brothers there is a distinction to be made. The watches bearing the two names together reach a much higher standard than those signed by Huaud le puisne alone. It is, therefore, to the collaboration of Ami that we must impute the su- periority of these pieces of work. No. 43 Enamel by Pierre (II) Huaud. No. 59 Enamel by Ami Huaud or atelier. No. 61 Enamel by Brothers Huaud. No. 98 Enamel by Jean Pierre Huaud. No. 187 Enamel by one of the brothers at the end of his career. No. 219 Enamel by Jean Pierre Huaud. No. 235 Enamel by Brothers Huaud. Among the watches of historical interest are the following: No. 17. Commissioned by the town of Besancon as a gift to Cardinal Granvelle, circa 1564. No. 55 Made for the Regent Philip of Orleans. No. 64 Made by D. Vauchez of Paris in 1783, one of the twelve made in commemoration of the ascent of the first Montgolfier balloon (only one other known). THE MORGAN COLLECTION No. 87 Made in 1608 for the Duke of Mantua. No. 131 Case of a watch presented by King James I to the first Lord Brooke, circa 1620. No. 137 An " East" watch, one of a type often given as a prize in the tennis tournament by King Charles II. No. 143 Presented to a Duke of Bavaria, probably the famous Prince Rupert of the Great Civil War, on the occasion of his creation as a Knight of the Garter in 1663. No. 177 Bears the arms of the Payler family. No. 179 Bears the arms of Thomas Windsor, Viscount Windsor (Ire., 1699) and Baron Montjoy (Gt. Britain, 1711). No. 193 Watch made in England for the Turkish trade. No. 207 Belonged at one time to the Emperor of China. No. 244 Watch carried by Sir Walter Scott, Bart. No. 246 Shows the monogram of Marie Antoniette. B. M. D. 134 GALLERY TWENTY-TWO GERMAN PORCELAINS T HE eighteenth century material is continued in the corridor (Gallery 22) to the east of the court-yard, although the walls here are hung with TAPESTRIES of much earlier date. Beginning at the south end are three Gothic pieces, of which that in the middle is the earliest, dating from the fifteenth century, the other two being some fifty years later. On the same wall to the north of the central door are two other late Gothic tapestries, with a third of seventeenth-century workmanship. These hangings, like those in the opposite corridor, were included in the lot secured from Knole. The cases in this corridor are given over wholly to hard paste porcelain manufactured throughout the eighteenth century at Meissen near Dresden, in Saxony, and known, therefore, either as DRESDEN, MEISSEN OR SAXE. The secret of true or hard paste porcelain, similar to the Chinese, was discovered, as briefly described above, at Dresden about 1707 by J. F. Bottger, an alchemist in the service of Augustus the Second, the Elector of Saxony. '35 THE MORGAN COLLECTION After producing various experimental wares, Bottger was established at Meissen in 1710, where he began under royal protection the regular manufacture of hard paste porcelain, decorated in the Chinese manner. Under various directors the factory continued to produce ornamental and useful pieces throughout the century and down to the present time, always with the sanction and support of the govern- ment. The Morgan collection contains little besides examples of the decorative figures characteristic of the best period of the works, although the tea set in Cases A and B is a fine and early specimen of the table ware made by the factory. There is, however, no other private collection in existence which approaches this assemblage of ornamental statuettes or figurines, which were the most characteristic Meissen production, and one of the most typical expressions of the age. These tiny, impertinent, and frivolous bits of sculpture represent more completely perhaps than any other phase of art the thought and feeling of a period which made artificiality a supreme virtue, folly a fine art, and the inconsequential the chief end of exis- tence. The miniature ladies in flowered crinolines, attended by irresponsible gentlemen, equally gay, are the most expressive pieces in the entire collection, although the fanciful and grotesque subjects in Case E, the pastoral in Case C, the allegorical in Case K, the Italian comedies in Case P, and the Rococo extravagancies in Case O all illustrate phases of the thought and fashion of the day. 5TATU1 Ml AND TWO FLOWER POTS GERMAN, MEISSEN, XVIII CENTURY GROUP OF PHEASANTS AND A BASKET OF FLOWERS GERMAN, MEISSEN, XVIII CENTURY GALLERY TWENTY-TWO The pieces have been arranged in a general chronological order, although such arrangement is only appoxrimate, owing to the fact that older types were frequently repeated at later periods, and a piece originally modeled in the first part of the century may in actual workmanship date from the end of the epoch. A few specimens of German porcelain made at other factories than Meissen are placed in the wall case (R) at the right of the door leading into the Miniature Room. Over- head hangs a PERSIAN RUG of the type called Ispahan, but really manufactured at Herat early in the seventeenth century. 137 GALLERY TWENTY-THREE GALLERY TWENTY-THREE THE COLLECTION OF MINIATURES GALLERY TWENTY-THREE THE COLLECTION OF MINIATURES T HE numbers on the labels refer to the catalogue of the collection of miniatures prepared by Dr. G. C. Wil- liamson, and the attributions of subjects and artists fol- low this catalogue in all cases. In it the anecdotal and personal side is generously treated, and those who have the desire will find that this information will add to the pleasure and interest of the collection. One of the de- lightful aspects of this art is its close connection with history and manners, the intimacy with sitters and owners which these little portraits reveal. This is particularly the case, as in the present instance, when many of the works represent historical characters or were owned by famous people. The collection contains, with a few exceptions, examples of all the well-known practitioners of portrait miniature painting from the time when it became an independent expression down to the middle of the last century, and in most cases the artists are represented by works of first importance. Nothing earlier than the sixteenth century 139 THE MORGAN COLLECTION is included. The portrait miniatures made before that time occur as incidental parts of pictures whose principal themes were not concerned with portraiture, or else were painted as decorations in illuminated manuscripts, The early stages of the art may be traced in the devotional books of the middle ages. Portrait miniatures begin to appear in the Psalters, the Breviaries, the Books of Hours, as far back as the latter part of the thirteenth century, a manifestation of the naturalism which was the supreme characteristic of the GOTHIC PERIOD, when the portrait, whether of persons or things, was rediscovered by Modern Art. The Credo, executed about 1287, at the direction of the Sire de Joinville, contains a likeness of Saint Louis, and from this time onward, living people serve as models and features were individualized with increasing power and more careful finish up to the summit of the illuminating art with the great Netherland masters and Jean Foucquet. Miniatures in books disappeared with the introduction of printing, but at the same time was invented the miniature in the modern sense which might be de- fined as a portrait on a small scale, combined with some- thing of the ornamental quality of a jewel a quality often enhanced by the goldsmith's setting of precious metals, enamels, or rare stones. Holbein, the greatest of them all, and the Clouets were the first consistent exponents of the modern miniature, and at this point the Morgan collection begins. 140 Hl-.NRY VIII HOI HI IN, I4()7 I CHARLES DE COSSE MARECHAL DE BRISSAC JEAN CLOUET EARLY XVI CENTURY MRS. PEMBERTON HOLBEIN, 1497-1543 GALLERY TWENTY-THREE The earliest examples are found in the cases and frames at the center of the north wall opposite the columns. Being so close to the common source, the miniatures of the sixteenth century, in either England or France, dis- close no great divergence of general intention or tech- nical methods. Soon after, however, the national traits begin to make themselves felt, and this fact is emphasized by the arrangement of the collection, the ENGLISH SCHOOL proceeding from the center toward the right, and the French toward the left. In the middle of the north wall is a small frame (No. 18) containing twelve mini- atures, ten by Holbein or his contemporaries. Here is a famous portrait of Henry VIII (No. 2), supposed to be the miniature painted for the King and given by him to Anne of Cleves in 1539. With it is its ivory case engraved with the Tudor rose. Other works of extreme importance in this frame are No. 4, a portrait of a lady of the Pemberton family, set in a black and white enamel frame with pearl pendants, the portrait of Sir Thomas More, and the interesting though somewhat damaged Thomas Cromwell, all by Holbein. At this time the miniatures in water color were painted on vellum, paper, or cardboard. The backs of playing cards were often used, as is seen in many cases where the reverse is visible. THE MINIATURES OF NICHOLAS HILLIARD are distinguished for the cleanness and precision of the work- 141 THE MORGAN COLLECTION manship, qualities inherited from Holbein. He is essen- tially a craftsman. Excellent examples by him are Frame 18 shown in Case 1 8. A portrait of Mary Queen of Scots by an unknown painter is in the center of this case. According to the inscription on either side of the head, the work was painted in 1564 in the lady's twenty- third year. It is in its original frame of carved oak, and has on its back the C. R. of Charles II, showing that it at one time belonged to that monarch. Miniatures by Lavinia Teerlinc are also shown here. She was the daughter of Simon Benninck, the famous illuminator, and for many years^was a popular artist in London. Case 1 6 ISAAC OLIVER was the next prominent miniaturist. His work is marked by stronger characterization than Hilliard's, from whom, and Zucchero, who visited Lon- don in 1574, his work derives. He is splendidly rep- resented in this collection, seven or eight of the works by him being of extreme importance. Among these may be mentioned No. 41, Philip II, King of Spain, in a rock crystal locket enameled on the sides; No. 43, Queen Anne of Denmark; No. 47, Sir Philip Sidney; No. 48, Lord Brooke; Nos. 49 and 54, portraits of Robert Devereux, Earl of Essex. Of this favorite of Queen Elizabeth's old age, there are five portraits. In this case also are works by Simon van de Passe, the well- known Dutch engraver, who went to London about 1615. PETER OLIVER, who was highly praised by Walpole, 142 VISCOUNT CAMPDEN AFTERWARDS EARL OF GAINSBOROUGH SAMUEL COOPER, \6og-\6j2 GALLERY TWENTY-THREE was the pupil of his father, Isaac Oliver. He was em- ployed by Charles I to make copies in miniature of the pictures in the royal collection at Whitehall. What is evidently one of these (No. 70) is shown in Frame Frame 15 15. It is a reproduction of a Marriage of St. Catharine which has not been traced, but evidently by Titian or one of his school. Examples of his portraiture, in which he displays less vitality than his father, are also shown. An excellent work in this frame is No. 76, by an unknown painter, a German probably. IN JOHN HOSKINS' WORK the influence of Van Frame 14 Dyck begins to make itself felt. In the ease of posture and the fuller modelling with which he endowed his portraits are evidences of the polish and suavity which was taking the place of the cruder manners and more austere taste of Tudor and Jacobean times. His name must be placed among the best of his craft, as is proved by No. 83, the Earl of Callender; No. 87, Sir Charles Lucas; No. 90, Portrait of a Gentleman, and others. His work prefigures the greater accomplishment of his famous nephew and pupil, whose art will be next considered. PETER COOPER, of whom Walpole said, "If a glass Case. 13 could expand Cooper's pictures to the size of Van Dyck's, they would appear to have been painted to that pro- portion/' is generally considered to be the greatest English exponent of miniature portrait painting. None of those THE MORGAN COLLECTION who came after can approach him in virility it is only with the Olivers and Hoskins that he can be compared, Holbein being not English and as a matter of course in a class quite apart. Cooper's miniatures are frankly founded on Van Dyck's paintings, but he has succeeded in conveying to us something of the sternness and de- cision of the men of the Commonwealth, and was able also to portray ladies without falling into insipidity a rare quality indeed among his successors. Among so many excellent specimens of Cooper's art, it would be difficult to select the most important, so the visitor's attention is confidently recommended to the consideration of all. Frames After Cooper, miniature painting deteriorated rapidly. Greenhill, Flatman, Dixon, Lawrence Crosse, and Bernard Leus are the best known names of the late seventeenth and early eighteenth century. Frames These frames (Nos. 10 and 9) contain examples of various artists of lesser reputation of the eighteenth cen- tury. Ivory now takes the important place as the material on which miniatures were painted. Frames The work of OZIAS HUMPHREY fills this frame, and several examples are also in Frame 5. These are mostly portraits of the Sackville family, some done from life and others from old portraits. Humphrey was aided in his practice by the advice of Reynolds, and his work is more vigorous than that of his fellows. 144 GALLERY TWENTY-THREE The miniaturist who won the greatest popularity in Frame 6 this time and who has kept it to our day is RICHARDCOS- WAY. This popularity is inevitable, given the qualities of his art, a great facility in the combination of vaguely idealized forms, pleasing colors, sweet expressions, and pretty clothes. It cannot be claimed that his likenesses are ever convincing, but no one knew better than he how to put liquid and sparkling eyes in a soft face surrounded by fluffy hair, or creamy, tinted necks escaping from deli- cate tulle and gauzy ruffles, or how to confection back- grounds of pale opal or pearly sky. These are the founda- tions on which, for one hundred and fifty years, his fame has rested immovable, and so long as the love for these things lasts will Cosway remain one of the great favorites. Of the large number of Cosway's productions, it is difficult to single out any for particular comment, so even and regular is their accomplishment. Attention might be called to the pencil drawings slightly tinted (Nos. 293, 294, 295, 297) in Frame 6, which testify that it was not alone his use of ivory that he depended upon for his delicate shades and velvet finish. Several Cosways are also in Frame 5. The followers of Cosway's style and success were the Frame 4 Plimers and Engleheart, though they never equaled their model's skill. ANDREW PLIMER is the most famous. His sitters are sweetly similar; they are all sisters, one would say, with a strong family resemblance. 145 THE MORGAN COLLECTION ENGLEHEART has comparatively more vitality, but characterization was not popular with any of these fashion- able artists. Two miniatures by Lawrence and one by Raeburn are in Frame i . The history of miniature painting on the Continent does not present the same continuity of record as in England, where its patronage has persisted pretty regu- larly from the time of Henry VIII. The Clouets at about the time of Holbein introduced the art into FRANCE, but it was not until the seventeenth century with the enamelers of the region of Louis XIV that France produced anything which could be called a national school. Miniatures were produced in the early time in Germany, the Nether- land countries, Italy, and Spain, but as a rule these were not done by specialists, but by painters who were prac- tising other branches. Case 19 Early MINIATURES EXECUTED ON THE CON- TINENT are shown in Case 20, where they har- monize satisfactorily with the Hilliards and the Isaac Olivers, their neighbors. Here are interesting examples by the Clouets and others. One of the gems of the collection is Charles de Cosse, Comte de Brissac (No. 383), ascribed to Jean Clouet ; to whom is also attributed the excellent portrait of the Comte de la Rochefoucault (No. 390). Two portraits by Ludger 146 GALLERY TWENTY-THREE Tom Ring (Nos. 402 and 403), enclosed in an ivory box, are shown in this case. Paintings in enamel by the PETITOTS, father and son, miniaturists of importance in the reign of Louis XIV, are shown in Frames 20 and 21. As was Frames customary, these enamels are frequently copies of I9 ~ 21 other portraits. Jean Petitot's work is in Frame 21 in the center of which is a miniature in water color which is attributed to him. The enamels, however, particularly the smaller ones, are more characteristic, Enamels by the son, Jean Louis Petitot, are shown in Frame 19, which exhibit about the same grade of accom- plishment. Works by or after LARGILLIERE, NATTIER, AND J. B. VAN Loo are exhibited in Frame 22. Frame 22 The fashion of making presents of decorated snuf? boxes and bonbonnteres stimulated the patronage of the minia- ture painters, and the number of them in France in the eighteenth century was fully as great as in England. Prettiness and charming frivolity were the qualities most in demand for the decoration of these little gift boxes. Several are shown in Case 23, all decorated Case 23 with portraits of ladies, one of which, representing Marie Antoinette, is attributed to Hall, the Swedish artist who occupied in France the same position of popularity that was Cosway's in England. Most of the works by Hall, which the collection contains, are placed in Frame 24. Frame 24 147 THE MORGAN COLLECTION His contemporary fame was enormous and justly so, as he was far superior to his professional competitors. In his day he was called, like Cooper the Van Dyck of the miniature, and the critics thought his portraits of men even more successful than those of ladies no mean distinction among the professional miniaturists of the eighteenth century. Most of his sitters were ladies, however, and the portraits here exhibited of Mme. Favart (No. 497), A Lady (No. 498), Mme. Elizabeth (No. 499), and several others testify to the extent of his talent. Frame 25 A successful male portrait is in Frame 25, Rabbi Ben Israel (No. 512). An outcome of the demand for decorated snuff boxes was the form of miniature painting which took landscapes or festivals crowded with tiny figures for subjects. The van Blarenberghe family of Franco-Flemish origin were the chief exponents of this branch. Four examples of these microscopic pictures, representing park scenes, are in Frame 25. Two other pictures by these artists are shown elsewhere, of which the Village Festival, No. 5 1 7 in Frame 27, is the most interesting on account of its subject. FRAGONARD'S MINIATURES are the most distin- guished of the eighteenth century. He was unhampered by the petty traditions which seemed inseparable from the art in that time, and painted his little portraits in the same manner as he did the large ones. His miniatures are very rare, but several examples are 148 GALLERY TWENTY-THREE shown in Case 29, and these display the piquancy and Case 29 spontaneity of his style. The Young Man (No. 542), A Boy (No. 538), A Young Girl (No. 540), A Young Girl (No. 547), might be suggested as worthy of particular attention. Examples by DUMONT, who is regarded as one of the important miniaturists, are in Frame 36. In his Frame 36 work, that of his pupil Isabey, and in that of Augustin, the influence of David is manifest. They belong to the Revolution and the Empire, and the classicism that these times adopted in reaction against the frivolity of the Ancien Regime is apparent in their productions. Isabey Case 34 lived until 1855, and during his long career he painted many celebrated people, as will be shown by the names on the labels of these examples. Paper was for him a more sympathetic medium than ivory, and though his finish is not broad, his work is never petty in concep- tion. Some of the excellence of David as a portraitist is retained in the output of these three artists. One of the distinctions of the Morgan collection is cases its representation of J. B. AUGUSTIN, by whom it 38,39.40 contains 75 examples, including paintings, drawings and sketches; so that the progress of his work may be traced from the first rough sketches through the elaborate draw- ing, the start of painting, to the completed portrait. These drawings elucidate his methods, as volumes of ex- planation would fail to do. Such an important showing 149 THE MORGAN COLLECTION of one of the greatest exponents of the latter phase of the art, who practised according to its inherited con- ventions, should prove of especial value to those artists of to-day who are striving so earnestly to win back for their craft the consideration with which it was regarded during more than two centuries of its history. Six pictures of the eighteenth century are hanging in this room. They are as follows: MADEMOISELLE HELVETIUS, later Comtesse de Mun, BY F. H. DROUAIS. She was Elizabeth Char- lotte, daughter of Claude Adrian Helvetius. The picture was acquired from the Marquis de Mun, the great-grand- son of the sitter. A LADY IRONING, by HENRY AND GEORGE MORLAND. In the catalogue of the Morland Gallery, which was sold by its owner, Charles Chatfield, in 1807. this picture is entered as follows: "Woman Ironing. The admirers of (George) Morland will feel a particular interest in this portrait commenced by his father and finished by himself/' DUCHESS OF GLOUCESTER, by REYNOLDS. Mary Wai pole, Countess of Waldegrave, afterwards Duchess of Gloucester, was born in 1736. This portrait was painted about 1764, after the death of Earl Walde- grave, and Walpole comments on " the picture of the fair widow leaning her head on her hand and looking upward as if for consolation and strength." 150 GALLERY TWENTY-THREE MADAME DE POMPADOUR, by CARLE VAN Loo, Jeanne Antoinette Poisson was born in Paris in 1721, and married to C. G. Borromee le Normant in 1741. In 1745 she was installed at Versailles as the mistress of Louis XV with the title of Marquise de Pompadour. The portrait was painted in 1750, and belonged to Abel Francois Poisson, Marquis de Marigny, the brother of the sitter, and was sold at auction in 1782 for 144 livres. The Marquise is represented in a pretended rustic costume, and holding a basket of flowers. The engraving by Anselin after this picture was called La Belle Jardiniere. The portrait shows a woman past her youth, and not- withstanding the painter's evident flattery, the face is that of one who tries to hide the effects of age. LA DEVIDEUSE, by J. B. GREUZE. This picture was exhibited at the Salon of 1759 under the caption: La Devideuse appartenant M. le Marquis de Bandol. At one time it formed part of the noted collection of Monsieur La Live de Jully. MADAME DE MONDONVILLE, by MAURICE QUENTIN DE LA TOUR. Madame de Mondonville was born in 1708 and married Jean Joseph Cassanea de Mondonville, the superintendent of music at the chapel of Versailles. In the portrait she leans on a clavichord, and the book of music back of her is inscribed: Pieces de Clavecin de Madame de Mondonville. The picture comes from the collection of M. Eudoxe Marcille, a THE MORGAN COLLECTION connoisseur of the last century, who with the de Goncourts and a few others interested himself in the then despised art of the eighteenth century. The portrait of Madame de Mondonville is painted in pastel. It was one of the eighteen exhibits of La Tour at the Salon of 1753. The tapestry which is placed on the north wall is one of a set of three Beauvais tapestries, of which the two others hang in Gallery 18 under which heading it is commented upon. 152 BIBLIOGRAPHY CATALOGUES OF THE J. PIERPONT MORGAN COLLECTIONS A RTIN , Yacoub Pasha. Description de quatre lampes en verre emaille et armoriees, appartenant a J. P. Morgan. (From Bulletin de 1'Institut egyptien. 5 e ser. v. i, p. 69-92. 6 pi. and col. pi.) BODE, Wilhelm. Collection of J. Pierpont Morgan: Bronzes of the Renaissance and subsequent periods; introduction and description by Wilhelm Bode. Paris 1910. Folio. 2V. 162 pi. and col. pi. B u s H E L L , Stephen Wootton. Catalogue of the Mor- gan collection of Chinese porcelains, by S. W. Bushell and W. M. Laffan. N. Y. 1907. Octavo. 82 +195 p. 77 pi. CHAVAGNAC, X. comte de. Catalogue des porce- laines franfaises de M. J. Pierpont Morgan; [pub. sous la direction de M. le comte X. de Chavagnac.] Paris 1910. Folio. 7 + 163 p. 50 col. pi. 155 THE MORGAN COLLECTION FROEHNER, C. E. L. W. Collection Julian Greau, appartenant J. P. Morgan. Paris 1903. Folio. [6] + 309 p. Recueil des planches, 5 v. 363 col. lith. pi. JAMES, M. R. Catalogue of manuscripts and early printed books from the libraries of William Morris, Richard Bennett, Bertram, fourth earl of Ash- burnham, and other sources now forming portion of the library of J. Pierpont Morgan. Manuscripts. London 1906. Folio. 19 +210 p. 44 photogravure and col. pi. JOHNS, C. H. W. Cuneiform inscriptions. Chaldean, Babylonian and Assyrian collections contained in the library of J. Pierpont Morgan. N. Y. 1908. Octavo. 6 1 p. ill. i pi. JOHNS, C. H. W. Ur-Engur, a bronze of the fourth millennium in the library of J. Pierpont Morgan N. Y. 1908. Duo-decimo. 38 p. 21 pi. JONES, E. Alfred. Catalogue of the Gutman collec- tion of plate, now the property of J. P. Morgan. London 1907. Folio. 23 p. 53 lithog. pi. JONES, E. Alfred. Illustrated catalogue of the collec- tion of old plate of J. Pierpont Morgan, Esq., by E. A. Jones. London 1908. Folio. 54 p. + 1 08 f. 97 pi. 156 BI BLIOGRAPHY K o N o D Y , Paul George. Die kunsthistorische sammlung Pierpont Morgans. (In Kunst und kunsthandwerk. 1903. v. 6, p. 148-160, ill.) LAFFAN, William Mackay. Catalogue of the Morgan collection of Chinese porcelains, by W. M. Laffan, with the collaboration of S. W. Bushell, and Thomas B. Clarke. N. Y. 1904-11. Octavo. 2v. 158 col. pi. MURRAY, C. Fairfax. Collection of J. Pierpont Mor- gan; two Lombard sketch books in the collection formed by C. Fairfax Murray. London, n. d. Folio. [10] p. 75 pi. 3 facsim. P E R A T E , Andre, and BRIE RE, GASTON. Col- lections Georges Hoentschel, acquises par J. P. Morgan; notices de Andre Perate et Gaston Briere. Paris 1908. Sixteen mo. 4 v. 268 pi. and col. pi. POLLARD, Alfred William. Catalogue of manuscripts and early printed books from the libraries of William Morris, Richard Bennett, Bertram, fourth earl of Ashburnham, and other sources now forming por- tion of the library of J. Pierpont Morgan. London 19 3 v. ill. 5 pi. and col. pi. R i c c i , Seymour de. Catalogue of a collection of Gallo- Roman antiquities belonging to J. Pierpont Mor- gan; compiled by Seymour de Ricci. Paris 1911. Quarto. 43 + [12] p. 28 pi. 157 THE MORGAN COLLECTION Rice i, Seymour de. Catalogue of a collection of Germanic antiquities belonging to J. Pierpont Morgan; compiled by Seymour de Ricci. Paris 1910. Quarto. 36 p. 32 pi. RICCI, Seymour de. Catalogue of a collection of Merovingian antiquities belonging to J. Pierpont Morgan; compiled by Seymour de Ricci. Paris 1910. Quarto. 50 p. 20 pi. ROBERTS, William. Mr. J. Pierpont Morgan's pic- tures; the English school. (In The Connoisseur. 1906. v. 16, p. 67-74, I35-M3; 1907- v. 17, p. 71-77, 215-221.) ROBERTS, William. Pictures in the collection of J. Pierpont Morgan at Princes Gate and Dover House, London; with an introduction by T. Humphry Ward and biographical and descriptive notes by W. Roberts. London 1907. Folio. [3] v. 89 photogravure and col. pi. WILLIAMSON, George Charles. Catalogue of the collection of jewels and precious works of art, the property of J. Pierpont Morgan; compiled by G. C. Williamson. London 1910. Folio. 27 + 183 p. ill. 94 pi. (incl. 46 col. pi.). BI BLIOGRAPHY WILLIAMSON, George Charles. Catalogue of the collection of miniatures, the property of J. Pierpont Morgan; compiled at his request by G. C. William- son. London 1906-08. Folio. 4V. 187 pi. (incl. 88 col. pi.). WILLIAMSON, George Charles. Catalogue of the collection of watches, the property of J. Pierpont Morgan; compiled at his request by G. C. Wil- liamson. London 1912. Folio. 62 + 244 p. 92 photogravure and col. pi. 159 OF THIS GUIDE 10,000 ADDITIONAL COPIES WERE PRINTED IN FEBRUARY, MCMXIV AND SIXTY COPIES ON SPECIAL PAPER