Fenway Court: 1983 by Isabella Stewart Gardner Museum

Fenway Court

Fenway Court 19 83

Isabella Stewart Gardner Museum

Publi shed by th e Tru stees of the Isa bell a Stewa rt Ga rdner Museum , Inco rpo ra ted 2 Palace Road Bos ton, M assachu setts Copyri ght 198 4 Des igned by Helen H adl ey Photogra ph s by G reg H eins Typogra phy by M o notype Compos ition Compa ny Printed by LaVi gne Press Inc.

Cover: detail of Soissons window, ca. 1205, Inv. No. C28s2, Cha pel.

Contents

T he Gothi c Window fro m Soissons: A Reconsideration 7 Madeline Caviness, Elizabeth Pastan and Marilyn Beaven Stained Glass from M il an Cathed ral at Fenway Court Catherine Pirina

Some Observatio ns on a Fourteenth- Centur y " Battente di Ferro" Stephen Z. Nonack

Souvenirs of Al exa nder the Great's Ma rch th rough Persia to India Cornelius C. Verm eule, III

The Isabella Stewart Gardner Museum, Incorporated Fifty-ninth Annua l Report fo r the Year N ineteen Hu nd red and Eighty T hree Report of the President Malcolm D. Perkins

Report of the Director Rollin van N. Hadley

Report of the Cur ator D eborah Gribbon Membership Events Membership

Publicati ons

Report of the Treasurer Trustees and Staff

1 Soissons window, ca. 1205, stained glass, 366 x 157 cm., Inv. No. C28s2, Chapel, Isa bella Stewart Ga rdner Museum.

The Gothic Window from Soissons: A Reconsideration

2 The interior of the choir of Soissons Cathedral, to the northeast. (Photo : Paris/ S.P.A.D.E.M.)

On October 23, 1906 Henry Adams, author of the popular guide Mont-St.Michel and Chartres, wrote to Isabella Stewart Gardner, urging that she purchase the French stained glass window he had recommended several months before. Noting that, " glass carries color so;' he added: To me it is a wonderful thing to be six or seven hundred years old and as fresh as when I was six ... . 1

The purchase was made from Bacri in Paris, and the sizeable window was installed in Mrs. Gardner's private chapel on the third floor of the Museum. Although, as we shall see, the panels represent only a third of the original window, the maximum height the chapel would allow, one can appreciate the window's brilliant color and clarity of design the entire length of the Long Gallery, much as it would have appeared in a Gothic choir. The window, completely surrounded by an ornamental border, contains parts of three circles divided into quadrants which are filled with figural subjects. The top draws into an authentic looking pointed arch (figure 1). Henry Adams believed that the stained glass window came from the Abbey Church of St. Denis, situated on the northern fringe of modern Paris. The dealer might have attributed the window to this famous building in order to impress a potential buyer. 2 However, a more definitive attribution to the Cathedral of Soissons, situated in the Aisne about sixty miles northeast of Paris, was made in 1960 by the French scholar Louis Grodecki (figure 2). 3 Indeed, Grodecki's work has done much to elucidate the glazing program of Soissons which recent estimates contend has lost as much as 90% of its original glass. 4 The present article complements Grodecki's work in four areas: first,

evidence in the form of an eyewitness account from the 1860's securely locates the Gardner window in a chapel opening off the choir of the Cathedral , whereas Grodecki's original attribution was based chiefly on stylistic affinities with glass remaining in Soissons. Second, the original order of the panels, consistent with the legends of the saints' lives can be reconstructed with the help of the early description of the window. Third, we can use the results of a new examination of both sides of the glass, during which irregular surfaces and signs of long-term weathering were noted as indicators of original medieval glass. 5 This examination revealed that a far greater percent;ge of old glass exists in the Gardner window than had previously been thought; only these ancient pieces were used in making comparisons with other works of the same style group. Fourth, and more speculatively, the dating and chronology of these related works are reconsidered, and the Soissons 7

3 Soissons window, ca. 1205, stai ned glass, 274 x 157 cm. , Inv. Nos. OA.6006 and 6119, Louvre M useum , Pa ris. (Photo: Paris/ S. P. A. D.E.M .)

window is pl aced in an hi sto ri ca l context. The Ga rdner window is not onl y the fin est exa mple of early thirteenthcentury French stained glass in America, but it also occupies a pivotal pos itio n in the hi story of ea rly Gothi c painting. Grodecki 's arguments for attributing the Gardner window to Soissons remain va lid . His identifi cati on of N icas ius and his sister Eutropia as the saints whose martyrdom is depicted narrowed the provenance to the region of Reims, where the pair were killed by ba rbari ans

in the fifth century; their cult was popular onl y in th at region. He was even able to demonstrate th at other panels, evidently from the sa me window as the Gardner panels, had been acquired in 1905 and 1907 by the Louvre; significa ntl y, one panel there contains the inscription "Eutropi a" (figure 3; L7). 6 Grodecki then showed that the distinctive "antiqu is ing" st yle of this window confirmed an association with the northern and northeastern region of presentday France. Fin ally, he na rrowed the cho ice to Soissons Ca thedral on the basis 8

of ver y close stylistic comparisons with monumental figures in a Jesse Tree window, still in the choir clerestory. The certainty of this judgment is impressive. We can now add to this evidence a nineteenth-century description of the Nicasius and Eutropia window, made in Soissons by the antiquarian Baron Franc;ois de Guilhermy. He visited the Cathedral several times between 1842, when he began his detailed notes on the site, and the 1860's, the period of his last entries. Among the latter, he described scenes in the third window of the first ambulatory chapel that can be matched to panels now in the Gardner and Louvre Museums: On a halo, in thirteenth-century lettering, IO HANNES EVANGELISTA A male saint who appears to be led into prison . A bishop saint and a female saint; three angry soldiers drawing their swords. A woman, a man, a saint who is attacked by a sword, soldiers. Inscriptions. A female saint who is decapitated, S. EVARONEA or EUFROMA; soldiers armed with hatchets and lances. Three scenes which seem to relate to the same subject of burial by a bishop, etc. Twice, angels are shown holding souls aloft in cloths. Two angels carrying crowns. It has to do with a double martyrdom.7

Guilhermy's notes were probably taken from the floor some ten feet below the sill of the window, which prevented him from reading the "Eutropia" inscription now easily visible to us in the Louvre window. Another factor impeding Guilhermy's record was the extensive damage the Cathedral glass had already suffered by the nineteenth century. This would explain why he saw an inscribed halo of St. John the Evangelist, probably part of a large clerestory figure, inserted at the bottom of the window that otherwise contained our Nicasius and Eutropia subjects. 8 The disorder of the glass in the other ambulatory chapel windows

prompted G uilhermy to end his description abruptly: " the rest is confused:' The tragic hi story of Soissons Cathedral explains this confusion. 9 In 15 67, the Huguenot rebels destroyed Soissons' altars and relics and a contemporary account describes them smashing stained glass windows. When the Cathedral was returned to Catholic worship most of the colored glass was moved into the choir. Revolutionary damage is not documented, but in 1815 two powder magazines near the Cathedral exploded, destroying windows in the nave and damaging several in the ambulatory. Between 1817 and 1820, the first restoration apparently incorporated stained glass panels from the nearby Abbey of Braine because it was too expensive to provide Soissons with new colored glass. 10 While Guilhermy saw the results of these devastations, later events which further damaged the Cathedral included shellings by the Germans during the war of 18 70 and bombardments concentrating on the western part of the Cathedral during World War I. There were also later restoration campaigns. The most extensive of these was begun by Edouard Didron who gave Guilhermy the opportunity to view the panels in his atelier, at which time Guilhermy corrected his notes. The work dragged on into the 1890's with commissions to Didron the Younger, nephew and successor in the firm, and then to Felix Gaudin, who underbid Didron for subsequent restorations. The financial accounts indicate some plain colorless glass was supplied in the 18~0's, presumably replacing damaged or confused panels. 11 The narrative windows in the chapels were dismounted in 1882. A good deal of this glass was stored in Soissons, supposedly in locked cases awaiting repair, but other records show that as early as 1884 some of the most beautiful panels were in Didron's Paris atelier. 12 9

Reviewing this history in light of the Gardner and Louvre panels, it is possibl e to envisage some damage to the lower part of the window dating to the Huguenot occupation, which was compounded by neglect, the 1815 explos ion and the first restoration campaign. T hen, sometime between the 1882 dismounting and the restoration of the chapel windows by Gaudin in 1891, the Nicasius and Eutropia window seems to have disappeared from Soissons. Wh ile Gu ilhermy had described seven narra ti ve windows, Gaudin's estimate of 1891 mentions onl y six, including li ves of Crispin us and Crispianus, Gervase, Protase, and Lawrence "etc:' T he date when the window appeared on the open market can on ly be surmised; possibly it was after the younger Didron's death in

1902. A good deal of the lost Soissons glass has resurfaced in collections. In addition to the Gardner and Louvre panels, Grodecki li sted the now-destroyed Virgi n fro m the Soissons Tree of Jesse, acq uired in Paris in 1905 by the Kunstgewerbe Museum, Berlin; a King, also from the Tree of Jesse, in the Pitcairn Collection, Bryn Athyn, Pennsylvania; scenes from severa l sa ints' lives inch.iding saints Crispi n us and Crispianus at the Corcoran Ga ll ery, Washington; 13 and panels from the li fe of Saint Blaisi us at the Musee Marmottan, Paris. Caviness and Raguin have found panels in a later style from Soissons at the Victoria and Albert Museum, London and the Worcester Art M useum, Massachusetts.14 T he heads of two large figures, one with a sword and the facia l type of St. Paul, and the other with the inscription EZECHIEL, entered a private collection in Russia before 1915 and are now in the Museum of Western and Eastern Art, Kiev; 15 these can be identified in Guilhermy's description. 16 Some

more panels in the Pitcairn coll ection were recently attrib uted to Soissons, including two scenes from the life of St. N icho las. 17 Most recently, a panel with two ecclesiastics has been recognized in Detroit. 18 None of these exa mpl es, however, are as coherent and complete as the Gardner and Louvre pa nels. O ur investigation turns next to the reconstruction of the Nicasius and Eutropia window; for this, some account of the saints' li ves is needed . Historica ll y speakin g, we know nothing of the life of Nicasius until his election in 394 as the tenth archbi shop of Reims. Often confused wi th St. Nicasius of Rauen who was also decapitated, St. Nicasius of Reims is relatively unknown . 19 As archbishop, Nicasi us of Reims acquired a considerable reputation as an orator and in 399, he saw the foundation of a church dedicated to the Virgin.7째 According to the legend , all of Nicasius' oratorial eloquence could not turn the people of Reims away from sin . In 403, marauding Vandals appeared. Realizing the barbarians were sent by God as punishment Nicasius did not resist, but instead, put on hi s episcopal vestments and, singi ng hymns, went out to meet the invaders at the gates of the city. There he preached to the barba ri an army, telling them of the love of God and offering himself as a sacrifice for the people of Reims. Unmoved, the Vandals decapitated Nicasius on the spot, but he miraculously continued hi s prayer saying, "Vivafi,ca me, Domine, secundum verbum tuum" (G ive me life, 0 Lord , according to your word). Meanwhile, his sister Eutropia, outraged and unwilling to sacrifi ce her maidenly virtue, attacked the eyes of the chieftain who had killed her brother, and then was martyred herself. The barbarians bega n to slaughter the ci ti zens but stopped upon hearing the

4 Reconstruction of the Sts. Nicasius and Eutropia Window from Soissons, 820 x 160 cm. Letters and numbers correspond to the Ga rdner and the Louvre panels. (Phoromonrage: Beaven and Caviness)

unearthl y no ise of a celestia l army gathering above Nicasius' church. The Vandals were so frightened that they fled, leav ing Reims in peace agai n. GS

The story of the Remois sain ts may be followed in the Louvre and Gardner panels, with Gui lh ermy's text and the medi eva l legend as gu ides. Our reconstru cti on of th e wi ndow combi nes the recognizable scenes from both collecti ons (figure 4 ). Gui lhermy ev identl y recorded his observations from the bottom of the wi nd ow to th e top, the normal sequ ence fo r reading a French stai ned glass window. While he did not describe the compos iti o n of the wi ndow or the positi on of panels in it, cha nges in registers appea r to be prefaced by a capital letter, and fi gures in th e ri ght quadrant seem to be marked off by a semi-colon. Since the !owe t registers contai ned the anom alo us St. Jo hn , we will begi n with the upper ha lf of the second meda llio n. Thi s observation refers to a bishop and a female sain t, then three soldi ers drawing swords; these fill the hemi sphere of a Louvre register (fi gure 4 ; L3, L4). Gui lhermy did not co mment on the architectural setting, but he does cite the proper number of figures. The two quadrants may be interpreted as a single scene, with Nicasius in episcopal vestments, and Eutropia going out to the gates of Reims, as three invaders approach from the other direction. In the third register Guil hermy noted ''A woman , a man , and a saint attacked by the sword ; soldiers;' corresponding to characters in a lower hemicycle of the Louvre window (figure 4 ; Ll, L2 ). This time Nicasius is accompanied by a man who carries his crozier, and perhaps by Eutropia, though the figure has no nimbus. The beheading of Nicasius takes place in front of the city gate. To the right, three more Vandal s storm a hill under an open sky.

The nex t entry begins: " Inscriptions. A female sa int who is decapi tated, S. EVARONEA o r EUFROMA, and soldi ers a rmed with hatchets and lances:' Thi s register clea rl y co rresponds to an upper hemicy cl e, in w hi ch $:EVTRO PIA is still visibl e (fi gure 4 ; L7, L8). A third version o f the city ga te is behind a Vandal wh o brandi shes h is sword as he prepares to behea d Eutropi a. O ne deca pi tated corpse slumps in the fo reground. The sa int has no nimbu s, bu t she is identified by the in scripti on and by a hand with a ma rtyr's crown that reaches out of a cloud . To the right the fo ur Va ndals with spea rs and a hatchet turn away from the scene. Guilhermy then reco rds, " Three scenes, whi ch seem to relate to the sa me subj ect o f buri al by a bishop, etc." O ur understandin g o f thi s comment is compli ca ted by the surviva l o f fo ur such scenes all o f which appea r essenti all y intact (fi gure 4 ; GS, G6, L5, L6 and fi gure 1; G3). The first, the entombment of the bishop sa int, centered in an upper hemi cycl e is one of the most imposin g scenes in the Ga rdner window (fi gure 10). H ere, G uilhermy prob ably mea nt bu rial of a bi shop rather th an by a bi shop. The second shows a bishop's body whi ch is laid on a bi er or altar and watched over by rea ding ecclesiastics; such a vigil scene ought to precede the entombment (L5). The third, its comp anion quadrant, with matching arcade, shows wo men mourning over a covered body on a bi er ; thi s may be interpreted as the vigil o f Eutropi a (L6). The fourth is a Gardner qu adrant with a female sa int lying on a bed w ith her eyes open and is problemati c since it appea rs to be a sickbed or deathbed scene, instead o f the buri al o f St. Eutropi a whi ch would have been mo re appropri ate (figure 1; G3 ). Nea r the top o f the window G ui lhermy described , " Twice, angels are shown

ho lding soul s aloft in cloths;' a substa nti all y complete register in the Gardner series (figure 4; G7, G8). Lastl y, he noted, "Two angels ca rry ing crow ns" and correctl y su mmarized the subject of the window as a double mart yrdom . T hese angels fi ll the tapering arch of the Gardner w indow (figure 4 ; G9, GlO). There are fo ur quadrants of Gard ner panels th at remai n un accounted fo r in our reconstruction accord ing to G uilhermy's text (Gl, G2, G3 and G4). Si nce he referred to o nly two other subj ects at the bottom, apparentl y in one register, he seems to have overlooked an entire med all ion dea ling w ith the early events in the stor y; possi bly this part of the window was boarded up, o r invisi ble behind an altarpiece, o r simply too confu sed fo r a ny subj ects to be recognized. Perh aps, the Gardner panels w hich are unaccounted for may have belonged here. The scene of a woman on her death bed has alrea dy been eliminated fro m thi s ma rtyrdo m sequ ence si nce it ca nnot be Eutrop ia, nor are any hea lings by Ni cas ius recorded. We, therefore, can conclude that the heav ily restored nucleus of this panel ca me fro m some othe( seri es. As Grodecki noted, the martyrdom of a fe male sa int (G l ) is a duplicate o f the subj ect authentically represented in a Louvre panel (Ll) and our exa min ation confirmed th at it contains o nly a few fr agments o f old glass, cleverl y assembled. Ga rdner panel 2 possibly represents G uilhermy's " male saint who appea rs to be led into pri son." St. N icasiu s bends at the shoulders thru sting his head for ward in a position whi ch might have evo ked such a description, altho ugh here he seems to pray at an altar (figure 5). Gui lhermy made no mentio n o f the fi gures of the deacon and the ecclesiastic with the crozier who foll ow the sa int in the present arrangement. The modern

5 Detail of figure 1 (G2 ).

glass in the column between the bishop and the deacon suggests th at the two parts could have been joined by a restorer more recently. Nevertheless, the ecclesiastics fit comfo rta bly under an authentic arch and except fo r the modern head of the man with a crozier, also within the original curved edging of the panel. Surely, they belonged to an upper right quadrant.21 If we ass ume th at Gardner panel 2 does represent an authenti c compos iti on, these fi gures mi ght be recognized as N icasius' accustomed comp ani ons. 22 Their inclu sion in the narrative illustrating pi ous acts before the martyrdom would belong in the top of the lowest medallion. Nicasius might be celebrating mass or consecrating an altar in his newly erected church; the texts mention church building and preaching, as befittin g the apostle of Reims. Grodecki di scounted the possibil-

ity th at this fi gure is the sa int delivering his severed head to the cathedral after the martyrdom because his head seems correctly pl aced between authenti c pieces of blue ground a nd his hands are empty. 23 Al so, a post-m artyrdom scene would have had to occupy the pl ace o f Louvre panel 8 in our reconstruction , displacing the Vandals observing the martyrdom of Eutropia . A surpri sing inclusion in thi s group o f scenes, and absent from Guilhermy's descripti_ons of 1860, is the celebrated group of "the people of Reims" (figure 11). Two hypotheses can be presented to account for this omi ssion. The configuration of the city gate and the fr ame suggest that the composition was intended for a lower right qu adrant, so it might have belonged in the lowest or second lowest medallions. T he fixed gazes and

gestures of amazement could be attributed to the people of Reims greeting N icasiu s or sighting the barbarians. They do not seem to be li stening to a sermon, since such congregations are generall y represented seated. However, like Ga rdner panel 2, thi s scene may be a combination of two fragments put together at the time of resto rati on; the fi gure of the woman linking the crowd and the tower is modern , while the rightmost group o f heads among the crowd is a stop-ga p o f old glass. Most of the blue pi eces above and to the left of the group are new. Styli sti ca ll y, the denseness of the crowd is not typica l of the St. N icasius designer. He spaces hi s fi gures more evenly across the pi cture surface. Thus, it is possible th at this fr agment ca me fro m another Soissons window. In hi s ea rly account of the stained glass in the adj oinin g chapel, Guilhermy noted the presence of Passion scenes and it may be th at the upwa rd glances and astonished gestures denote a group of apostles viewing the Ascension o f Christ. 24 T he Soissons scene resembles other portrayals of the Ascension simil ar to those fo und in the stained glass at Laon and in the Ingebourg Psa lter. 25 However, the telling of sa ints' li ves was often modelled on christologica l iconography, so th at the similarity of this group to the Ascensio n Apostles is not conclusive. Alternatively, the downwa rd gaze of the central fi gure and the abrupt movement towa rd the city gate of the figure to his right, suggest an adaptation to another subj ect such as the people of Reims frig htened by the Va ndals. 26 W hether or not the " people of Reims" frag ment belonged there, it is likely th at N icasius' acti vities occupied the greater part of the lowest medalli on. In the ea rly legends, Eutrop ia was mentioned onl y in connection with her actu al martyrdom; only later was she known fo r hea lin g child ren.27

Since this ea rly thi rteenth -century Soissons win dow is the second extant appeara nce of the N icas ius legend , it is important to note the state of the iconography at thi s time. T he earliest known representati on of St. N icasius is an ivory carvin g dated ca. 900 in the Cathedral o f Tourn ai, showing N icasiu s fl anked by his two companions, Floren ti us and Jocondus. App a rently, he is abo ut to be sla in by the ba rb ari ans and hi s sacrifice is compa red to that of the crucified Christ on the adj oining plaque. Hinkle pointed out th at the incl usio n of N icasiu s' two companions occurred first in a rt, rather th an in the texts, under the influence of the St. Deni s legend. 28 Signifi ca ntly, in the ea rliest N icasius legends, as recorded in the Soissons w indow, no mention is made of N icasius picking up his head and ca rryin g it to the altar, whereas this scene predominates in later artistic examples such as the no rth tower portal at Laon, dated ca. 1225, the Sixtus portal at Reims Cathedral of ca. 1225-30 and o n St. N ica ise of Reims of ca. 124550.29 As Hinkle notes, a number of "ceph alopho re" legends seem to have developed under the influence of the St. Denis legend .Jo The scene of Ni casius bea rin g his own severed head clearly belongs to the later artistic tradition, rather tha n stemming from earlier texts. Overall , the borrowings fro m the St. Denis legend may be viewed as an expressio n of the rivalry between Reims and the grea t Pari sian Abbey over the coronation of the French kings.Ji T he absence of these episodes in the iconography of Nicasius and Eutropi a as it appea rs in the Soissons window suppo rts the view th at it was among the first monumental Gothic treatments of the subj ect. In the small neighboring church of Longueva l a stained glass window dating from ca. 1240 included the Sts. N icas ius and Eutropia sto ry. An ea rly photograph clea rly shows the scene of 14

6 N icholas of Verdun , Flight into Egypt, fro m the shrine of the Virgin, Tournai Ca thedra l Treasur y. (Photo: Cav iness)

Nicasius bearing his head to the alta r, just after the ma rtyrdo m and before the entombment; thus, this later program must have come under the influence of the po rtal progra ms at Laon and Reims.32 Fragments of another w indow of ca. 1245, perhaps from Amiens Cathedral, show St. Eutropi a putting out the eyes of a Vand al, an episode also o mitted at Soissons. 33 Such expansions are common in hagiographical development; in the thirteenth century a love o f story-telling was matched by the need to fill ever larger Gothic lancets with na rrative scenes. The Soissons window must have parti cip ated in this iconographic development and may claim some importance in populari zing the Remois sa ints. There a re a lso indicatio ns th at the style of the Soissons window was semin al, altho ugh the chronology of analogous works is constantly subj ect to rev ision. Several years ago G rodecki grouped together the Nicasius window, the Passion window in the east wall of the choir of Laon Cathedra l (fi gure 9) and the Na ti vity w indow of the Collegiate Church of Saint-Quentin , all in the Aisne. In addition, he associa ted the St. Eustace window in the nave of Chartres Cathedral with an ateli er fro m this region.34 To this group may be added the magnificent w indows in the chapel of the Chateau of Baye (fi gure 12), and a fragment of a Crucifix ion window in the Abbey Church of O rbais, both near Reims, as well as some of the glass in the

Ca thedral of Troyes to the south. 35 The style sha red by this group has been characteri zed as "antiquising" in the sense th at it comb ines a certa in classica l harmony and equilibrium in the compositions wi th volumetric for ms and cl in ging draperies th at seem to derive fro m Roman sculptu re. T he group also shares a reperto ry of iconographi c models, fi gure t ypes, and o rn amental borders and grounds, suggesting th at a single large ateli er may have been involved . T his raises the q uesti on of whether a consistent development might be traced th rough its producti ons, though such a premise has to be treated with caution.36 Comparisons with works in other media have been used to expl ain the appearance of this style in stained glass. Grodecki rega rded the Laon Pass ion wi ndow as the earli est exa mple of this style in glass .37 Florens Deuchl er dated this window "after 1205;' on the basis of the buildin g hi story o f Laon and also saw in it ev idence of the iconograph ic and stylistic imp act of the Ingebo urg Psa lter (fi gure 7).38 If Deuchler's dating of the Psa lter to the last decade of the twelfth century, and its loca li zati on near Anchin and Tournai in the north are correct, this manuscript fo rms an impo rtant link between the style of the fa mous metalsmith , N icholas of Verdun , the glasspaintings of the Aisne, and the court. It may even be rema rked that a number of the pl aces in whi ch Q ueen Ingebourg was confi ned during the period of her repudi ati on by Phili p Augustus, between 1193 and 1213, co incide w ith sites associa ted with N icholas or the Soissons glass shop: Cysoi ng near Tournai, Fervaques nea r Saint-Quentin, Soissons, and Etampes near Chartres. 39 In 1205 Nicholas signed and dated the great shrine of the Virgin which is still preserved in the Cathedral treasury in Tournai (fi gure 6).40 Though somewhat

7 f1110111/1111<•111 of CIm r and Three 1'1<1rvs <.1t the Tomb. lngehourg p,Jlrcr, ,\lu~ee ondc, hJnr1ll), M . 169), f.2 ' ·

in the sense th at arti sts did not concern themselves w ith understanding physica l th ings in the way th at Nicholas had . The chronology of o ur glass paintings should fo llow this general anti-classicizing trend. But in fact, the tendency toward more abstract fo rms may have been accelerated in large Gothi c buildings where the sca le encouraged simplificati on of detail s such as d rapery fold s. Th e differences amo ng the glass of va ri ous sites have to be understood within the medium of glass pa inting; it is difficult to im agine the ateli er that designed the Laon Passion window springing, fu ll blown, out of the Ingebo urg Psa lter scriptorium . Its achi evements should be seen in the context of the gradua l evolution of stained glass. T he exq uisite qua lity of the Laon painting may stem from the adj acent In fa ncy of Christ wi ndow, dated by Deuchler before 1205. 41 A comp arison of the Virgin of the Flight into Egypt fro m the Tournai shri ne with fi gures in the scene with three Marys at the tomb in the Ingebourg Psalter is instructi ve (figures 6, 7). For here, the pl asti c surface o f the relief seems to be painstakingly mimicked in the painting. Not only do the fo lds express the volume o f the figures, but the contours also persuade the vi ewer th at the mantles turn around the fi gure. Allowin g fo r the smoothing out of the contours by the leads in gl ass, the female mourner on the right of the Entombment of St. N icasius offers a close comp arison (fi gure 10). Her shoulder and hip a re clea rly indi cated by highlights, and the curves of her back and knee are accentuated by ti ny rucks like those on the back of the angel on the tomb ; the edge of her mantle is folded back into a rope-like configurati on, a deep looping fold suggestin g a twisting motion similar to th at of the woman on the right in the Psalter. The bolder treatment of the swinging skirts in the entombment group are paralleled in the

Psa lter's Entombment of Christ (fi gure 7). Fi gure painting of compa rable qu ality is seen in the Laon window, illustrated here by Chri st ca rr ying the Cross (figure 9); th e mo urning woman on the left is simil arly draped, a nd although the fo lds seem rather mechani ca lly distributed over her hip and thi gh, tendin g to fl atten the contour, her stride is more convincingly rendered th rough the carefu l modelling of the skirt. The peopl e of Reims prov ide a closer co mpari son to the In gebourg Psalter in the minu te renderin g of fo lds and th eir distribution (fi gure 10). Clea rly, the Laon and Soissons examples are so related th at they mi ght be closely contempo raneous. An ea rl y date fo r the Laon and Soissons glass find s support in th e somewhat dry and sketchy styles of Saint-Qu entin and Baye; the M ary M agdalen of the No li me Tangere in Baye, fo r exa mpl e, lacks th e physical power of the mo urners fro m Laon and Soissons and her sho ulder is fl attened by the regular sweep of the folds whi ch ignore the upper a rm (fi gure 12).4 2 In thi s case the chronology fi nds some confirmati on in the building dates, since Baye was prob ably constructed between about 1205 and 1215/20 and Saint-Quentin after 1212. 43 T he bolder, simplified border designs and the geometri c grounds of Laon and Soissons, which contrast with th e rich foliage in the other two sites, may be seen as adaptation s to the scale of these buildings, although neither is present in the St. Eustace window at Chartres . T he comparative chronology of the La on and Soissons glass wi ll not be easy to establish. O ther remnants fro m Soissons suggest the p articipation of severa l hands, perhaps over a period of time. The St. Giles panels preserved in the Cathedral are more miniaturesque in rendering than the N icasius window; the fi gures are mo re crowded and given

to more expansive gestures. T hey may belong to an ea rlier phase comparab le to that of the Infancy and Theophilus windows in Laon . T he slower movement and clearer spacing of the figures in the Nicasius window, and in the Crispinu s, Blaisius and Nicholas fragments, indicate a response to the monumental scale. The Nicasius window from Soissons and the Passion window of Laon are comp arable in composition, ornament and colors; each is composed of fo ur large medallions, with half medallions at the top and bottom, divided into quadrants; in each, most scenes fill both quadrants in a register (figures 9, 10). The principal differences are in the use of qua trefoils with figural subj ects at the junctures of the large meda llions at Laon, instead of the foliate bosses of the Gardne r window, and the use of closely crowded figures in the Laon Passion scenes. At Soissons, the tendency toward clarity and simplification, already noted in the painting, mi ght be taken as an indication of a later date, but it could equally be argued that the Laon painters were influenced in their composi tions by Soissons. Clearly, the dates traditionally assigned to Soissons need to be re-examined. Grodecki dated the Soissons glass to the years 1212-23. 44 This dating took into account the inscripti on in the choir which recorded its being put into use in 1212, and the indication in the documents th at King Philip Augustus (11801223 ) gave money for stained glass. Recently Carl Barnes suggested that a good deal of the glass was already in place in 1212, and accord ingly dated the stained glass in the ambul atory chapels to 1208-9 or before. 4 5 The construction of the Gothic chevet was begun in 1197/98, a date th at would even allow glass to have been install ed in the chapels before 1205 and perhaps precede the Laon Passion window. 4 6

An early date finds some confirmation in the scu lpted bosses of the south transept. Documents show that construction began in 1176 and finished about 1190.47 The central boss in the chapel that opens off this transept, to the east, depicts Angels with the Lamb of God (figure 8). The long swath of cloth draped over their shou lders already shows the ridge and trough fo lds of the Muldenstil, though their robes fall in stiffer nested folds. In contrast, a small figure crouching among vi nes on a boss in the tribune, adjacent to the cho ir, has a bloused tunic and soft fo lds curv in g over his thigh s that are analogous to the late work of Nicholas of Verdun; it may date from the later choir campa ign. Both sculptures document the presence in Soissons, around the turn of the century, of the sty le which was the basis for the glass paintings. It remai ns for us to bring together these strands of style and iconography in order to see the Soissons window in its original context. Its possible association with royal patronage has been touched on, but unlike the "royal" Tree of Jesse in the clerestory, there is nothing in the subject of the ep iscopal sa int of Rei ms to suggest court patronage. Most of the saints celebrated in the Cathedral windows, like its dedication to Gervasi us and Protasius, com memorated its ecclesiastical ties. The recurrent scenes of violence in the central portion of the Nicasius window, where the Vandals take on the appearance of thirteenth-century infidels putting Christian martyrs to the sword , can best be understood in li ght of the crusades, in which N ivelon de Cherisy, bishop of Soissons from 1176 to 1205, participated. In the year 1200, Christians like Bishop Nivelon de Chfrisy found themselves besieged by troubles on many fronts .48 The Latin Kingdom of Jerusalem had fallen by 1189. Despite recurring efforts 18

8 Angels with the Lamb of God, central boss, lower chapel of the south transept, Soissons Cathedral. (Photo: Gaud )

9 Christ Carrying the Cross, detail of the Passion window, stained glass, Laon Cathedral, Aisne. (Photo: Pastan)

to aid the Chri stian forces in the east, nothing seemed to stem the continuing advances of the Moslems. Philip Augustus was accompanied by a large force when he participated in the Third Crusade. Richard the Lionhearted led the most successful campaigns but even he was unable to recapture Jerusa lem. In 1192, a treaty with Saladin allowed Christians free access to the H oly Sepulcher and acknowledged their authority over a few remaining coastal towns, but the True Cross was not returned. To Christians such losses were confusing. If God was on their side how could he wi sh that unbelievers rule over the sacred sites in the Holy Land? It could only be interpreted as punishment for sinful living in the Christian world. Against this background, Bishop Nivelon responded by pledging himself to the Fourth Crusade. At least as prophetic of doom to men of the middle ages were the natural disasters preceding the end of the century. 49 Floods, fires and famine claimed such toll th at prices for food rose to exorbitant heights. Continued shortages in 1197-98 prompted Innocent III to comment, in a letter to the Bishop of Paris, that such events were attributable to the " flagellum Dei" punishing the people of Philip Augustus for his illegitimate repudiation of Ingebourg of Denmark. If this were not enough, Innocent closed the churches of the kingdom forbidding them to celebrate Mass. Nivelon, him-

self, was instrumenta l in the negotiations that finally absolved the interdict in 1199. Intern ally, the Church was besieged by the hereti ca l doctrines of the Albi gensian sect, especially strong in the south , but such troubles were not unknown in the north. In 1204 at Braine, nea r Soissons, a famous painter ca lled N icholas was burned as a heretic in the presence of the King. 50 Viewed in thi s context, the commission of a stained glass wi ndow dedicated to St. Nicasius, Bishop of Reims, may have been a recognition by Bishop Nivelon of Soissons th at he too li ved in.challenging times. Bishop Nicasi us is pictured confronting the "flagellum Dei" in the guise of unbelieving Va ndals. N icasi us offered himself as a sacrifice for the sa lvation of his people. The legend says th at God acknowledged the actions of this one good man and sent a heaven ly host that drove away the invaders. Bishop Nivelon too, must have fo und the contemporary threa ts to Christianity an omen of God's dissatisfaction and a cause for great concern. For him the Va ndals symbolized Sa racens, famine, flood and fire, and heretics. Nivelon's decision to join the Crusade in 1202 was a commitment that mi ght result in a death like that of his sainted predecessor. Nivelon's return from the battle against Constantinople with many cherished relics may have been interpreted as a heavenly reward for 19

10 Entombment of St. Nicasius, deta il of figure 1 (GS and G6).

11 People of Reims (?), detail of figure 1 (G4).

12 Noli me Tangere and Majesty, Chapel of the Chateau of Baye, Marne. (Photo: Paris/ S.P.A.D.E.M.)

his actions. In this context, the program of the window is best viewed as a petition by Bishop Nivelon to the sainted Nicasius, stressing above all their similar state of siege by hostile forces. A date for its commission before Nivelon went on Crusade in 1202 would be appropriate but it could also have been presented as an offering of thanks after his return in 1205. In summary, our reconsideration of the Gardner Museum Sts. Nicasius and Eutropia stained glass has enabled us to present a reconstruction of the window in which the sequence of episodes is derived from an analysis of the Nicasius iconography and the nineteenth-century description of the glass by Guilhermy. His observations also allowed us to identify definitively the provenance of the window as Soissons Cathedral. Underly-

The authors are grateful to M. Jean Ancien of Soissons for supplying correct dimensions of the Cathedral windows, and to Mme Fran<;oise Perrot of the Centre International du Vi trail in Chartres for preliminary restoration charts of the panels in the Louvre, which will be included in her forthcoming catalogue

ing our investigation was an examination of the glass which demonstrated that about 60 % of the Gardner window consists of ancient pieces. This high proportion of thirteenth-century glass provided additional material for the study of related monuments with respect to the variations of the classicizing style around 1205. We doubt that style comparisons alone will clarify dating problems since many factors seem to promote change. The cultural climate around Soissons was one such stimulating factor and the large scale of the chevet was another. The Gardner window is an early example of the Sts. Nicasius and Eutropia legend, and part of a novel program in the medium of stained glass. Such innovative work may have been carried out at the direction of Nivelon de Cherisy, Bishop of Soissons, or commissioned in his memory. The Soissons window may now be recognized as a pivotal achievement. Madeline H. Caviness, Professor of Art History Marilyn M. Beaven Tufts University Elizabeth C. Pastan Brown University

of stained glass in Parisian collections. Mike Quan has helped with typing and photography. Deborah Gribbon has supported the project from the beginning by providing ladders and photographs and access to the Museum files .

1 Museum archives, Inv. No. C28s2. Also, H. D. Cater, Henry Adams and his Friends: A Collection of his Unpublished Letters, Boston, 1947, 585. 2 T he St. Denis attri but ion is still menti oned in G. W. Longstreet, General Catalogue of the Isabella Stewart Gardner Museum, Boston, 1935, 258, 259 and G. L. Stout, Treasures from the Isabella Stewart Gardner Museum, 1969, 198. See Adams' am using June 24, 1906 letter in the Museum archi ves and Ca ter, 586, 587, in whi ch Adams not onl y mentions this provenance, but even advises M rs. Gardner to visit the dea ler in disguise ("incognita") so as to be given a fair price. 3 L. Grodecki , "Les vitraux soissonais du Louvre, du M usee Marmottan et des collections americaines;' Revue des Arts, X, 1960, 163-178. Also ea rlier, "Un vi trai l de membre de la cathedr ale de Soissons;' Gazette des Beaux-Arts, XLI II, 1953, 169-176. T he latter will soon be rep rinted in a collection of Grodeck i's papers edited by Catherine Grodecki . 4 See the summary of C. E Ba rnes, Jr:s unpublished d issertation, ("The Archi tecture of Soissons Cathedral: Sou rces and lnAuences in the Twelfth and T hirteenth Centuries;' Columbi a Uni versity, 1967) in the cata logue, Radiance and Reflection: Medieval Art from the Raymond Pitcairn Collection, the Metropoli tan M useum of Art, New York, 1982, 138. Also C. F. Ba rnes, J r., "The Location of the 'Sa inte-Chapelle' Stained Glass in the Cathedr al of Soissons;' Art Bulletin, Lill, 1971, 459, 460.

5 T he charting of resto ration is an essentia l pa rt of cata loguing medieval glass; such charts have been publ is hed in the Corpus Vitrearum series since 1958. T he method we used, mak ing a rubbin g of the leadlines of each panel fro m the back and notin g repairs o f va ri ous d ates as well as retouching of o ri ginal paint, has been used at Ca nterbur y Cathedral. 6 L. Grodecki, 1960, 165, no. 15 credits M . F. Meyer-Chaga ll and]. H ay ward with this discovery. A February 1957 note by Dr. H ayward does appea r in the Ga rdner archives. H owever, Orin Skin ner, secreta ry to Charles J. Connick, had made this observation on Sept. 14, 1928, acco rdin g to the fil es . 7 F. de Guilhermy, "Notes sur di verses localities de la France;' XVI, Pa ris, Bibliotheque Na tionale, nouv. acq. ms. fr. 6109, fo l. 257. M lle. Jeanne Vinsot fi rst connected G uilhermy's text with the Ga rdner window and shared her observa tions with Caviness . The text was later printed, with some inaccuracies, in J. Ancien, Vitraux de la cathedrale de Soissons comme on Les voyait entre 1817 et 1882, Soissons, 1980, 31, 32. 8 T his piece has not as yet come to light in collections, although several other large fi gures seen by Guilhermy in Soissons can be identified, e.g. Jacob in the Pitcairn collection, see Radiance and Reflection, 146, 147. 9 For a concise history o f Soissons Cathedr al see the text and foo tnotes in M . H. Caviness and V. C. Raguin, "Another Dispersed Window fro m Soissons: A Tree o f Jesse in the Sa inte-Chapelle St yle;' Gesta, XX, 1981, 192194, and Radiance and Reflection, 138-141. 10 Paris, Archi ves Na tio nales, f' 9 7887 contains reports fro m 1815-16 documenting the da mage and proposing repairs and replacements and corrected estim ates for colorless glass. T he use of glass from Braine was repo rted later, by Gui lhermy among others.

11 Pa ris, Archives Na tio nales, MS F 19 7888, 1865-70. 12 Archi ves, MS f' 9 7889, correspondence of 188 4 and 1889. 13 In additio n to the 1953 and 1960 articles by Grodecki , see P. Verd ier, ''A Stained Glass fro m the Ca thedral of Soissons;' The Corcoran Gallery of A rt Bulletin, X, 1958, 4-22. 14 Cav iness and Raguin, 91-98. 15 X. Muratova, " Deux panneaux inconnus de vitraux fra n~a i s du XIIIe siecle au Musee de Kiev;' Revue de /'Art, X, 1970, 63-65. 16 Guilhermy, ff. 257, 258. 17 Radiance and Reflection, cat. nos. 51, 53, 54, 137-147. The Nicholas panels have been given to the Metropolita n Museum o f Art. See also the fo rth coming article by S. Childs, "St. N icholas Panels fro m Soissons;' in Metropolitan Museum of Art, Studies on Medieval Stained G lass: Selected Papers from the X lth International Colloquium of the Corpus Vitrearum (Co rpus Vitrearum, USA: Occasional Papers I) New Yo rk, in press. 18 Detroit Institute of Arts, Inv. No. 59.34, 73 x 74 cm. 19 Fo r the most authoritati ve text on St. N icasius of Reims see A nalecta Bollandiana, I, 609-613 and 11, 15 6, 157 and the useful discussion in G. M a rlot, Histoire de la ville, cite, et universite de Reim s, I, Reims, 1843, 575 607. For St. N icasius of Rouen, see Vies des Sain ts, X, 1952, 340-343.

20 As Ma riot notes (I, 579), this was an unusual dedication at a time when the majo rit y of churches were dedicated to martyrs; after all , the question of the Virgin's full y human and fu lly saintl y status was not officially settled un til the Council of Ephesus in 431. 21 Fo r Gl the restorers may have chosen an upper left quadrant fo rm at to complement the existing frag ments of G2, and perh aps to replace the unrelated halo of St. John . 22 See below, no. 27. 23 L. Grodecki , 1960, 168. The scene did appea r in the nea rby church of Longueval, see no. 32. 24 ''A legend in little sub jects completely fill s one window, there one recognizes many subjects of the Passion, and the scene of the disciples at Emmaus;' Guilhermy, " N otes;' f. 257. 25 For the representation in the lngebourg Psalter, see F. Deuchler, Der Ingeborgpsalter, Berlin, 1967, pl. XXVI . See also the copy of a Rhenish manuscript of about 1195, Herrad of Landsberg, Hortus Deliciarum, ed. A. Straub and G. Keller, New York, 1977 (reprint), pl. XL, where the group of disciples on the right includes the gestures of the hand to the brow and the arms fo lded across the chest. 26 The posture of the man on the ri ght, whose head is missing, has a pa rallel in the crowd acco mpanyi ng Christ ca rr ying the Cross in the lngebourg Psa lter, Deuchler, fig. 30. 27 O n the cult of Eutropi a see M arlot, 111, 33 4. 28 W M . Hi nkle, The Portal of the Saints of Reims Cathedra l: A Study in Medieval Iconography (Monographs on Archaeology and Fine Arts, XIII), New York, 1965, 16, 20, fig. 12.

29 See above no. 19 on Nicasius legends and also WM. Hinkle, 14-22. 30 WM. Hink le, 15 . The embellishment of the speaking head has a similar derivation and was even attached to the story of St. Pau l that was gathered into the Golden Legend ; see E. Colledge, "Ceph alologie: A Recurring Theme in Classical and Medieval Lore;' Traditio, XXXYII, 1981, 418. 31 Philip Augustus was crowned in each church in 1179 and 1180 ; see Alexand re Le Noble, Histoire du sacre et du couronnem ent des rois et reines de France, Paris, 1825, 15 6. 32 The window was destroyed in 1917. On Longueval see C. Givelet, " Longueval ;' Bulletin de la Societe historique de Soissons, 1887, 103-106; he corrected the fifteenth-century dating sti ll given in the summary in L. Reau, l conographie de L'Art Chretien, 111, 2, Paris, 1959, 974 . For an illustration of the Longueval windows, see E. Moreau-Nelaton, Les eglises de chez nous: arrondissement de Soissons, 11 , Pa ris, 1914, fig . 465. L. Grodecki, 1960, 165, supplies the 1240 dating. 33 Radiance and Reflection, no. 69, 184-188. The surviv ing companion scene shows the saint curing children. 34 L. Grodecki, "Le Maltre de Saint Eustache de la cathedra le de Chartres;' Gede>ikschrift Ernst Gall, ed. M . Kuhn and L. Grodecki, Berlin, 1965, 171-194.

35 D. Daguenet, "Lachapell e du Chateau de Baye et ses vitraux;' Congres archeologique de France, CXXXV, 1980 : 627-646; N. R. Kline, "The Stained Glass of the Abbey Church at Orba is" (Ph.D. dissertation, Boston University), An n Arbor, 1983, 100, 101, 151-156; J. Lafond, " Les vitraux de la cathedra le Saint-Pierre de Troyes;' Congres archeologique de France, CXlll, 1957, 41-44 ; the Troyes glass of this period is the subject of a dissertation for Brown University by Elizabeth C. Pastan. 36 See the comments by Willibald Sauerlii nder o n the chronology of sculptures in a comparable style at Reims: " Les statues roya les du transept de Reims;' Revue de /'Art, XXVll, 1975, 12-14; he dated the gro up slightly before or after 1230, 28. 37 L. Grodecki, 1965, 188-190. 38 F. Deuch ler, 149-167. 39 These facts were reviewed in relation to the Psalter and glass, but without suggesting a persona l connection between the atelier and the Queen, by L. Grodecki, " Le Psautier de la Reine lngeburge et ses problemes;' Revue de /'Art, V, 1969, 73-78. 40 Metropolitan Mu seum of Art, The Year 1200: 1, The Exhibition, New York, 1970, no. 100, 92-94. 41 F. Deuchler, 149-157, fig. 210. 42 For Saint-Quentin , see L. Grodecki , 1965, figs. 112-117, and M . H . Caviness, The Early Stained Glass of Canterbury Cathedral, Princeton, 1977, figs. 47, 62, 65. 43 D. Daguenet, 644, pl aces the glazing of Baye before Saint-Quentin, and notes th at it is neither so monumental as So issons no r so strongly painted as Laon .

44 L. Grodecki, 1953, 175. 45 See above, no. 4. 46 C. F. Barnes, Jr., "The Twelfth-century Transept of Soissons: The Missing Source for Chartres?;' journal of the Society of Architectural Historians, XXYIII, 1969, 9. F. Deuchler's date of ca. 1205 for the Tree of Jesse window in the apse clerestory is too early for the construction, however, since Barnes' examination of the masonry has led him to suppose that the upper levels were not finished in 1212 ; he dates the clerestory glass about 1215, whereas Grodecki preferred a date at the very end of Philip Augustus ' reign. L. Grodecki, 1953, 171, no. 24, see also F. Deuchler, 156, no. 264. 47 C.F. Barnes, Jr., 1969, 10. 48 A. Bridge, The Crusades, N ew York, 1982, 181-227. 49 A. Luchaire, Social France at the Time of Philip Augustus, trans. E. B. Krehbiel, New York, 1957, originally published 1912. 50 According to a chronicle of Laon, Bibliotheque Nationale, MS. lat. 5011, f. 160, ed. Alexander Cartellieri, Chronicon universale anonymi Laudunensis (1154-1219), Leipzig, 1909, 62, 63.

1 Apoca lypse window Stefa no da Pand . ~ ca 1420 . mo, M il an x 61 ' stained glass, 112' cm., Inv. No. C30s7. Gothi c Room, Isabell a ' Stewa rt Ga rdner M useum .

Stained Glass from Milan Cathedral in the Isabella Stewart Gardner Museum

2 Apocalypse window, "Et unus de senioribus;' Stefano da Pandino, Milan Ca thedral, ca. 1420, stained glass, 114 x 61 cm.

3 Apocalypse window, "Et libri aperti;' Stefano da Pandino, Milan Cathedral, ca. 1420, stained glass, 113 x 61 cm.

Among Isabell a Stewart Gardner's ea rl iest acquis iti o ns were the six panel of stained glass that are now displayed on the third floor of her Museum. 1 The glass has been described as Swiss, Flemish and German. In fact, it comes from Milan cathedral. This grea t monument was begun in the fo urteenth centu ry but work on it continued until the completion of the west fa<;ade in 1904. Conceived in th e northern Gothi c sty le, the cathed ral provides an intere tin g example of Ita li an stai ned glass decoration. The six panels at Fenway Court illustrate the most important moments in the histo ry of the cathedra l's sta in ed glass, from its origi n in the fifteenth centur y to its wholesale restoration by the Bertini family in the nineteenth century. The oldest panel (fi gure 1) comes from the central apsi dal window, ca lled th e "raza" window o r window "of the littl e dove" because the rose window sy mbolizes the in signi as of the Visconti, the dukes of Mil an. In 1416, when th e deco rative stone work of the three windows in the rear choir was not yet fini shed, the cathedr al stewards prepa red the iconographical program for the stained glass: the history of man , proceeding from the Old Testament (north window) through the New Testament (south window) to the Apocalypse (central window). They gave the commission for the stained glass to the painters Franceschino Zavattari, Stefano da Pandino and Maffiolo da Cremona who continued the system already in use in the cathedral's windows of an armature of rectangular panels (113 x 60 cm.) with scenes explained by an inscription at the bottom, and trefoils and roses for the ogival part of the window. By comparing the few surviving panels by the earliest glaziers with Maffiolo da Cremona's sculptural ornamentation of the Apocalypse window and

Franceschino Zavattari's frescoes in the cathedra l of Monza we were able to identify, by process of elim in ation, the hand of Stefano da Pandino in the Apocalypse window. 2 Working at the ca thedral between 1416 and 1422, Stefano da Pandino created a sma ll group of panels, even of which still survive in situ and illustrate the fifth, sixth and seventh chapters of the Apocalypse-that is, St. John's first vision of God a nd the twenty-four elder . O ne of the panel at Fenway Cou rt belongs to thi s group but iconogra phica lly precedes the glass still in situ. It represents the first moment of St. John's vision described in the fo urth chapter of the Apocalypse: God on a throne surrounded by twenty-four elders and four crea tures (a li o n, a man, an ox and an eagle) with seven lamps (sy mbolizing the seven spirit of God ) burning before the throne. So the lost in scription for thi s panel sho uld be the fo ll ow ing verse: "Et septem lampades ardentes ante thronum." The st ylistic analogies between thi s panel and the others painted by Stefano are cl ear. In fac t, although most of the figures were " restored " in the nineteenth century, the compositional scheme of the Boston panel is the sa me as that of a panel still in the cathedral which illustrates the fifth chapter of the Apocalypse and is inscribed : "Et unus de senioribus" (figure 2). The twenty-four elders in the two panels a re, in stylistic terms , identical. We can find further analogies with other surviving panels of the series such as "Tenentes quatuor ventus" and "Et libri aperti" (figure 3 ), the latter of which also has an ogival arch with a scale motif. The Gardner panel is of further interest as an example of Pompeo Bertini 's "historic restoration" of stai ned glass. In 1833 Giovanni Bertini, Pompeo's father, 27

4 Derai l of Apoca lypse wi ndow, " Primu s tuba cecincr;' Stefa no da Pandi no, M ilan Cathedral, ca. 1420, stai ned glass, 114 x 62 cm. 5 Se raph , Stefa no da Pandino (l) , carved in the left spl ay of the rose w indow, Mi lan Cathedra l.

made a contract w ith the cathedral stewards to resto re the stained glass in the rea r cho ir. Two yea rs later he painted ex no110 fi ve panels to repl ace old glass from the Apocalypse window and , in 1838, created fo rty-eight new panels for the New Tes tam ent window on the conditi on th at he would repl ace th e o ri gin al panels when they were restored . But thi s never happened . In fac t, Bertini resto red very few panels, preferrin g to pai nt new ones. So the ori gin al stained glass panels were piled up in a wareho use where they remained until 1869 w hen the ca thedr al stewa rds in structed Bertini 's sons, Giuseppe and Po mpeo, to exa mine, inventory and restore th e glass.

approach, Po mpeo Bertini copi ed Stefa no da Pandino's st yle with great precision a nd sensibilit y when repa inting the broken fr agments of panels or those depri ved of grisaille. H e also made " integrative restor ati ons;' creating mo dern panels or adding new pieces, carefull y drawn and interpreted, to panels where onl y a few o rigin al fr agments remained . Pompeo was helped in hi s work by a pri est, Zerbi. A grea t scholar of hagiography, Zerbi was able to re-o rder the panels showing scenes fro m the li ves of sa ints. In 1871 he reorgani zed the cycle of St. Ca therine of Alexa ndri a, in 1874 th at of St. Catherine o f Siena, and by 188 4 th at of St . John of Da mascus.

Of the two brothers, Po mpeo is the mo re important. H e, like Luca Beltrami , was an exponent of " histori c restorati on." Beltra mi was acti ve in the sa me yea rs at the cathedral and proposed a model fo r the still unfinished fa<;a de. In fac t, he modifi ed the proposal of G uiseppe Brentano, the win ner of the 1881 competiti on fo r the cathedral fa<;a de. Beltra mi 's approach was based on the study of documents and the ca reful analysis of the medi eva l structural and decorati ve elements of the M il anese cathedra l. In a manner simil ar to that of Beltrami, but qu ite d ifferent fro m his father's

The resto ration in the Ga rdner panel revea ls how sensiti vely Po mpeo paraphrased the angels painted by Stefano da Pandino. Typica l of thi s artist's st yle are the creased drapery on the slender shoul ders between po inted wings, the incisive strokes and the odd hair style. These features a re visible not o nl y in Apocalypse panels such as th e "Primus tuba cecinit" (fi gure 4), but in some of the angels ca rved in the spl ays of the "raza" window which were pro babl y designed by Stefa no da Pandino (fi gure 5 ).

6 St. John o f Damascus window, Niccolo da Va rallo, Mil an, after 14 80, stained glass, 11 2 x 61 cm. Inv. No. C30s24, Gothic Room, Isa bell a Stewa rt Ga rdner Museum .

7 St. John o f Damascus window, N iccolo da Vara llo, Mi lan, after 1480, stained glass, 112 x 61 cm. Inv. No. C30s25, Gothi c Room, Isabell a Stewa rt Ga rdner Museum .

8 St. john o f Damascus wi ndow, N iccolo da Va rallo, Mil an Cathedral, afte r 1480, stained glass, 113 x 60 cm.

The proto-Renaissa nce peri od of stained glass producti on is documented by three panels in the Gardner M useum . Two of these have been identifi ed by Marchini as scenes fro m the story of St. Eligius, painted by N iccolo da Varallo for the goldsmith 's corpo ration (figures 6, 7). 3 The auth or of th ese pa nels is wi tho ut do ubt N iccolo da Va rallo, but they come from the window of St. John of Damascus, painted fo r the chemist's corporati on. In fact, the subj ects could belong to ei ther series; it is the style th at is the disti nguishing element. Niccolo da Va rallo's st ylisti c development corresponds to

th ree periods. The first is recognizable in a group of panels pai nted after 1480 for the St. John of Damascus window. The surviv in g panels of the St. Eligius window, painted before 1486, represent the second period. The remain ing panels from the-St. John of Damascus window, pai nted between 1486 and 1489, conclude the activity of the painter. Although the Boston panels are restored, the narrowness of the architectural wings and the static, awkward quality of the figures suggest an attribution to the fi rst phase of work on the St. John of Damascus window (figure 8). 31

9 The Washing of the Feet, diptych, Antonio da Pandino, Mi lan Cathedral, ca. 1480-90, stained glass, 112 x 61 cm.

Marchini recogni zed the third p anel painted durin g the same period as th e _ right secti on of the d ipt ych The Washing of the Feet (fi gures 9, 10)4 and confirmed the attributi on to Foppa that had been proposed for the New Testament cycle as a whole. s H owever, in li ght of the recent reattribution of thi s cycle to Antonio da Pandino, son of Stefano, 6 this panel mu st be ascribed to him as well and dated

1480-90 . The so-ca ll ed hea d of Chri st, a contemporary but extra neous piece, poses an interesting attributi on problem. In fac t, the fragment represents the hea d of a sa int wearing a zucchetto or sk ull ca p and framed by a large halo. Although . partially obscured, the curve of a crozier is still visibl e. Thus, the fragment represents the hea d of a bishop sai nt. The only stained glass window dedi cated to a . bishop is that of St. Ambrose, for which ten panels were painted in 1483 by Agostino de'Motti s, son of the fa mou s Cristoforo de'Mottis.7 The attnbut1o n to Agostin o de'Mottis is confirmed by a comparison between this hea d and those of Sts . Gervaso and Protaso in the six th chapel of the Certosa di Pavia, painted by Agostino during the same penod (147~-89) . Another, indirect con?rmation ca n be deduced from the co incidence of the fo ll owin g fac ts and dates. The Gardner panel was acq uired in 1875, the same year th at th e Milanese Fine Arts Commi ss ion judged the St. Ambrose panels too damaged to be restored. Thi s opini on was repeated in the report of the cathedral's management to the Department of Public In struction , written in 1889, after Pompeo Bertini had obtained permi ss ion to substitute the origin al panels with a new window th at he himself had painted. At the sa me time, around 18 87, he applied himself to the restoration o f the damaged panels of other windows, those of the New

Testament included . Whi le the Fine Arts Commi ss ion's report of 1875 indica tes that the old St. Ambrose panel s still existed, the 1889 repo rt of the cathedral's management suggests that the panels had disappeared ("in antico . quella vetrata esisteva," " in o ld time this stained glass existed"). Thus, it appears th at Pompeo used the panels that were " too damaged " to be restored to replace the broken pieces in some of the panels of the New Testament windows. The newly-restored Washing of the Feet was probabl y sold, if not by Bertini, then by someone in hi s workshop.

10 Th e Washing o f the Feet, diptych, Antonio da Pandino, Mil an, ca . 14 8090, stained glass, 11 2 x 61 cm., Inv. No. C30s8, Gothic Room, Isabell a Stewart Gardner Museum.

11 Ruth and Boaz, Old Testament window, Co rrado Mochis, M il an, ca. 1549-57, stained glass, 11 2 x 61 cm., Inv. No. C28e17, Chapel, Isa bell a Stewa rt Ga rdner Museum .

12 The Judgement of Solomon, O ld Tes tament w in dow, Giorgio d' Anversa, Mila n, ca. 1544 -5, stained glass, 11 2 x 61 cm., Inv. No. C28e 18, Isabell a Stewa rt Ga rd ner Museum.

13 Deposition from the Cross, New Tes tament window, Gio rgio d ' Anversa, Milan Ca thedral, ca. 1544-5, stained glass, 11 2 x 61 cm. 14 Apocalypse window, " De ore spiriti quis poterit pro ea;' Giorgio d' Anversa, Milan Ca thedral, ca. 1544-5, stained glass, 115 x 16 cm.

The last two panels at Fenway Court, one tentatively identified as Ruth and Boaz (figure 11), the other The Judgement of Solomon (fi gure 12), belong to the O ld Testament wi ndow and are representative of th e work done to compl ete the three apsida l windows in the sixteenth centur y. The panel of Ruth and Boaz was painted by Corrado Moch is from Cologne who carried out the designs of Gui seppe Arcimboldi around 1549-57. 8 The O ld Testament and Apocalypse windows were completed by Battista da Legnano, Stefano da Marliano, Stefano Bergognone del Furno and Giorgio d' Anversa. The recent identifica tion of Giorgio d'Anversa's hand in these windows permits us to attribute The Judgement of

Solomon to him. 9 lt bears many stylistic analogies to the panels painted i;i 15441545 (fi gures 13, 14). On the basis of these brief notes which certainl y do not exhaust the study of the six panels, it is clear th at the works now at Fenway Court represent the main peri od of sta ined glass production at Milan cathedra l. By the end of the sixteenth century the most creative period of painting on glass came to an end and the old windows bega n to be neglected until th ey were restored by the Bertini Family. Ca therine Pirina Politecnico Internazionale di Architettura e Disegno, Milan

1 The panels were acquired in 1875 from A. Pickert, Nuremberg. 2 C. Gilli Pirina, " Franceschina Zavattari, Stefano da Pandino, Maffiolo da Cremona ...;' Arte Antica e Moderna, XXX, 1966, 25-44. 3 G. Marchini, "Vetri italiani in America;' Arte in Europa. Scritti di Storia dell' Arte in onore di Edoardo Arslan, Milan, 1966, 431436 ; E. Brivio, " Le Vetrate de! Duomo di Milano;' in II Duomo di Milano, I, Mil an, 1973, 233-344. 4 Marchini, 1966.

6 C. Gilli Pirin a, "The Fifteenth-Century Windows in the Rea r Cho ir of the Duomo in Milan: Antonio da Pandino;' Burlington Magazine, 1976, 3-14. 7 Register 659, f. 8v. of the Cathedral's archives. 8 C. Gilli Pirina, " L'Arcimboldi non ghiribizzoso;' Commentari, XV, 1964, 77-81. 9 C. Gilli Pirina, "The Sixteenth-Century Windows in the Rear Choir of the Duomo in Milan ... ;' Burlington Magazine, CXIV, 1972, 451-456 ; Brivio, 1973.

5 F. Wittgens, Vincenzo Foppa, Milan, 1950 ; C.L. Ragghianti, " II Foppa e le vetrere del Duomo di Milano;' Critica d'A rte, VI , 1954, 520-538 and " Postilla fopp esca," Critica d'Arte, IX, 1955 , 285-292; F. Wittgens, "Le pitture lombarda nella seconda meta 'del Quattrocento;' Storia di Milan , VII, 195 6, 829-835.

1 Iron door knocker, XIV centur y, L. 16 cm., Inv. No. M30cl5 , Gothi c Room, Isabell a Stewart Ga rdner Museum .

n a Fourteenth Century

2 Illustrati on from Georgius Agri cola, De Re Metallica, Basel, 155 6, showing early manu al method of fo rging iron ore.

In I 97 th e Jack a rd ne r f B t n had a pa lace n the drawing-board that ne ded t b furni hed, a nd th ir va ati o n in Eur pe in Augu t and ptemb r of th a t yea r wa m re hect i than re tfu l. n prev i u vi it thee er acqui itivc Mr . a rdn er had purcha ed 1t m 111 a mo re o r le convent i na l vei n, a ttracti e Rena i a nce a nd Ba r q u pain t ing a nd o bj et d 'a rt fo r th e h u eo n Beac n treet - item o f a n e nt ia ll y dee ra t iv a nd eye-ca tchin g nature. w, wi th a rchitect bu y w ith pla n fo r a ne re idence, it wa n e a r y to procu re it m of a m re utili ta ri a n rt. In Pa n th co upl e purcha ed a French oth 1 d uble d o r bo und in iro n a nd a ma i e fifteenth centur y ca rved wood n ra1 rway cree n, ca ll ed a " ta mbo ur." rri mg mid -Au gu tin Veni ce th e ardne r co mbed the ho p , co ll ectin g ma rble 1umn , ba lco ni e a nd rn ame nted fa ca de . 1 After a bri ef but relax in g id trip to icil y th ey returned to Venice in September fo r a fin a l fr a nti c wee k f bu ying, with Bern a rd Ber n o n at ha nd to lend encourage ment. Am ng the ma ny treas ure grea t a nd m a ll pi cked up o n thi la t ph a e o f their ray in Euro pe wa a pi ece whi ch pa le in ignfi ca nce a mo ng the ston e lio n , m osa ic pave ment a nd frescoes, a " ba ttente di ferro;' o r iro n doo r kno cker. To d ay, the iron rin g it mutely in half-light o n a ta bl e in th e third floor Gothic Roo m a t Fenway o urt. Probabl y purch ased a a n a ftertho ught and never put to use, it i neve rthele s a piece of metalwork ri ch in deta il- a beautiful example o f la te medi eva l craftsman ship. Bri efl y de cribed , it is a large ovular ring mounted o n a n escutcheon pin ; a simpl e leaf motif at the to p leads to an elaborate guilloche o n either side, the design ending at th e bo tto m o f the ring in a rai sed head fl a nked by wings (figure 1).

It wa n t until a thou and yea r afte r th e birth of hn t th a t ir n wa u ed to ma ke d r kn ke r ; prio r to th a t br nze wa m pl yed in the m a nu fac ture of uch ha rd wa re. 3 T he ea rl y m ith o btai ned iro n o re fro m ha llow pit o r tunnel du g int th e ground a nd often im ply co ll ected it fro m th e ur face; it wa a ub ra nee fo und in a bund a nce. In o rder to rea d y the raw o re fo r the a nvi l a cl o ed o r pa rtia ll y cl o ed oven o r o pen hea rth wa fill ed w ith o re a nd cha rcoa l a nd et a li ght, th e com bu ti o n a ided by bell ow ma de o ut o f a nim a l skin o r wood a nd m a nu a ll y wo rk d . Often , hill top ires-fo r th e hea rth we re cha en in o rder to increa e combu ti o n using wind power (fi gure 2). H o urs la ter, the iron mi xed with lag wo uld be fo und at th e bottom o f th e hea rth a nd , a fter bein g worked into a in gle m as o r " bl oom;' it wa bea ten by the mith a nd sha ped into

an ingot before it had time to cool. Repeated hammerings further helped to rid th e iron bar of impuriti es (fi gure 3 ). It is possible th at the Gard ner Museum knocker may have been produced by the more sophi sti cated manufacturing processes introduced in the late thirteenth century which involved the use of the water wheel to power furnaces, bellows and hammers (figure 4 ). In thi s manner, ironworking moved o ut of the hands of isolated individuals work ing unproducti vely on a small sca le into larger operations closely linked with the growth of towns and the general revival of commerce in Europe. All decorative iron work produced in medieva l Europe, from door hinges to church screens, was derived from the smith's manipulation o f an iron bar at red o r w hite heat. In the Fenway Court example, the iron bar would have been cut to the required length and struck with a hammer to form the ring. As the fi gure at the bottom center of the ring si ts approximately two centimeters from the surface of the ba r itself, thi s piece would necessarily have been joined by fire-weld ing in the forge. Fi nally, the elaborate designs on the knocker were most likely carved into the iron by a skilled hand wielding a bronze cutting tool; the casting of iron in molds was not invented in Europe until the mid- fo urteenth centur y. Iron is a heavy, coarse and cold metal but the detailed patterning of the Ga rdner knocker belies the unyielding nature of the materi al. It is at once an object o f simple utility and a work of complicated beauty. Whether Mrs. Gardner was at a ll captivated by the rhythmic, rolling guilloche or styli zed angel's face stari ng silently across the centuries is an unanswerable question . Perhaps it is easier, in looki ng at the decorative motifs used by the smith , to come to a better understa nding of the maker than of the inscrutable buyer of his ware.

The centra l o rn a ment on the door knocker is the win ged head at the bottom of the rin g. In Chri stian iconography, the representation of two cl asses of angels , cherubim and seraphim , beca me fa irly sta ndardized by the end of the fourth centur y, cherubim being depi cted with two pairs of wings, as shown in the knocker. The face itself, topped by a severe medieva l ton sure, is a grimly impass ive one and closely resembles the gravestone figures in slate of Puritan New England . It is tempting indeed to d raw a para ll el between the world of the artisan o f the fourteenth century, fill ed as it was with " plague, war, taxes, briga ndage, bad government, insurrection and schism in the Church;' 5 and the world of the artisan of early Massachusetts for whom the threats of starvati on, di sease and violent death at the edge of a forbidding continent were no less menacing. In times of generalized and widespread crisis perhaps man's only comfort is a stern and remorseless faith which holds th at a better life could be found beyond the grave: As Yo u Are Now, So Once Was I As I Am Now So Yo u Must Be. Prepa re Fo r Death And Follow Me.6

Interestingly, the fea rsome aspect of the angel's head is not maintained by the rhythmic guilloche, an ancient motif of Mesopotamian origin expressed in many variations in the art of divergent cultures and periods. More closely akin to the sinewy devices found in Celtic art (to be seen, for instance, in the great Irish illuminated manuscripts) than the more angular Byza ntine and Romanesque styles, this motif is the element that together wiâ&#x20AC;˘h the shape of the iron ring itself holds the door knocker together as a piece of art. The extremely styli zed acanthus leaf motif at the top of the

3 Illu stration fro m De Re Metallica, showing the ha mmering a nd forming of the iron ingots.

4 lllusrran n from De Re Metal/1ca, howing rhe more oph1 neared method of using a ' arer wheel ro power rhe furna e , hammer and bellows.

phen

B. uchman, A Distant lirror; The lanutous 14th entury, C\V rk, 197 ,

1 M . arter, Isabella tewart ardnerand Fenway ourt , Bo ro n, 1940, 16 .

2 Mu eum archi ves. More re enr holarl y opinion rend ro confirm a fo urreenrh cenrur y dare bur ome uggesr a dare as la re a the ixreenrh centu ry. 3 R. Li rer, Decorative Wrought Ironwork in Great Britain , Rutl and, Vermont, 1970, 158 .

S/ 0 11

X III.

6 . . di n, Jr., Early e111 England s/one Rubb111gs, ew Yo rk, 1 66, 1 â&#x20AC;˘

rave-

7 L1 rer op. cit., 1 8 R. odw1n- mi rh , ngltsh Domestic Metalwork, E e , England, 19 , 1 .

4 j.S. Gardner, Ironwork , Lond n, 1896, 11. 41

1 Fragments o f a bowl , Ro ma n, seco nd centur y A. O. (with six tee nth -ce ntur y Itali a n restora ti o ns), ma rble, 47 x 72.5 cm., Inv. No. S16s24 , Raph ael Room, Isa bell a Stewa rt Ga rdner Mu seum .

Souvenirs of Alexander the Great's March through Persia to India

2 Sa rcophagus with Triumph of Dionysos, Roman, ca. A.O. 200, marble, 77.5 x 208 cm., Museum of Fine Arts, Boston.

A yellowish marble (gia llo antico ) or alabaster-like bowl of the Ro ma n imperi al period with Renaissance o r later restorations was described a nd illu stra ted in the Museum's catalogue of scu lpture (figure 1). 1 A pair of felines, leopards or tigers rather than lions or pa nth ers, a re represented as leaping up over the rims to form the handles. Although one beast ha s lost the front of its hea d, which appears to have been once refitted as resto ratio n (a nd lost again ), eno ugh of both animals and the adjoining curve of the bowl are a ncient to show how th e ensemble a ppeared in Antiquity. As so often happens after catalogues a re published, new evidence, as in this case, invites a return to the felines a nd th e bow l aro und which they leap. Most ancient stone vases are devoid of contexts, but an association for th e Ga rdner Museum exa mpl e h as been found sca rcely more than th e length of a football-field away in the Museum of Fine Arts. A marbl e sa rcophagus of about th e yea r 200 has as its principal scene the Triumph al Return of the God Dionysos from Indi a (figure 2).2 On th e left front end , Dionysos in full anima lskin rega lia a nd a sa t yr ride to the right in a chariot drawn by two elephants. The pachyderms are attended by two panthers or leop a rds, animals usua ll y assigned

to pull the god's vehicle. Dionysos, hi s saty r-comp a ni on, and a small Eros on th e back of the outside elepha nt are lookin g back at somethi ng beyond th e scene, perhaps Ariad ne following in a nother chariot. Th e focus of our attenti on in thi s long, compl ex sy mbo l-fill ed relief is o n the group arou nd th e head of the left-h a nd or inside elephant. The Eros on the a nimal's back ties a ribbon of grape- leaves arou nd the head of an older, bearded sa t yr walking on the left of the inner eleph a nt. It is what this sa t yr is ca rr yi ng on hi s left shoulder with hi s raised left arm that is of interest here. The object is a la rge krater, or bowl for mix in g wine a nd water, with two spotted felines, leopards o r tigers, lea ping over the rim , just as they do on the bowl in the Ga rdner Museum (figure 3 ). To the right of the bearded satyr th e procession continu es with severa l oth er mythol ogica l beings a nd an im als related to the myth of th e w ine-god's return from festivals on the road to Indi a. What does such a precious metal or ivory vase mea n on the shoulders of a mythologica l follower of Dionysos returning from h av in g spread the word of the gra pe a nd its pleasures from Macedonia to Indi a? The sh ape of the krater, with

J arco phagus with Triumph of D1 nysos, derail of fig ure 2.

4 Furniture Suppo rt in the Form o f a Sa t yr Ca rryin g a Krater, Roma n, ca. A.D. 150-210, ma rbl e, H . 27.5 cm., Fogg Mu se um o f Art, Harva rd Uni ve rsit y.

mi ght have stood in th e pa rl or o r peri st yle ga rden of a pl eas ure-lov ing Roman, or in the to mb o f a Ro man w ho w ished to be remembered with the win e-god Oi onysos and hi s roya l counterpa rt Al exa nder the G rea t.4

hands. 6 Also, in th e case of a ma rbl e decorati ve pil as ter in th e Vati ca n M useum s, d ated in the Severan peri od o f around A. O. 200, a pai r of panth ers tr y to climb into a krater fro m whi ch aca nthu s scroll s spring.7

A fin al wo rd is forth coming on th e relati onships amo ng sat yrs, kraters, and felines . Th ere a re a number of other monuments whi ch help to expl ain th e bow l at Fenway Court and its leaping leopard handles. Th e ends o r reverses of Roman ma rble sa rcoph agi of the second and third centuries A.O. were sometimes carved with single or facing panth ers, their front paws ra ised and pl aced on a krater. 5 On a circul a r ma rble base, perh aps for a statu e o f Oi onysos in th e Vill a To rloni a -Albani on the outskirts o f eighteenth-centur y Ro me, sat yrs dip their cup s o r bowl s into kraters while a panther ridden by a n Eros receives a drink from a di sh in one o f the sat yr's

O ne panth er or lioness climbing on the rim of a bi g ampho ra appears on the reverse of a smalli sh bro nze co in o f Apameia in Phr ygia, struck fo r th e Roman Emperor Vespas ian (69 to 79) in 69 by the resident Pr aeto r in As ia, M. Pl anci us Varus. 8 Thi s context, with the bl essings of a high Ro man admini strato r mi ght suggest th at the vase on th e co in o f Apameia was a treas ure in one o f the temples or publi c buildings of the city.

1 Scu lpture in the Isabella Stewart Gardner Museum, Boston, 1977, 51, no. 73.

5 S. Rein ach, Repertoire de reliefs, Ill , Pa ris, 1912, 107, no. 2, in the Ca mpo Sa nto, Pi sa. S. Rein ach, op. cit., 213, series of reliefs with paired pa nthers, once in Florence.

2 M .B. Comstock, et al., Scu lpture in Stone, Boston, 1976, 152, 153, no. 244 . On ly one other Di onys iac Triumph sa rcoph agus includes a vessel with lea ping feline handles . The krater is being ca rri ed by the yo un g centaur in a pair pulling the cha ri ot of Di onysos and his sa tyr companion. O nce in the Palazzo Sta. C roce, Rome, the sa rcoph agus is publi shed onl y fr om Cinquecento dr awings. E Matz, Die Dionysischen Sarkophage, TeiI 2, Berlin , 1968, 25 4, 255, no. 114. 3 D.G. Mitten, A. Brauer, Dialogue with Antiquity. The Curatorial Achievement of George M .A. Hanfmann, Fogg Museum , Ca mbridge, 198 2, 15, 21, no. 49. Accession no. 1981.47. G ift (Anonymous) in Honor o f Sey mour Slive, Directo r, 1975-1982. 4 Amy Brauer, M a ry Comstock, Albert H enri chs, Ari el and John H errm ann , Dav id Mitten, and Florence Wolsky have all helped with this note.

Cornelius C. Vermeul e, III Curator, D epartment of Classical Art Mu seum of Fine Arts, Boston

6 S. Rein ach, op. cit., 137, no. 4. Einzelaufnahm en, nos. 3663, 3664, with descripti on o f restorati ons. 7 P. G usman, L' Art decoratif de Rome, Pari s, 1912, pl. 120. 8 See Frank Stern berg Auction XI, Z uri ch, 20, 21 Nov., 1981, 44, no. 310, pl. XVII. O n the ca rved pyra mid of a cinera ry altar at Aquileia, the fe li nes paw the air as they look up at the kr ate r fi lled with vines, grapes and peckin g birds; V.S.M . Scrinari, Museo Archeologico di Aquileia, Ca ta/ago delle sculture romane, Ro me, 1942, 139, no. 4 03 . In addition, sometimes drunk en Amorini lea p like leopards to drink from kraters, as on a sa rcoph agus of about 200, also at Aquileia; V. Scrinari, op. cit., 156, no. 472.

The Isabella Stewart Gardner Museum, Incorporated Fifty-ninth Annual Report for the Year Nineteen Hundred and Eighty Three

Report of the President

Being so fo rtun a te in o ur mu seu ms, we Ameri ca ns may tend to become spo iled a nd ta ke them for gra nted . Also, bein g conce rn ed with th e financial, admini stra ti ve a nd ho usekeep in g aspects of the Ga rdn er Museum, we as Trustees may lose sight o f it. It seems a good idea now a nd then to step back a few feet a nd ta ke a genera l view o f wh a t a n a rt mu seum is fo r. Hum a n beings a re differe nt from o ther anim als because o f their minds their vo_ices a nd th eir ha nds. Directed by th eir minds, th eir voices a nd ha nd s make a rtefac ts, and a rtefacts, whether th ey be poems, manuscripts, songs, qu a rtets, o rchid s, chrysa nthemum s, paintin gs, statu es, tapestries, a rches, spires or urn s, express, ex plain and sy mbo lize what we live for a nd aspire to. Artefacts such as these a re no_r necessa ry in o rder to stay alive, but without the animu s th a t leads us_ to crea te a nd a ppreciate them, stay ing alive would lose its signifi ca nce. Museums_ a re a rtifi cia l in th at they assembl e m o ne pl ace diverse ma rvel s of hum a n a rt a nd im agin ati o n each of wh_ich id_e a lly sho uld be see~ a nd enj oyed by itself In its intended settin g. Nevertheless th e hundreds o f tho usa nds who come to museums ca nnot a ll travel to wmbs in Egypt o r ca thedral s in Europe, still less comm1 ss1o n a ca nta ta, a triptych o r a sta tu e. Only a mu seum ca n o ffer everyone the cha nce to see a Madonna through the eyes of Botticelli a nd in the sa me ho ur wonder at the carv in gs o n a Greek sarcophag us a nd hear a Schubert quintet. One o r another of such a rtefacts the fin est products of hum a n minds '

vo ices a nd ha nds, is sure to kind le a r_espo nse in ever yo ne, a respon se th a t lifts th e spirit a nd may well cast a new li ght o n hum a nit y o r nature. People come to th e Gardner Mu seum for thi s, fo r the stimu lus o r message conveyed by pa rti cu la r objects, but a lso o f course for a total impress io n th at is uniqu e. M a ny will testify how hea rtenin g it is just to sit for a few m inutes o n a ledge ove rloo kin g the court yard a nd the fl owers, away from tra ffi c no ise a nd winter slu sh. It is important to provide such experi ences to the publi c. It is importa nt th a t ever yone be a ble to see and hea r a nd ga in inspira tion fro m the best that huma ns have been a ble to produce. It is importa nt th a t th e Gardner Mu seum be tre_asured a nd preserved , th a t it be en1oyed by as many peop le as possible a nd th a t it never be taken for granted.' During th e yea r we have had most encouraging ev idence that p eople do no t ta ke the Museum for granted - th a t there is a growin g bo dy o f members who a re sha rin g respo nsibility for see ing th a t it continues to fl o uri sh . Vi sito rs to the Museum also have been increas in gly generous contributors. As a result, o ur total supp o rt fro m members a nd visitors rose to $286,587 durin g 1983, a n increase of 80 % over the prev io us yea r. In 1983 we received some excepti o na lly generous gifts from members, but whether o r not thi s ha ppens ever y yea r it is now ~! ea r th a t the membership progra m _w ill play a n importa nt part in ensunng the Museum 's fin a ncial hea lth .

Malcolm D. Perkins, president of the Trustees, making H arry Ellis Di ckson an Honorary Benefacto r a t the Founder's Day Concert on April 18.

As a result of year-end gifts beyond regular membership dues we have been able to create a modest reserve toward the cost of the additional office and laboratory fac iliti es we need in order to improve staff efficiency and serv ice to the public. These wi ll be constructed when the reserve is enough to pay for them, but will not be paid for out of endowment.

The director and staff continue to produce creative and imaginative ways to present the resources of the Museum and to improve its operations . Thanks to them, thin gs are going very well. Malcolm D. Perkins

Report of the Director

In the month of June, I found myself w ith a group of fo ur museum directors w ho were brought together to expou nd the virtu es of the small museum , more accurately the private coll ection that beca me muse um. As I thought about the subj ect during our sy mposi um I made these notes: Museums that are the crea ti ons of individu al collectors exist in many countries, and may be fo und in chateaux, in villas, in countr y esta tes, or in townhouses. Their fa me rests on a sense of quality in th e o bj ects, in the architecture, and in the presentati on. The result is often reinforced by the personality of the coll ecto r, and the enjoyment the collecto r experienced in for min g the collecti on is often perceived by the visitor, a pleasure not usuall y associated with large civi c museums. Frequently the a rrangement is entirely on a domesti c sca le meant to please one person, and is an exercise in aestheti cs rather than in ed ucation. It may represent the taste of a certa in period but seld om has such purity. The present keepers of these coll ecti ons are spa red the ambitious goals that large mu seums espouse. They may avoid the pressure of trends and statistics and , to some extent, broad public serv ice but their task is complicated by traditions and particularly by the very fact that the collecti on is a lways on view. They are constan tly faced with severe problems in conservation , security and maintenance, and , recently, with the strains placed on all institutions by inflation. This brin gs me to the happy report on our membership, for to our very good fort une, the Gardner Museum has a strong constituency that is ready to join with us in maintaining the museum. Both th e income from membership and the numbers of members have contin ued to climb, thanks to new members joining

and old members w ho raised their annual dues. Some money has been set aside for our building project, and planning has gone ahea d to the point where we now believe that in another year we can establi sh a timetabl e fo r ad diti ons and renovations to the building; for example, the extension of th e office wing for admi ni strati on a nd conservation, and renovations in parts of the origina l building, notably the front entrance. Of particu lar interest is the plan to open the back garden to the publi c and to add a green house. The gardeners continu ed to produce flowers of unusual excellence for o ur visitors, some not seen in other New England greenho uses. I am o ften as ked if the sched ule for placing fl owers in the court was determined by Mrs. Gardner. While some plants a re associated with her, the head gardener is constantly on the lookout for new specimens th at ca n be added to the old schedule and th at, with the vicissi tudes of the New England climate, insures that the arra ngement in the courtyard never repeats itself. Examples of the new and the o ld are the fl oweri ng jade trees and the standa rd heather that caused a great deal of comment at Chri stmas time. For the New England Flower Show the gardeners presented a group of aza leas in shades of violet in a setting with orienta l overtones (aza leas originally came from Chin a) for which the museum received a certifi cate for excellent presentation. The greenh ouses have been enriched by severa l gifts during the year; Mrs. James Lawrence gave a large Ervatamia Coronaria and Mrs. Marie]. Fabbri six Greek cypresses. Mr. Robert Mi ll gave us a group of Paphiopedilum orchids and from Mrs. Moses Alpers we received two ca melli as and several clivia plants. In less exotic matters, the museum continued to add to our electronic controls

The Museum's entry in the New England Horti cultural Society Flower Show.

fo r securit y, experimentin g with severa l devices to protect in divid ual objects or group s of objects, a nd working the sna gs ou t of the extensive syste m insta ll ed la st yea r. To in crease efficiency a nd save money a new telephone system was installed and a long di sta nce compa ny engaged . Pl a ns were made for a new fire alarm sys tem to replace the fo rmer system in the atti c a nd garage. Pi a ni st Ri chard Goode presented the first part of hi s series of complete Beethoven Pi ano Sonatas in the fa ll. The formation of a new orchestra in Boston under the directi on of Eij i Oue bega n its series of ea rl y sy mph on ies and concertos by

Mozart. Faith Esham, soprano, gave her first Boston performance here in Ap ril. The Peabody-Mason fou nd at ion presented the New York Vocal Arts Ensemble; The James Pappoutsakis Memorial Foundation presented its win ner Julie Darling.; and severa l recent winners of the Na um burg Chamber Music Competition were presented during the year. John Moriarty also directed an d accompan ied several programs in hi s series of opera scenes with young a nd talented sin gers . All of the above series were in addition to the usual presentati on of young performers, many of them in their first performances in Boston.

A conce rt by rhe Etonheltenh a m C ha mber Orchestr a a nd ho ir.

For Mrs. Ga rdner's birth day we enj oyed a concert by th e Fenway Strin gs, the creati o n o f H a rr y Elli s Di ckson. In ho no r o f hi s ma ny a ppeara nces at the Gardner Mu seum Mr. Di ckson was made a n H o no rar y Benefactor. The M useum was given a ver y generous gift fro m Mrs. W Rodm a n Fay o f New Yo rk towa rd th e purchase of a new pi a no. Lea rnin g th at the Mu seum 's thirt y yea r old pi a no was beyond repa ir, Mrs. Fay contributed the ma jo r po rti o n of the purchase pri ce of a new in strument. Instituti ons such as thi s o ne contribute their servi ces to a grea ter a nd grea ter degree to neighbo rh ood security. Th e incidence o f ca r thefts, a t o ne time way o ut o f proporti o n to the res ident p o pul ati o n, has been of pa rti cul a r conce rn. Through o ur membership in the Bosto n Fenway Prog ra m we a re involved with t'he Street Sa fe proj ect to reduce crime o utside our wa ll s a nd loo k fo rwa rd to its beginning in the summ er of 198 4. Within the buildin g cha nges were made in th e cafe to increase storage a nd in the o ffi ces to increase deskspace. Li ghtin g wa fin a ll y begun in the cloisters after severa l prelimin ary experi ments. Repo rts fro m the mem bership a nd cur atorial offices are o n the fo ll owi ng pages. In both it is interesting to note th at w ha t seemed tentati ve programs o nl y recentl y, speakers and exhi bi ti ons, for examp le,

a re now accepted as a n impo rta nt pa rt of the Mu seum . Attend a nce fo r the yea r was 140,170 ; including 6 special visits o f mo re th a n 100 gues ts. It was down slightl y fro m 1982 . Sa les des k in come was $66,059.; a n increase fro m last yea r's $57,298. Debo rah Gribbo n's res igna ti o n a t yea r end bro ught a to uch o f sa dness to those who had the grea t pleas ure o f wo rkin g with her durin g th e a lm ost eight years of her cura to rship. She was th e firs~ to ho ld th a t pos iti o n, a nd soon proved to be so in conce rt with th e tr aditi o ns a nd dim ensio ns o f thi s coll ecti o n, th a t her presence was ever ywh ere a source o f inspira ti o n a nd directi o n to us all. We wi sh her Godspeed with her new a pp o intm ent as ass ista nt director o f cur a to ri al a ffairs a t the J. Paul Gett y Museum. To o ur good fo rtune her positi o n will be fill ed by Kri stin Mortimer w ho has agreed to come la ter in 198 4 . In the mea ntime Ka ren H aas ha s va li a ntly ca rri ed the curato ri a l wo rk a nd almost sin gle-h a ndedl y publi shed this Fenway Court. So ma ny memb ers o f o ur staff have wo rked beyond their given ass ignments th at it is always a pleasure to ca ll a ttenti o n to th ei r contributi o n, and to o nce aga in th a nk the Tru stees fo r th eir suppo rt a nd endeavors o n beha lf of thi s Museum , a nd its continuin g success .

Rollin van N. H adley

Dav id Brown, Curato r of Earl y Itali an Paintin g at th e National Ga llery, spea kin g with guests fol low ing his lecture, Raphael and America .

Staff Changes Staff changes include the retirement of Patri ck Burns, maintenance, and Thomas Abraham, Fr ancis Gavi n, Stephen Janu s and Dani el McLaughlin , guards. Res ignati o ns were accepted from Ada Logan, membership coord in ator, Mar y Kate Hudson, printer, John Bigelow and James Piper, watch, Jonath an Brown , cook, John Ca nn ata , mai ntenance, William All en, Theresa Babineau , Luci enne Banfield , Frank H ayes, Jr. , Andrea Lane, Katherine McCollum, Eileen Murphy and Anthony Stewart, guards. Engaged for regular duti es were Amy Eshoo, membership coordinator, Carol Dutr a, secreta ry, Elisa Jorgensen, conservation assistant, Alli son Brewster and Philip Ri ley, watch, Mich ael Conroy, printer, Joseph Teixeria , maintenance, Francisco Baco, Wi ll son Bliss, M arc Chabot, Li sa Lesniak, John Meeks, Michael Mell ett, Hugh O ' Mara, and Jani ce Ward , guards.

Employed in restricted schedules were Alexa Trefonides and Daniel Strong, catering, Jess ica Beels and Barbara Russell , archi ves, Donna Dell ' Arciprete, membership, Juli o Alves, Cus hm an Amesbur y, Robert Brophy, Ruth Dame, Paul a Driks, Mark Frank, Barbara Lindst rom, Terrence M cWilliams, Kath ryn Park, Debor ah Scott, David Tidball , ]. Mich ael Whyte, and Kathryn Roark, gua rds, Ada Logan, textile conse rva ti on ass istant, and Steven Abrams , Peter Clapper, Mich ael Conroy, Kathryn Dani els, Paulin e Dowell , Bruce Ferguson, Nancy Krusch, Kathleen McKitchen, Nancy N icholson, Karen O'Neil, Di ana Pernice, Anthony Rin aldo, Mar y Beth Scannel, William Schroen and Robert Youn g, cafe. Employed on work stud y progra ms were John Demi ck, photography and Karen D ay and Mar y Anne Robi chaud , admissions desk.

Report of the Curator

Members of th e Chin a Students' Club exa minin g ce ramics in the Raphael Room.

1983 ma rk ed th e 500 th a nni ver a r y of Ra ph ael' birth , a n event the Mu eum celebra ted w ith a pecia l ex hi b iti o n, Raphael and America. An ab brev ia ted ve rsio n of th e exhibiti o n prese nted ea rli er in the yea r by th e a ti o na l Ga ll er y o f Art, it foc u ed o n th e nineteenth a nd ea rl y twenti eth -centur y collecto rs of Ra ph ael's wo rk . Mr . Ga rdn er wa , of co urse, the fir t to succeed in acquiring a paintin g by th e a rti st but he oon wa fo ll owed by ]. Pi erpo nt M o rga n, H enr y Walter , Jo eph Widener, Andrew Mell o n a nd Sa mu el H. Kress. Bo th th e successe a nd fa ilures of Ameri ca n coll ecto rs were d ocum ented by letters, ph o togra ph s, boo ks a nd newspaper clip pin g . M ost o f the m a teri a l was drawn fro m th e Mu seum a rchi ves, but thi was suppl emented by document loa n fro m th e N a tion a l G a ll ery o f Art, I Ta tti , the Kress Found a ti o n, Pa ul M ello n a nd another pri va te co ll ector.

A econd ex hibiti o n commemora ted Mr . G a rdner's fri end, hip with Ok a kura Ka ku zo (1862-1913 ), Ja pa nese a rti st, poet a nd conn o isseur. Ok a kura met Mr . Ga rdner in 19 04 when he came to th e Bo to n Museum of Fine Arts as consulta nt to th e Depa rtment of Asiatic Art. An influ enti a l fi gure in both the East and West, Ok a kur a wa a freque nt guest at Fenway Court a nd o ften advi ed Mr . G a rdner o n her co ll ection . The exhibiti o n included ph o tographs, letters, first editi o ns o f Ok a kura's work and pieces of th e dogu, o r tea service, he gave to Mrs . Ga rdn er. A va ri et y of events complemented the ex hibition: the Urasenke Tea Ce remo ny Societ y demonstrated the traditi o na l Ja pa nese tea ceremony and Carolin e Graboys , who departed from her usu a l res ponsibilities as conse rvato r of pa per to orga ni ze th e exhibiti on, gave a ga ll er y ta lk on Okakura and hi s influence.

Anonymou s, Head of a Man in a Venetian Ca p, ca. 1500, pencil on paper, 19 x 21.1 cm., Inv. No. SGl.1.r.10, Short Ga ller y. Before treatment (left), and after treatment.

While special exhibiti ons make the ma terial in our a rchives ava il ab le to the general public, schol a rs with special interests find it a fertile ground fo r individual resea rch. Biogra phers of Augustus Saint-Gaudens and Sarah Wyman Whitman were among those who exa mined Mrs. Gardner's correspondence. Fortunatel y, our archival holdin gs continue to be enriched by generous gifts. Mrs. George Clayton Green presented the Museum with an album of photographs of Fenway Court ; the photograph s had belonged to her stepfa ther, Arthur John son, a former Trustee. Rare books in the collection are also of interest to scho la rs. Professor Vincenzo C io ffari o f Boston Univers it y gave cl ose scrutiny to a fourteenth-century manuscript o f Dante's Divine Comedy. Hi s article in D eutsches Dante-jahrbuch, publi shed thi s yea r, examines th e ea rl y commentary th a t is inscribed in th e ma nu script. Exhibitions a nd publications provide mea ns of ma kin g research on the collecti o n quickly a nd w idely ava il able; the work of conse rvators is, of necessi ty, often more obscure a nd more time consumin g. Restoration begun five years ago on the Amazon Queens tapestr y continues to occupy the conservator of textiles ; two-thirds of the tapestry has now been trea ted. The Amazon Oueens, a Flemish wo rk of the fifteenth c~tury a nd one of th e most important tapestri es in the

coll ecti on requires th e most complete treatment possible. Usually a more circumscribed approach is possible. Such is the case of Noah Builds the Ark, one of three seventeenth-centur y Flemi sh tap estri es in th e collection th a t represent scenes fro m the story of Noah. Thi s hanging was washed a t the Merrimack Valley Textile Conse rvation Center and then returned to the Mu seum for furth er work. Old, faded repairs will be removed , exposed warps couched, broken warps rejoin ed , lost a reas restored and a new linin g a ppli ed. Thi s work is still pain sta kin g a nd will not be completed until next yea r. A special proj ect, des igned to sta bilize th e conditi on of a la rger number of ta pestri es, was initi a ted this yea r. Forest Scene, Man Delivering a Letter, Warriors' Consultation and Winter, all Flemi sh tapestri es rangi ng in date from th e la te six teenth to th e eighteenth centuri es, have had old linings removed, open slits rei nfo rced a nd guards strengthened; th ey were then lin ed with new material. This relatively rapid stabili zin g work was made possible by temporary add iti ons to the conse rvati on staff: Ada LQgan was employed on a part-time basis as conservation ass ista nt ; Eri ca Li cea-Kane and Katherine Van Seiver served as interns for the project. A good deal of the conservator of paper's time was devoted to preparation of the Okakura exhibition, but her work on 55

Po rtal, Bo rdea ux, La Reole (G ironde), late XII centur y, lim estone, H. 363 cm., W 241 cm., Inv. No. S7w10, Spa ni sh Clo ister.

prints, watercolors a nd draw ings was not neglected . A pa rticul a rl y dra mati c recover y was made in the Head of a Man in a Venetian Cap, attributed to an a nonymous fifteenth or ea rl y sixteenth -centur y d ra ughtsma n: seve ral disfi guring stains were removed from the drawin g. O ccasionall y, a num ber of long- term conserva ti on projects are comp leted in a sin gle year. The second -centur y Ro ma n

mosa ic pavement in the courtya rd received its fina l fi llin g, in pa intin g and sur face coa tin g. T he chi ef co nse rvator also co mpleted wo rk on the t welfthcentur y lim estone portal fro m Bordeaux that bega n to deteriorate duri ng the summer o f 1981. Tests conducted over the course o f a year yiel ded a ma terial that could sa fely consolida te the stone; the po rtal was im pregna ted with th is ma teri al a nd it was effecti vely sta bili zed 56

Hi s visi t coi ncided with work already in progress, repa iring and restoring frames in the collection. The frame that surround s Rembrandt's Storm on the Sea of Ga lilee, for exa mple, received extensive treatment this year: gilding was set down and areas that were lost were reconstructed and gilt.

Giovanni Maria Mosca (Paduan, active 1515-73 ), Madonna de/la Ruota de/la Carita, lstri an stone, H. ove rall : 165 cm., Inv. No. S12s4, West Clo iste r.

w ith out any cha nge in color. T he third t reatment completed by the chief conserva tor was th at of Giovanni Maria Mosca's Madonna delta Ruota de lta Carita, dated 1522. Like many Venetian monuments origin all y placed o ut of doors, the relief was subjected to the action of atmospheric pollutants: ca lcium sul fa te formed a nd , alth ough thi s substance is white, it soon tr apped soot and the surface of the relief blackened. Some time before Mrs. Gardner purchased the relief, it was covered with gray paint to even out the surface. Unfo rtunately, the paint completely obscured the fine detail of the reli ef. The chi ef conservator removed the gray paint; although th e relief is sti ll dark (the sul fation itself cannot be removed sa fely since traces of origina l polychromy remain ), its crisp detail is visible once again, traces of origin al gi ldin g have been uncovered and, with the aid of judicious inpainting, the reli ef's sculptural form regai ned its legib ilit y. Paul Lev i, an expert on fin e frames, visited the Museum for a week and catalogued all the frames in th e collection. We have a number of exceptional exa mples includin g sixteenth-century Italian and'seventeeth -centur y French moldings. Mr. Levi 's initi al work will now be followed by further research and photography of the most interesting examples.

Each year, the Museum acts as host to professional meetings and th e staff, in turn, participate in a va riet y of professiona l symposia. The Boston Chin a Students' Club held inform al se min ars at the Museum once a week for t wo months in order to study the cerami cs in the collection . The director and curator attended a sy mposi um on Raphael, sponsored by Princeto n University. Conservators were equ all y active in this regard : the chi ef conservator attended the American Insti tute of Conservati on Meeting and Sympos ium on the Conse rvation of Wooden Artifacts in Baltimore and the conservator of textiles lectured on "Aspects of Texti le Conserva ti on" at th e American In stitute of Textile Arts. The curatorial assistant, Karen H aas, was selected to participate in a semin ar on "Ma nagin g Museum Shops;' sponsored by th e Smith sonian In stitute. All aspects of the Museum's programs have been aided by the work of student intern s. Melody Nye of Wellesley College and Ali ce Perera of Trinity College assisted the cur ator. Bi ll Westerman, an undergraduate at H arvard University, made typescripts of co rrespondence in the archi ves. Terry Capp ucci lli , a gra du ate student in libra ry science at Simmons Coll ege, reorga ni zed our lib rary dassification system.

Deborah Gribbon

Membership Events

Fou nder's Day Conce rt Dinner in the East Clo ister fo r Pat rons a nd Benefac tors.

Th e Mu seum has mo re reaso n th a n ever to be gra teful to its members. T heir numbers have grown a nd th eir fin a ncial suppo rt has do ubled . T hey have res ponded to the first a nnu al appea l with generosit y, a nd to recent p rogra mming with grea t enthu sias m. T heir o ften expressed a ffecti on fo r the in stituti on fo unded by Isa bell a Stewa rt Ga rdner over 80 yea rs ago enco urages a nd suppo rts th e wo rk of the staff. When fri ends o f the M useum we re fir st invited to become members la te in 1979, it was not foreseen tha t th e memb ership progra m would influ ence th e entire li fe o f the instituti on in so ma ny benefi cial ways . Th e effort to give th em a n intimate knowledge o f the Mu seum they a re supportin g has led to progra ms th a t in fo rm and entertain the general pub lic as well as members. Ada Logan, who did a n admir able job as membership coordin a to r resigned in June. She was succeeded by Amy Eshoo, whose outsta nding work has contributed much to the p rogra m . The volunteer support o f M a r y Anne Digna n a nd Judith Melzer was a grea t help to the membership staff whi ch was also assisted by wo rk-study student Donn a Dell ' Arciprete.

Calendar o f Events 1983 Several programs in 1983 were pl a nned in connecti on with a rchi va l exhibiti ons. Sometimes a n a nti cipa ted lecture stimu lates a n ex hibiti on. M ore o ften, exhibiti ons lead to progra ms. Boo ks, letters and photogra ph s on Mrs. Ga rdner's fri end, Oka kura Kaku zo, a Japa nese schola r and sava nt, was the bas is of a ga ller y talk to members by Caroline G raboys, p aper conserva to r. The fin e tea ceremony utensil s displ ayed in th e exhibiti on were given to M rs. Ga rdner

by O ka kura. They inspired presenta ti on o f a tea ceremony commemo ratin g their fri endship. In M ay, over two hundred people wa tched in almost breathless sil ence as the Urasenke Tea Ceremony Societ y ca rri ed out th e a ncient ritu al. Dav id Brown o f the N ati onal Ga ller y spo ke on hi s mu seum 's exhibition, Raphael and A merica, a nd showed a bri ef film on it, whi ch included references to Mrs. Ga rdner, wh o was the first Ameri can collecto r o f Ra pha el's work. La ter in th e yea r the Mu seum mounted an a bbrev ia ted version of the N ationa l Ga ller y exhibiti on and showed the fi lm on a regul a r schedu le for several weeks. Th e Fo under's D ay Conce rt in 1983 was a specia l occas ion. N ot onl y did it ma rk the 80th a nni versa r y o f th e Museum 's openin g but it celebrated the long a nd affecti onate associa tio n between the Museum a nd conducto r Harr y Elli s Di ckson. Mr. Di ckson, wh o bega n perfo rming at the Museum as a ver y young ma n, has given over 5 0 concerts at the Gardner. O n the night o f April 18th he

Japa nese Tea Ce remony by Urasenke Tea Ce remony Society, Boston Chapter, Tapestry Room .

returned to the Ta pestry Room as conducto r o f The Fenway Strings in a li vely prog ra m th a t ra nged fro m Moza rt a nd Viva ldi to Shosta kov ich a nd Copl a nd . Before the perfo rm a nce the M useum 's Pres ident, M alcolm Perkin s, presented Mr. Dickson with a cita ti o n as the M useum 's first H onorary Benefacto r. Coopera ti on with other cultural organi za ti ons led to several co-sponsored events: the lecture on th e development of interio r courtya rds w ith the Arno ld Arbo retum ; th e concert by the EtonCheltenh a m O rchestr a a nd Cho rus w ith the Engli sh-S pea king Uni on ; the tea ce remony with the Boston C hapter o f the Urasenke Tea Ceremo ny Societ y. Ja nu a r y 20 Raphael and America: The Na ti ona l Ga ller y Exhibition, Dav id Brow n, C urator of Ea rl y Itali a n Painting, Na ti onal Ga ller y, Was hington.

Febru a r y 23 Enclosed Gardens: T he Development o f Interi o r Courtya rds, Judith Eva ns H a nhi sa lo, staff lecturer. M a rch 7 Luncheon fo r Benefacto rs, Pat ro ns, and Contributo rs. Ga ller y talk on the fr iendship of O kakura Ka ku zo a nd Isa bell a Stewa rt Ga rdner by Caroline G ra boys, paper conserva tor. April 12 Eton-Cheltenham Chamber Orchestra and Choir. A concert of English mu sic fo llowed by recepti on. April -14 Memorial Service fo ll owed by tour of the coll ecti on w ith the director.

Ma rco Po lo Stu fa no, Director o f Ho rti culture at Wave Hi ll in Ri verd a le, New York , gave a member's lecture on T he English Garden: A Plantsman's Paradise.

April 18 . Founder's Day Concert and recepti on : The Fenway Strin gs condu cted by H arry Elli s Di ckson. M ~7

Japanese Tea Ceremony co mmemoratin g the fri end ship o f Isa bell a Stew art Ga rd ner and Okakura Kakuzo. Conducted by Urasenke Tea Ceremony Societ y. Bri ef talk by Ca roline G raboys. M ay 16 Greenhouse Sale fo r Members. M ay 25 New Members Reception and tours o f the coll ectio n and greenh ouses. September 28 Th e Getty Museum, Stephen Ga rrett, form er directo r, ]. Paul Getty Mu seum , M alibu . Th e first in a seri es o f lectures on " The Pleasures of th e Persona l Mu seum ." O ctober 1 Walking Tour of the Fenway, Jack Robin son and Cynthi a Za itzevsky. Slide talk and walk. O ctober 13 A Celebration w ith Daniel Pinkham: speci al concert and recepti on . O ctober 24 N ew Members Reception and to urs o f the collecti on and greenh ouses.

November 15 The Art of the English Garden, Peter H orn beck, landscape a rchitect and teacher. First in a seri es o f lectures on th e Engli sh countr y house and ga rden. Dece mber 7 Benefactors' Dinner. A specia l evenin g w ith visits to the conserva ti on laboratori es before d inner in the Dutch Room. Remar ks on pa intings in th e Dutch Room by th e director. December 13 T he English Garden: A Plantsman's Paradise, Marco Polo Stu fa no, Directo r o f H o rti cult ure, Wave Hi ll , Ri verd ale, New York . December 20 Holiday Concert by Cho ru s Pro Mu sica fo llowed by recepti on in th e Dutch Room.

Membership

Honorary Benefactor Mr. Harr y Ellis Dickson Mr. Daniel Pinkham

Benefactor Mrs. William Rodman Fay Mrs. G. P. Gardner Mr. and Mrs. j ohn L. Ga rdner Mr. Sreven juvelis Miss Ch ri srel McRae Noe Laine Mrs. Linda oe Laine Mr. and Mrs. Malcolm D. Perkins Mrs. Jane Sibley Mrs. Robe rr Lee Wolff Anony mous (1)

Patron Dr. Leo L. Beranek Mrs. Ralph Brad ley Mr. William G. Bullock Mrs. Virginia H. Dekn arel Mrs. j ohn Morse Elliot Mr. and Mrs. Ellior Forbes l\lr. Graham Gund Mr. and Mrs. Willi am Whire Howells Mr. Nicolas Johnson l\fas Eli za beth H. Jones Mr. and Mrs. James Lawrence l\ lr. and Mrs. Henr y Sear Lodge l\ lr. Donald L. Saunders l\lrs. Virgina Saunder l\ lr. and Mrs. D. B. Sinclair Dr. and Mrs. Arthur K. Solomon l\ lr. and Mrs. Donald R. Stanron Ir. and Mr . Ezra Sreven l\ lr. and Mrs. W. icholas Thorndike Anonl'mous (I)

Con tributor l\ lr. .F. Adams l\lr. and l\ lrs. Jame B. Ames l\lr. and l\lrs. Jo eph Auerbach l\lr. G. d'Andelor Belin l\lr. and l\ lrs. Pau l Bernar l\ lr. Robe rt Birch Dr. David Al an Bro\\'n l\ltss Do rorhv A. Brown l\lr. and l\lrs'. Sranford Calde rwood l\lr. and l\lr . Ed\\'111 D. ampbell l\lr. Frederic hurch, Jr.

Ms. Feli cia Clark and Mr. Todd Lee Mr. Landon T. Clay Mr. and Mrs. Bertr am M . Cohen Mrs. WG. Consra ble Mr. and Mrs. Henr y P. Coolid ge Mrs. Ga rdner Cox Mr. Fellowes Dav is Mr. and Mr . Thom as Dignan, Jr. Mr. and Mrs. Edwin I. Firesrone Mr. Rona ld Lee Flemin g Mr. and Mrs. Ri chard Floor Mr. F. Murr ay Fo rbes, Jr. Mrs. Lee D. Gi lles pie Mr. and Mrs. James H. Grew Mr. and Mrs. Dani el M. Gribbon Mr. and Mrs. Ernesr j. Haas Mr. Roberr L. H alfya rd Mr. and Mrs. Mason Hammond Mr. and Mrs. Fred E. Hanhi sa lo Mr. and Mrs. Francis W Harch The Rev. and Mrs. A.L. Hemenway Mrs. Rob ert G. Henderson Mr. Philip Hofe r Mr. and Mrs. George Homans Dr. and Mrs. F. Homburge r Mr. Dav id B. In gra m Ms. Susie Kim and Mr. Fred Koen er Mr. and Mrs. Gord on Kin gs ley Mr. Reggie Lev ine Mr. and Mrs. Caleb Lorin g, Jr. Miss Gladys F. MacDona ld Dr. and 1rs. Henr y J. Mankin Mrs. j oh n McA ndrew Mr. and Mrs. Geo rge l\lcKinney Mr. and Mrs. Louis McMillen l\ lr. and Mrs. Roberr M. Melzer Dr. and l\1r . R. G. Monroe Dr. Josephine L. Murray Newron Sourh Hi gh School l\lr. and l\ lrs. Albert L. ickerson l\ lr. and J\.lr . tephen D. Paine l\lr. and Mrs. G. Kinnear Pa h l\l1ss Amelia Peabodl' l\lr. and l\lrs. john \X/ Prarr l\lr. Irvin g \X'. Rabb

Mrs. Chandler Robbins, II Mr. and Mrs. Henr y B. Robe rrs Mr. and Mrs. D.P. Robinso n, Jr. Mrs. Benja min Rowl and Mrs. George R. Rowland Mr. Alfo rd P. Rudni ck Mr. and Mrs. Mi chael Sand Mr. A. Herbert Sa ndwen Dr. and Mrs. Daniel S. Sax Ms. Margarer F. Schroeder Mr. and Mrs. Francis P. Sea rs Mr. and Mrs. Robert A. Sinclair Mrs. Dav id W Skinner Dr. Frances Haywa rd Sm irh Miss El izabeth B. Srorer Mr. Dav id M. Srryker Dr. and Mrs. Somers H. Sru rgis Mrs. Cy nthia H. Sunderl and Dr. and Mrs. Irvin Taube Mr. and Mrs. James L. Terr y Ms. Nancy Ti eken Mrs. Charl es F. Toppa n Mrs. j ea n P. Valentin e Mr. and Mrs. Arthur E. Vershb ow Mr. and Mrs. Wes ley A. Wagner Mr. and Mrs. Samuel D. Warren Mrs. E.G . Weye rh aeuse r Anonymous (2)

Family/Dual Dr. and Mrs . Nile Alb ri ghr Mr. Joh n L. All en Mr. Ru ssell W Ambach Mr. and Mrs. Andrew Anderson-Bell Mr. and Mrs. Rod ney Armsrong Ms. Smoki Bacon and Mr. Ri chard F. Conca nnon Dr. and Mrs. Herberr Beede rs Mrs. Ri chard M. Bennerr Mrs. j.L. Berhune Mr. and Mrs. M.W Bouwensch Mrs. Paul Sachs Bowers Mr. and Mrs. F. Go rh am Brigham, Jr. Mr. and Mrs. W.S. Brines Mr. Richard D. Buck and Mr. Wi ll iam R. Welsh Mr. and Mrs. George B. Bullock, Jr. J\1 r. Louis W Cabor Dr. and l\lrs. Bradford Cannon :'\ Ir. and Mr . David asper

Mr. and Mrs. Lau rence M. Channin g Mr. and Mrs. Charles Chatfield Mr. and Mrs. F. Sa rge nr Cheeve r Ms. Kath arin e E. Chemsa k Ms. Jo Ann Cirron and Ms. Cordeli a Sherm an Mr. and Mrs. j ohn W Cobb Dr. and Mrs. Sidney Cobb Mr. and Mrs. Sidney H. Cohen Mr. and Mrs. 1. W Colburn The Rev. C. Bl ayney Colm ore Ms. Carol A. Co nd on Dr. and Mrs. John D. Constable Mr. and Mrs. Hamilron Coolid ge Mr. and Mrs. Harold j. Coolidge Mr. and Mrs. Law rence Coolidge Ms. Mari e T. Cotter Mr. an d Mrs. Clare Cotton Mr. and Mrs. William P. Co ues Mr. and Mrs. William G. Co ughlin Mr. Charles Coulter Mr. and Mrs. Jesse X. Cousins Mr. Paul Curtis Mr.john Dane, Jr. Mr. and Mrs. Herbert P. Dane Mr. Regie D'Ava nces Mr. and Mrs. Frank P. Dav idson Mr. and Mrs. Paul Deane Mr. and Mrs. Park er J. Dexrer Ms. Jane Dodd and Mr. Thomas Jessel I Mrs. Alfred F. Donova n Dr. Leslie Dornfeld Mr. and Mrs. Ono Ecksrein Mr. and Mrs. Willi am S. Edge rl y Mr. and Mrs. Wi lliam Ehrlich Drs. Leon and Carola Eisenberg Ms. Dori s E. Epstein Mr. Josep h R. Falcone and Ms. Karri L. Kaise r Mr. and Mrs. DeCou rsey Fales, Jr. Ms. jea n Fu ller Farringro n Mr. and Mrs. Geo rge M . Fenollosa Mr. and Mrs. P.W Fink Dr. Edmu nd F. Finnerry Mr. and Mrs. Ga ry Fishbeck Mr. and Mrs. T. Fol lerr

Pro f. a nd Mrs. Sydney Freedberg Dr. a nd Mrs. Paul Fremo ntSmith Mr. Ed wa rd B. Ga lli ga n Ho n. Paul Willi a m Ga rbe r, S. Mrs. Ain sli e Ga rdne r Mr. a nd Mrs. Stephen G ilm a n M s. Ca rmen G ilmo re a nd Mr. Ri cha rd Bell Mr. and Mrs. E. S. G leason Dr. a nd M rs. Philip L. Go ldsmith Mr. a nd Mrs. Ed wa rd G reaves Pro f. a nd Mrs. Steph en G reyser Mr. a nd Mrs. Sidney W. Gross ma n Mrs. Elio t S. G uild Mr. a nd Mrs. j o hn H.J. G uth The Rev. a nd Mrs. Lyle G. H a ll Mr. a nd Mrs. John S. H a ml en Pro f. a nd Mrs. Do na ld R.F. H a rlema n Dr. and Mrs. Sidney H a nno n Mr. All an I. H atfield Dr. a nd Mrs. Howa rd Hi a tt Ms. Eli za beth H odgma n a nd Ms. Sa ra E. Cornell Mr. Willi a m F. Ho lst Mi ss Emily C. Hoo d Mr. a nd Mrs. Peter H opkinson Mr. a nd Mrs. Ja mes Houghteling Mr. a nd M rs. Law rence Hu ghes Mr. a nd Mrs. Ja mes F. Hunn ewell Mr. a nd Mrs. Roge r B. Hunt Mr. a nd Mrs. Christopher W. Hurd M r: a nd Mrs. Kenneth L. Isaacs Dr. a nd Mrs. Ja mes H . Jackson M r. Dav id S. Ja mes a nd Mr. Kyle G. Brown Ms. Carol R. Johnson M r. a nd Mrs. Ed wa rd C. John son, Ill Mr. a nd Mrs. Howa rd W. Johnson Mr. a nd Mrs. M ichael ]. A. H . Jolliffe Mr. a nd Mrs. Mi guel C. Jun ger Mr. a nd Mrs. JR. Killi a n Dr. and Mrs. E.T. Kirkpa t rick M r. a nd Mrs. Ja mes Ladd Mr. a nd Mrs. Jo hn J. Leonard Mr. a nd Mrs. j ohn Lintner M r. a nd Mrs. Herbert Lipke Dr. a nd Mrs. Don R. Lipsitt

Mr. a nd Mrs. J. Anto ny Ll oyd Mr. a nd Mrs. La urence Locke Dr. a nd Mrs. Bern a rd Low n M r. a nd Mrs. C ha rl es P. Lyma n Mr. Rober t Lynch Mr. a nd Mrs. Ernest A. Lynton Dr. a nd Mrs. Ko nr ad A. M a rk M r. Ro dge r A. M arri age a nd M s. Pa tri cia A. Brinkma n Mr. a nd Mrs. Jose ph M ay ba nk , Ill Mr. and Mrs. Ri cha rd M cAd oo Mr. a nd Mrs. Robert M cCo rmi ck Mr. Dav id C ha rles McG ilray, Sr. Mr. and Mrs. Tho mas Metca lf Mr. a nd Mrs. Ro na ld Mi cha ud Mr. a nd Mrs. Jo hn E. Miller Mr. a nd Mrs. Jo hn R. M oot Mr. a nd Mrs. Da ni el M o rley Mr. a nd Mrs. Oli ve r Oldm a n Mrs. Andrew Oli ve r M r. and Mrs. Willi a m B. Osgood Mr. a nd Mrs. Ri cha rd S. Perkins, Jr. Mr. a nd Mrs. David Pi ckm a n Dr. a nd Mrs. Arthur S. Pi er M r. and Mrs. Rona ld J. Plo tkin M s. Li a G. Poo rvu Mr. a nd Mrs. Ja mes R. Po pe Mr. a nd Mrs. Jerome H . Po rton Mr. a nd Mrs. H erbert W. Pra tt Mr. Joseph 0 . Procter Mr. a nd Mrs. Perr y T. Ra thbo ne Mr. Emery Ri ce Dr. a nd Mrs. E.P. Ri cha rdson, Jr. Mr. Sidney Robbin s Mr. a nd M rs. La u ra nce Roberts Mr. a nd Mrs. John Ex Ro dge rs Mr. C lem Roegge Dr. a nd Mrs. Pa ul S. Ru ssell Mr. David Ru ssell a nd Th e H on. Mrs. Ru ssell Dr. a nd Mrs. Jo hn B. Sea rs M r. a nd Mrs. Willi a m A. Shurcliff Dr. a nd Mrs. Ri cha rd L. Sidm a n M rs . M a ry Wylli e Singleto n Dr. a nd Mrs. Willi a m D. Sohi er Mr. a nd Mrs. Ro bert M . Solow M r. Li o nel Spi ro Ms. Mi chael a Sra nfill Dr. and Mrs. Geo rge W.B. Sta rk ey

Mr. a nd Mrs. Arthur Tho mp son Mrs. Ri cha rd H . Th o mpsc.n Mr. a nd Mrs. Mi chael Too ke Mr. Consta ntin e T saousis a nd Mr. Ca rroll Fenton Wa les M r. a nd Mrs. Alva n Tucker Mr. a nd Mrs. Tho mas Unn asch M s. Soni a Va lli a nos M s. M a ry C raw ford Yo lk M r. a nd Mrs. Willi a m A. Waldro n Mr. a nd Mrs. Dona ld F.H. Wa ll ach Mrs. Steph en Whea tl a nd Mr. a nd Mrs. Ro bert J. Whitehea d Dr. a nd Mrs. Jeremy B. Whitney Mr. a nd Mrs. Peter Wi ck Mr. a nd Mrs. Ri cha rd Willi a ms Mrs. Ka therin e B. Winter Mr. a nd Mrs. H a rvey W. Wood Drs. Dorothy a nd No rm a n Z in berg Ano nymous (1)

Individual Ms. Andrea Ackerm a n M rs. Rebecca M . Ah ern M s. Renee M. Arb M rs. Frederi ck A. Archiba ld , Jr. Ms. Cy nthi a Bacon M r. Gage Ba il ey, Jr.

Mr. Cha rles E. Ba rbo ur M rs. Willi a m A. Ba rron, Ill Mr. H a rri s I. Base ma n Mrs. E. M aur an Bea ls Ms . Mi chele L. Bechtel! M r. Willi a m Bentinck-Smith M r. Alexa nder Bernh a rd M r. Hecto r Bl ack M iss Ho lli s A. Bodm an Ms. Joa nn a L. Bradshaw Mrs. Willi a m Bra nch M r. K.L. Briel M r. Ri cha rd W. Brown Mrs. Bl a nche W. Brownin g Mrs. Ka th erine F. Bruner Mrs. Sy lvia K. Burack M s. Jen nifer Pendl eton Burch M r. Ph ilip E. Burnh a m, Jr. Mrs. Pauline Ho Bynum M s. Caro lin e Dixwell Ca bot Ms. M a ri e Ca rgill Ms. Muri el P. Ca rl so n Dr. Li a na Cheney Mr. R. Mo rto n C laflin M r.Jeffrey M. Cla rk Ms . Ka therine Co lema n Coll een Ms . Jill A. Colp ak M rs. j ohn P. Conda kes M r. Tho mas F. Conno ll y M r. Dav id Cook Mr. Da niel J. Coolidge D r. M a nu el J. Correia- Branco M s. Ma rga ret R. Courtn ey

Miss Suza nne Courtright Mr. John A. Cranda ll Ms. Mo rn a E. Crawford Mrs. R. Clement Darling Mrs. Fra nk A. Day Ms. Berth a Ann Deleon Mrs. Susan Delong Mr. Ray De Voll Mr. Nathaniel T. Dex ter Mr. Levo Di Bona Mrs. An n Young Doak Dr. James E. Doa n Ms. Nevart Dohani an Mr. Andres Drake Ms. Suza nne R. Dworsky Miss Dorothy Eas tm an Mrs. Ma ry A. Edwa rds Ms. Ca rrie Edwards Mrs. Alexa nder Ell is, Jr. Ms. Ka te Faga n Mrs. Ellen McKenney Fa hey Mrs. Harris Fa hnestock Mrs. Wa lter Fein berg Ms. Charlotte Fell man Ms. Elizabeth G. Fe rguson Mrs. Ma ry C. Fe rri s Ms. She ri Flagler Mr. Richard F. Fleischmann Mrs. M. Jea n Foley Mrs. Savage C. Frieze, Jr. Ms. Freida Ga rcia Ms. Rebecca B. Ga rdner Ms. Rebecca C. Ga rl and Mrs. Sheil a Gilmo re Mr. Edwa rd Gilmo re Mrs. H. Shippen Goodhue Mrs. Mi lton F. Go rdon Ms. Helen Go rini Ms. Joen Greenwood Ms. Simona Gronemann Mrs. Trygve Gundersen Ms. Elizabeth Hacker Ms. Joa nn a Han non Mr. John Davis Hatch Mrs. Vi ncent H. Hazard Mr. Grego ry Henderso n Mrs. Eliza beth Hodder Mrs. Rich ard Youn g Holden Mr. Sam uel Ho rowitz Mrs. Mylo Housen Ms. Abby Howa rd-Smith Mr. Henr y S. Howe Mr. James Hulse Mr. Wi lliam P. Hunnewell Mr. Louis C. Hu nter Ms. Rachel Jacoff Ms. Barba ra Jones Mrs. Marjori e Jones Mrs. Manfred Karnovsky

Mr. David Kennerl ey Ms. Heidi Kost-Gross Ms. Karen Kozlowski Ms. Barbara Krakow Mrs. Louis Kronenberger Mr. Co rby S. Kummer Mr. Donald Langbein Mrs. John Las tavica Mr. Arthur Lee Mr. Peter 0 . Lehm an Mr. Henr y B. Leonard Dr. Robert Lev in Mrs. Walter Levison Ms. Arl ene J. Levy Mrs. Boa rdm an Ll oyd Mr. Rob ert Londerga n Mr. William T. Loo mi s Miss Susan G. Lo rin g Mrs. Th omas B. Lo rin g Mr. Edmund J. Lyons Ms. Deb ra Macl ell an Mrs. George Maco mber Dr. Peter R. Maggs Mrs. Wi lliam Malamud Mr. Steven Marya noff Mrs. Henr y L. Mason Mr. Vascu McCoy Mr. Joseph L. McDonald Mrs. Ross A. McFarland Ms. Ann ' Mac key' McNamara M rs. Helen Meagher Mrs. Mar y C. Mehlm an Mrs. Joa n Mendelsohn Mrs. Lee S. Meyer Mr. Robert Moell er, Ill Mrs. Peter Money Mrs. Alan R. Morse Mrs. Ri chard P. Morse Mr. Abraham Moskow Mr. Haro ld N. Murphy Mr. John J. Murph y Mrs. Larr y Na th anson Mrs. Mar y Nil es No rtheastern Uni ve rsit y Publishin g Group Dr. Robert A. Novelline Miss Agnes I. Nunes Mr. Stanley Olson Ms. Karin S. Ozudogru Mrs. Harl an Paine Mr. Morga n Palmer Mr. Thomas W. Park er Mr. Dav id Henr y Perr y Ms. Barbara Petery Mrs. Wh itm arsh Phillips Ms. Angela M. Piergross i Mr. William W. Plummer Ms. Bettin a H. Pratt Miss Frances L. Preston

Ms. Nathalie S. Rahv* Ms. Eli za beth Rannefeld Dr. Freda Rebelsky Dr. Chri stine Redfo rd Mrs. C.C. Reed Mrs. Willi am M. Riegel Ms. Bonnie Susa n Ri ese r Ms. Alison Ri ghte r Mr. James Volney Ri ghter Mrs. Peter G. Robbins Mr. Eugene Robbins Ms. An ita W. Robboy Mr. Matthew Roberts Mrs. Dwight Robinson Mrs. Greta B. Rose n Ms. Shell ey Rosenstein Mrs. Ralph P. Rudni ck Prof. Dr. Annema ri e Schimm el Ms. Helen C. Secrist Dr. Ri chard H. Seder Mrs. W. Ellery Sedgwick Mrs. Stephani e N. Selden M rs. Geo rge B. Sher man Mrs. Joseph D. Shiffer Ms. Kay Sibary Mr. George E. Ski ll man Mr. Martin H. Slobodk in Mrs. Na ncy A. Smith Mrs. S. Abbot Smith Mrs. Edwa rd W. Sm ith , Il l Mrs. Lamar Soutter Mrs. Thomas j. G. Spa ng Mrs. Arthur S. Spangler Mrs. Burgess P. Sta ndl ey Mr. Peter H. Stone Ms. Co nsta nce H. Strohecker Mrs. Edward E Sulli van, Jr. Ms. Louise Sulli va n Mrs. All en W. Syd ney Ms. Ma rga ret W. Taft Miss Priscilla M. Tatro Mr. C. Fayette Taylor Ms. Katherine A. Terzi Ms. Susan Thomas Mrs. R. Amory Th orndike Ms. C.M. Thornton Mrs. George H. Timmins Mr. Chri stop her R. Tunnard Mrs. Joan S. Van Dorn Mr. Theodore Voss Mrs. Margaret Wa lkerMr. Will iam K. Walters Dr. Ri chard Warren Ms. Na ncy Wheelock Mr. Jer ry Wheelock Miss Grace R. Whittaker Mr. A.W. Willi ams"路 Mr. Soren Wolff Mrs. Leonard Wolsky

Ms. Elizabeth V. Wood Dr. Lydia Wyt rzes Miss Sha ron Mae Yavne r Mr. Steve Young Mrs. Alfred Zighera Anonymo us (2)

Fo undation/Trust The Bos ton Globe Found ati on, Inc. Gard ner Charitab le Trust The G.G. Monks Fo und ati on The Pai ne Charitable Trust

Corporate Applicon Schlumberger Hae moneti cs Resea rch Institute Frank B. Hall and Co. of Mass., Inc. Houghton Mifflin Co. The Mitre Corporatio n Stewart Title

National Dr. Robe rt P. Hooker Mr. and Mrs. Fritz R. Huntsin ger

Honorary Mr. Paul Doguerea u Mr. and Mrs. No rm an C. Loga n Mr. James E. Robinson, Il l Mr. and Mrs. Dan C. Stefanescu Mr. and Mrs. Co rn el ius Yermeule Mr. and Mrs. Tun g Wu ,,. deceased

Publications

Guide to th e Collection . An illu stra ted guide for visitors, with a brief sketch of the founder. Rev ised 2nd editi on ; 116 pp. Paperbound $3.00; Postage and packing $1.00 (domesti c) $1.50 (intern ati onal). Oriental and Islamic Art in the Isabella Stewart Gardner Museum, by Yasuko Ho ri o ka , Marylin Rhi e and Walter B. Denny, 1975. A fully illustrated catalogue; thi s small collecti o n includes sculpture, paintin gs, ceram ics, lacq uer ware, mini atures and ca rvings; 136 pp., 113 bl ack and w hite illustra ti ons. Pa perbound $5 .00; Pos tage and packing $1.00 (domestic) $1.50 (intern ati onal). Sculpture in the Isabella Stewart Gardner Museum, by Corneliu s Vermeule, Ill, Walter Ca hn and Rollin va n N. H adley, 1977. A ca talogue o f the sculpture collection , which includes exa mples from th e classica l and medi eva l periods throu gh the Rena issa nce to the modern era; 188 pp., 264 bl ack and white illu str ati ons. Paperbound $12.00 ; Clothbound $18. 00; Posta ge and packin g $1.25 (domes ti c) $2.00 (intern ati onal ). The Isab ella Stewart Gardner Museum, 1978. A handsomely illu strated book containing essays on the founder and t!\e collection by the director, curator and prominent scholars; 80 pp., 24 color pl ates. Clothbound $18 .00; Postage and packing $1.25 (domesti c) $2.00 (internation al). European and American Paintings in the Isabella Stewart Gardner Museum, by Philip H endy, 1974. A descripti ve catalogue, with biographi es of the artists and reprodu cti ons of all paintin gs; 316 pp., 282 bl ack and white illu strati ons, 38 color plates. Clothbound $20.00; Postage and packin g $2.50 (domestic) $3 .00 (international ).

Drawings/Isabella Stewart Gardner Museum, edited by Rollin van N. Hadley, 1968. A sma ll group of notab le drawings rangin g in date fro m th e late fifteenth to the ea rly twentieth centur y; 67 pp. , 38 illu strations, fro ntisp iece in color. Paperbo und $2.00; Postage and packing $1.00 (do mestic) $1.50 (intern ati onal). Isabella Stewart Gardner Museum. A Selection of Paintings, Drawings and Watercolors, T he Univers ity of C hi cago Press, 1976. A microfiche w ith 167 color illu stration s, captions, and biographica l sketch of Mrs. Ga rdner. Paperbound $19.50; Postage and packin g $.75 (do mesti c) $1.50 (intern ati onal). Isabella Stewart Gardner and Fenway Court, by Morris Carter. A bi ography of Isa bell a Stewart Gardner and a hi sto ry of the fo rm ation of her coll ection by the first director of the mu seum ; fo reword by G. Peabody Ga rdner ; 265 pp., illustrated ; third ed iti on . C lothb ound $12.00; Postage and packing $1. 25 (domes ti c) $2.00 (intern ational). A Checklist of the Corres pondence of Isabella Stewart Gardner at th e Gardner Museum. Writers, composers, performers, po liti cia ns, historians, and friends from the 1860 's to the 1920's, numberin g over 1000 names, with a gu ide to the locati ons of collected letters in the mu seum ; 12 pp. Pamphl et $.10; Postage and packin g $.20 (dom estic) $.40 (international ). Fenway Court. Illu strated art icles on th e coll ection and archi ves, includ ing a twopart essay on T iti an's Rape of Europa, articl es devoted to rare books in the collection, notes on the Spa ni sh paintin gs in th e M useum , and a selecti on of textil es at Fenway Court. Annu al Reports for 1973, 1975, 1977, 1979-82

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a re ava il a bl e. Pape rbo und $3.50; Postage and packin g $.80 (dome tic) $1.00 (intern a ti o nal ).

Museums Discovered: The Isabella Stewart Gardner Museum. A beautifully illu stra ted volume which include co lo r reproduction s of o ne hundred of the most importa nt pi eces in the coll ecti o n paintin gs, sculpture, texti les a nd fu rni ture. Introd uction a nd accompa nyin g text by Ro llin van N. H adl ey. 208 pp., 103 color pla tes. Pa perb o und $20.00; Postage and packin g $1. 25 (domestic) $2.00 (intern a ti o na l).

A li st of slides is availab le o n request. Libraries and othe r educationa l institutions are offered a 40 % discount o n most items. Mail o rders wi ll be shipp ed 4th class, book rate (domestic) o r sur face rate (internationa l). Please make check paya bl e to th e Isabell a Stewart Gardner Museum. Manuscripts on subjects related to the coll ection wi ll be considered for publi ca ti o ns. Please send proposa ls to the curator.

Report of the Treasurer

Statements of Net Assets as of December 31, 1983 and 1982 1983

1982

Net Assets Investments (Note 1): Bonds, at market (cost $4,366,896 in 1983 and $5,246,127 in 198 2) Stocks, at ma rket (cost $7,996,930 in 1983 a nd $7,931,760 in 198 2) Total investm ents, at market Allowa nce for unrea li zed ap preciati on

Inves tments at cost Shorr-term investments, at cost which app rox im ates ma rket To tal investmen ts, at cost Cash Prepaid Ex penses and O ther Assets Acc rued Income Taxes (No re 1)

Mu seum Pro pert y (Note 1): Mu seum bui ldi ng and underlyin g land Contents of Museum bui lding Greenho use and underl ying land Cafe (net of depreciation) Net assets

$ 5,286,347 $ 4,35 4,949 10,248,2 11 11 ,683,038 $15 ,53 4,558 $16,037,987 (2,35 6,671 ) (3,674,161) $13, 177,887 $12,363,826 66,500 1,439,000 $ 13 ,224,38 7 $13,802,826 $ 79,389 $ 157,255 25,960 69 1 (36,634 ) (3 3,876) $ 124,070 _$_ 68,715 $

366,400 4,0 15, 000 560,507 16,707 $ 4,958,6 14 $18,885,5 10

366,400 4,0 15,000 560,50 7 14,049 $ 4,955,956 $18,269,058

533,3 46 17,397,523 914,141 40,500 $18,885,510

Fund Balances $

O peratin g (No re 3) General Ma intenance and Depreciatio n (Note 1) Bui lding Improve ment (Note 4)

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

407, 115 16,898,9 77 962,966

$18,269,058

per:irin g Rece ipt~: lnve rm nr income: inreresr di idend Sa le of publi a ri o n ~ ranr Total opera ting receipts Operatin g Disbur ement : Mainren an e and ~ec urit y Admini tration are of co llecti on and paintings ardening and gr und Mui Profes ional ervice Pen ion and defe rred omp n ari on ( ore 2) Insurance re I) Federa I inco me taxe

omputer y rem atalogu ex pen e Boston Fenway Progra m Unemployment pay ment to ommonwea lth of Shorewo d Publi ca n on Kodak print proces r Publi ca tion Total opera ting disbursem ents Net Operating Disbursemen ts onoperating Receipt : Vi itor 'contribution Member hip a ppea l Other receipt and contribution Net a fe receipt Total non operating receipts onope rating di sbursement : Im provements to Mu eum building Transfer to Building Improvement Fund Membership appea l ex pen e Net nonoperating receipts Total cash receipts in excess of disb~1rsements

6 10,008 527,84 7 66,059 15,000 $ 1,2 18,9 14

458,622 412,201 105,733 77,456 63,0 54,923 5 1,006 29,976 2 1,724 14 ,389 13,000 I0,788 6,232 6, 140 5,000 513

a s.

1,33075 ( 111 ,844 )

653 ,582 413,232 57,298 18,000 1, 142,112 45 7,636 362,266 9 1, 11 0 73,472 56,885 37,288 36,529 22,665 21,538 20,963 1,922

6 3 5,000 4,049 25,086 10,967 462 1,228,47 1 $ (86 359)

I 3,6 12

I 05,743

11 2,975

53, 1 5 18,997 7,23 1 5, 16

I ,278 4, 98

0 ,463

63,945

48,825 40,500 29,88 $

15, 29 105, 89 19,530

Realized and Unrealized Gain on Investments (Note 1) Rea li zed Gain : Proceeds from sa le o f investment Cost of in ve tmenr old

$ 5,409,523

Tax on rea lized gains ( ore I) Net rea li zed ga in on investment Unrealized Appreciation: Beginning o f peri od End of period Increase in Unrealized Appreciation Net realized and unrealized gain on investments

$ 2,356,67 1

(4,900,8 15) $ 508,708 ( 10, 162 ) 498,546

3,674, 161 1,3 17,490 $ 1,8 16,036

The accompanying notes are an integral part of these finan cial statem ents.

9, 149,04 (8,436,650) 712,398 (13,939) $ 698,459 l ,305,239 2,356,671 1,05 1,432 $ 1,749,89 1

Statements of Changes in Fund Balances for the Years Ended December 31, 1983 and 1982

Ba lance, December 31, 1981 Total cash receipts in excess of di sbursements Ne t rea lized ga in on in ves tments Maintenance and depreciati on alloca tion (No te 1) Balance, December 31, 1982 Total cash receipts in excess of di sbursements Ne t reali zed ga in on investments M aintenance and depreciation alloca tion (Note 1) Building Improvements alloca ti on (Note 4) Balance, December 31, 1983

Operating $ 323,640 19,530

General $16,200,5 18

M aintenance and Depreciati on $ 1,026,9 11

Build ing Improvements

Total $17,55 1,069 19,530 698,459

698,459 (63,945)

63,945

407, 11 5 77,406

$16,898,977

$18,269,058 77,406

962,966

498,546

498,546 (48 ,825 )

48,825

533,346

$17,397,523

40,500

40 ,500

40,500

$18,885,510

198 3

1982

$ 1,2 18,9 14 49 8,5 46 308,463 $ 2,025,923

$ 1,142,112 698,45 9 185 ,163 $ 2,025,734

$ 1,330,758 78,713 $ 1,409,471 $ 616:452

$ 1,228,471 79,274 $ 1,307,745 $ 717 989

914,141

Statements of Changes in Net Assets for the Years Ended December 31, 1983 and 1982 Net Assets were Received from: Operating receipts Ne t realized ga in on inves tments Nonoperating receipts Net Assets were Used fo r: Operating di sbursemen ts Nonoperating disbursements Total In crease in Net Assets The increase in net assets was represented by changes in : Inves tments Cash Prepaid expenses and other asse ts Accrued income taxes Museum property

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

558,439 77,866 (25,269 ) 2,758 2,658 616:452

749 ,960

(7, 182) (12,033 ) (12,756) 717 989

Notes to Financial Statements December 31, 1983 and 1982 l Summary of Accounting Policies The Isa bell a Ste wa rt Ga rdner Mu se um , Inco rporated (Mu seum Co rpo ra ti on), th e so le trustee under th e will of Isa bel la Stewa rt Ga rdne r, is t he owne r o f the prope rt y whi ch is loca ted at 2 Palace Road , Bosto n, MA ., a nd Mrs. Ga rdner's a rt coll ectio n contain ed th erein . The mo re signi fica nt accountin g poli cies o f th e Mu seum Co rporat io n not covered elsewh ere in thi s repo rt in cl ude th e fo ll ow in g: A Bas is o f Prese nta ti on - Th e Museu m Corpora ti o n prepa res its fin a ncial sta tements on a modifi ed cash bas is o f accountin g. Unde r this method, inco me a nd ex penses a re recogni zed when cash is rece ived a nd paid ra the r th a n when ea rned o r in curred, except fo r fede ra l in co me taxes whi ch a re recogni zed when incurred . B Investments- Th e Mu seum Co rpo ra ti o n ca rr ies investments at qu oted ma rket pri ce, less a n a ll owa nce fo r unrea li zed a ppreciati o n. No cha nge in unrea li zed a ppreciati o n is recogni zed fo r fi na ncial statement purposes. Howeve r, this in fo rm a ti on has bee n included below th e Sta tement o f Cash Receipts a nd Disbursements fo r disclos ure purpo es. C Mu se um Prope rt y- Museum prope rt y is stated at a ppr aised va lues esta blished on Decem ber 24, 1936 . Additi o ns made su bsequ enrl y a re stated a t cos t. The Museum Co rpora ti on has consistentl y fo ll owed the pr acti ce o f cha rgin g renovatio ns to ex pense r a ~h e r th a n providin g fo r depreciatio n o f Museum propert y, exce pt fo r the new ly constructed ca fe, whi ch is bein g deprecia ted ove r its estim a ted use fu l li fe beginnin g in 1979. Alloca ti o ns to th e M aintena nce and Depreciati o n Fund a re credited thereto when autho ri zed by the Trustees. D Federal Inco me Taxes-Under the Inte rn al Revenu e Code, the Mu seum Co rpo ra ti o n is classifie d as a pri va te o peratin g found a ti o n a nd , acco rdingly, required to pay a tax o f 2% o f " net inves tm ent income;' as defin ed . The Mu se um has rece ived a favorab le determin ati o n letter fro m the Intern al Revenu e Se rvice rega rdin g its requ est to cha nge fro m pri va te fo un da ti on sta tu s to publi c found ati o n sta tu s if ce rtain conditi o ns a re met over a fi ve year peri od beginnin g in 1982. If a t the end o f the fi ve yea r peri od th e Museum qu alifi es, inco me tax pay ments will no lo nge r be required a nd a ny taxes pa id durin g the fi ve yea rs wi ll be refunded . 2 Em ployee Benefit Plans The Mu se um Corporat ion has a pensio n pl a n, whi ch covers sub stanti a ll y all ful l-tim e empl oyees who meet certain age a nd empl oy ment requirements. Th e Mu seum Co rpo rati o n's poli cy is to fund pension costs accru ed . Costs cha rged to opera ti o ns in 1983 a nd 1982 were $29,9 40 a nd $2 2,158, respecti vely. Th e pensio n ex pense includes a mo rti za ti o n o f pas t se rvi ce cos ts over 15 yea rs. The actu a ri al prese nt valu e of accum ulated pl a n benefits as of Ja nu a r y 1, 1983 was $250,222 fo r vested employees a nd $8, 76 4 fo r no n vested employees . As o f Ja nu a ry 1, 19 82 the actu a ri al present va lue of accumu la ted plan benefits was $2 07,643 fo r vested employees a nd $6,510 fo r no nvested employees . The net assets ava il a ble fo r pl a n benefits we re $509 ,075 as of Ja nu ar y 1, 1983 a nd $383 ,056 as o f Janu a r y 1, 198 2 . The weighted average assumed ra te o f retu rn used in determining the

actua ri al present value of accumul ated pla n benefi ts was 6.5% fo r 1983 and 1982. Th e M useum Corpo ration also has a defe rred co mpensa ti o n pla n for key museum employees and makes a nnui t y payments ro fo rm er employees not in cl uded in the above pensio n pla n. Costs cha rged to o pera ti ons in 1983 a nd 1982 fo r these items we re $21,066 a nd $14,371, respectively. 3 Restriction on Operating Surplus T he Tru stees are directed un de r the will of Isa bel la Stewa rt Ga rdner to pay to certai n des ignated hospital a ny surplus of income whi ch, in the op ini o n o f the Directo r a nd Tru stees, wi ll nor be needed fo r rhe proper a nd reasonable ma inrena nce o f rhe Mu seum . These amou nts, if a ny, a re payable a t rhe end of success ive five-yea r peri ods, the next of whi ch ends Decembe r 31, 1984. 4 Bu ilding Improvements Fund Balance Durin g 1983, Museum members we re asked to dona te funds in add it io n to their a nnu a l contribu ti ons to fin a nce improve ments to the Mu se um buildin g. At Decembe r 31, 1983, contri buti o ns to thi s fund a mo unted to $40,500. The trustees have voted to segrega te th ese fund s in a separa te fund bala nce.co be used specifica ll y fo r Mu se um renova ti o ns.

To the Trustees of T he Isabella Stewart Gardner Museum, Incorporated, Trustee Under the Wi ll of Isabell a Stewart Gardner: We have exa min ed the statements o f net asse ts of Th e Isa bell a Stewa rt Ga rd ne r Muse um , Inco rporated (a M assachusetts corpora ti o n, not fo r profi t), Trustee unde r the Will of Isa bell a Stewa rt Ga rdner as o f Dece mber 31, 1983 a nd 1982, a nd the rela ted sta tements o f cash rece ipts a nd di sbursements, fund bala nces a nd cha nges in net assets fo r the yea rs then ended. Ou r exa min at ions were made in acco rd a nce wi th generall y acce pted aud itin g sta nda rds a nd , accordin gly, included such tests of the accountin g reco rds a nd such other a uditin g procedures as we considered necessa r y in the circum sta nces, incl udin g co nfi rm at ion o f securiti es ow ned a t December 31, 1983 a nd 1982 by correspondence w it h the custodi a n. As desc ribed in ore 1, the Museum Co rpo ra ti on's finan cial statements a re prepa red o n a modifi ed cash bas is o f accountin g. Under thi s method, inco me a nd expenses a re recogni zed when received o r pa id ra ther th a n when ea rned o r in cu rred, except for federal in come taxes whi ch a re recogni zed when incurred. Acco rd ingly, the accompa nyin g fin a ncia l sta tements a re nor intended to present the fin a ncial positio n, results of opera ti ons and changes in net assets in confo rmity with ger. era ll y accepted accountin g principl es. In o ur o pini o n, t he fi na ncial sta tements referred to a bove represent fa irl y th e net assets o f Th e Isa bell a Stewa rt Ga rdner Museum , Inco rpo ra ted, Trustee Under the Will o f Isabel la Stewa rt Ga rdn er as of December 31, 1983 a nd 1982, a nd the cash rece ipts and disburse ments, and cha nges in its net assets fo r the yea rs then ended, on the basis o f accountin g described in Note 1, appli ed on a consiste nt bas is. Arthur An de rsen & Co. Febru a ry 21, 198 4.

Trustees

1a111 tenance

The h ahcll a re" arr Ga rdner ,\ lu.,cum , lncorpo rared, olc Tru >rec under rhc will of i'>a bcll a rcwarr Ga rdn er

Adn11nrstra t1011

President Malcolm D. Perkin >

Ass1s1ant Direclor Linda . Hewm

,\,la111Je11a11ce ro rl!lllull lfred j. m1rh

V1ce-Pres1de11t and Treas11rer j ohn L. ardn cr

11 ra1or Debora h

hop Tec/111 1c1a11 l\11 ch:1cl hnnerr )

Secretary Jame L. Terr y llt or 1-o rbc;, 1a on Hammond

Fra ncis W Harch, Jr. Jame Lawrence

Direc1or Rollin \'a n

. Hadl e)

ribbon

A rchw1s1/ Adm1111s1ra 1111e

Ass1s1a11t usa n mcl a1r Ad111111is1ra twe Ass1sta111 Hope Mel. ool1dge Curatorial Ass1s/a111 Karen . Haas Membership oord111a1or Am y Eshoo ecre/ary to the Director arol Durra Photographer Greg Hem

11perl'1 or of B111/d111g j ohn 1-. il and

l1 za berh Bing John ollcra n Yvonne )\ 1ercc r Jo eph Teixc1ra

ec11rity )ne( o(Secunt y L) le Grindle Securit y f'o re111e11 harl e, Heidorn Bri an Porrcr

Wa tch

Director of Mu sic Johann a G1wos ky Docents lan e L. Diamond jud1rh E. Hanh 1sal o Ad a Loga n Lo t rark ey

Roberr Ander>on Allt on Brew rcr Ro bcrr h ench James Harrm ::t n Phtltp Rtl C) P1 erer andcrbcd. Thoma, Zuckc r-SLhJ rtf

C11irds )\ 1.rnrtcc \ hcrn I r.1nc"co B.iu> Henn BJrn \X 111,on Bit" Robe rt Br.1dx11 .\I.ire lh.tbor Thom.1' D1 rr.111c l: d" .trd Dem n' ThomJ' I .thq Denn" I 1t1gcr.1IJ Alf red HJrnun k.rn1mh " dh John k.tn g I 1,.1 l c 111.tk John l oncrgJn ( hJrle, .\lc'> 1r.111cl.. John ,\kd,,, ,\ !tLhJcl )\kl Jc rt Hugh O' .\l J rJ Jcheph RJ1un.i.. )\f 1(hJd ) be .I JJ nt ce \X J rd Lou" ) J(hc n J

Carde11111g I h•ad (,ard,·11,•r Rohcrr ,\I ,\ 1.tc " rn"< C.ardcncr> ) rJnln " 01.11.. ( hJ rJc, PI lc.1h, Jr. .l<h«ph I k. 1.1r"'

ales /erk Loren L. Benson Pm11er 1'11chacl onro)

( 4,. \ 11pan

l 01\ \le" tt (hl"ll

Assrs1a11 t ( J(« \11f11' rr / or '>u1Jnnc L l Rocc.J

onservation hie( 011serva1or Jack oulr:1 n1 :1 n Co11serua 11011 Ass1s1a111 Eli .. a Jorgen;en Co11serl'a/or of Paper arol1ne Gra bo1., Consen•a1or o(Tex Jtles l\1 J q om R. Bullock Ass1s1a11ts, Tex/ties Ber" Gould Rohm BcrgmJ n

• ( )11

rt g11/,Jr d11t)

l/ lkum/J, r /'I

Mu seum Offi,ce 2 Palace Road Boston, M assachusetts 02 115