Fenway Court: 1986

Fenway Court

Fen"Way Court r 9 8 6

Isabella Stewart Gardner Museum

Published by the Trustees of the Isabella Stewart Gardner Museum, Incorporated 2 Palace Road Boston, Massachusetts Copyright 1987 Designed by Stephen Harvard Photographs by Greg Heins Printed by Meriden-Stinehour Press

Cover: Rembrandt, Christ in the Storm on the Sea of Galilee, detail, 1633, oil on canvas, 161.7 x 129.8 cm., Inv. No. P21s24, Dutch Room.

Contents

Rembrandt'

john

hrist in the tonn on the ea of alt!ee Re-exa m med

7

'l11sh

"Johanna de R uado" ( cribe) and a Manu

ript f 1rgd fr m Bre 1a

21

Virginia Brown erone e and The oronat1on of Hebe at the ardner Terisio Pignatti

u eum

tewart erendipity: a Mi ing Te t f the 1odus Te11e11d1 Parltame11t11111

David tarkey n ient Marble fr m the Italian ard n at reen Hill Kristin A. Mortimer and ornelws . Ver111e11le IIf The I abella tewart ardner u eum, In i ty- econd nnual Report for th Year in teen Hundred and 1ghty 1 Report of the Pre ident

Malcolm D . Perk ms

Report f the Dire tor

Rollin van

Report of the

Kristin A. Mortimer

urator

Member hip Program Member hip

78

Publication

84

Report of the Trea urer Tru tee , Advi ory

rated

4

. Hadley 6

75

88

ommittee and raff

94

0

3

1 RembrJndt, lmst 111 t/Je form 011 t/Je eu of ulilec, 1633, oil on Jnvas, I I -.; BO cm., Im . o . Pllsl4, Durch R om, babella rewarr ardner l u~eum .

Rembrandt's Christ in the Storm on the Sea of Galilee Re-examined

hrist in the Storm on the ea of Galilee of 1633 travelled to ew York to be cleaned and re tored by Gabrielle Kopelman, then made a tunning reappearance in it accustomed place in the Gardner Mu eum (fig. l ). 1 For a long a we had known the painting, its urface h ad been di figured by d a rkened retouche , it value were dimmed, and it color were yellowed by degenerated varni h . The cleaning did more than make the picture brighter. It reawakened the peculiar and urpri ing delicacy of Rembrandt' color , a nd it recovered the power of hi dramatic effects, pa rticularly the elemental contra t that give the design it metaphorical force: bright light and explo ive water oppo ed to the sh adow in which the disciple , frightened and doubting, appeal to Chri t.

Several year ago Rembrandt'

The picture, wh ich has been well known for centuries, has given generatio ns of writers and lecturer a convenient illu tration of some truths a bout the young Rembra ndt that are easily summarized.

In the early 1630' , when he wa about twenty-five and a lread y the most popular portrait pa inter in Amsterdam, Rembrandt pa inted a handful of religious and historical subject , using small figures and a high degree of finish, in w hich physical action and highly charged expressions tell the story clearly. Houbraken, who believed in finish , cited this picture as an example of the virtues of Rembrandt's youthful wo rks over the later o nes: " I h ave noticed," he wrote, " that in his earlier period he had much more patience and finished his pa intings more carefully than later on." H e continued: "You can see this a mong others in a picture known as The Ship of Saint Peter that has hung for many years in the collection of Jan Jacobsz. Hinlopen, fo rmer schout and mayor of Amsterdam. For the actions of the figures and their features are expressed as naturally in relation to the circum-

tance a one could imagine, and, in addi tion, they are much more minutely painted than one i u ed to eeing in hi work. " 2 The ap propriatene of expre ion H oubraken mention had been admi red ince Rembrandt' youth . on tantijn Huygen Rembrandt' brilliant contemporary and hi patron for a time, had a lready written in hi diary that Rembrandt wa e pecially gifted in the lively depictio n of emotion, and in a famous pa age Huygen ingled out the figure of Juda in a picture of 1629 and de cribed the angui hone can read clearly in hi po e a nd expre ion . 1 Huygen would have approved of the di ciple in Rembrandt' pitching ve el, w ho e bodie and face expre de peratio n, fortitude, panic, ickne upplication, and de pair (fig. 2). ln compo ing the picture, Rembrandt u ed organizational device that were common in Ita lian a nd Flemi h art at the time particularly the big zigzag diagonal of the hull ma t, and yard, and the upward piral of the ail and loose rigging.

Apart from uch commonplace there i little more to read in the litera ture about the picture other than ome di cu ion of Rembrandt's o urce . Thi i odd, con idering that it was an a toni hing performance in its time-much the bigge t hi tory painting Rembrandt had yet executed, and one that po ed a major technical cha llenge to a young arti t who had never before made a eascape. The Biblical subject i not only unu ual, but the way it wa treated more so. I sho uld like to suggest a little more about how Rembrandt managed uch an ambitiou feat and about the point of hi doing o .

When Rembrandt wanted to paint a rousing storm on the Sea of Galilee, where did he go for help in visualizing the cene?

H e did not need to tie him elf to the ma t in a storm, for likely a not he a lready ha d a mental picture. Frits Lugt showed a long 7

2 Derail of fig. 1.

time ago that the basis of that picture was Maerten de Vos' treatment of the subject, engraved by A. Collaert in the 1580's or 1590's (fig. 3 ).4 Not one deta il is the same, yet the conceptio n is close enough : a single-ma red Nerherlandish fi hing ves el laboring in a heavy sea while ome disciples struggle to ta ke in the ails a others try to get help from Christ. The compositio n i also generally similar. It may have been surprising thirty years ago, when Lugt wrote, to find Rembrandt consulting sixteenth-century engraving for ideas, but it is surprising no longer since Ti.impel and others have identified many o ther insta nces of Rembrandt's pragmatic browsing in earlier Bible illustrations for solutions to problems of stagecra ft that he could adapt to his own purposes.5 De Vo 's successor as Antwerp's principal history pa inter wa Rubens, the arti t whom Rembra ndt tried in many ways to

rival during the e years. ome fifteen year ago, evera l unknown ea painting by Rubens came to light. The fir t wa a panel that Su an ne H eiland had recognized in the storeroom of the Mu eum der bildenden Ki.inste, Leipzig, as havi ng origina ll y formed part of the predella of the alta rpiece of The Raising of the Cross that was o rdered for the Church of St. Walburga in 1610 a nd di membered in the 1730's. 6 (In the early 1630's Rembrandt adapted Rubens's centra l cene, w hich he evidently knew in ome form, into o ne of hi Passion paintings for the Stadholder, now in the Aire Pina kothek, Munich.) St. Walburga is shown in a sea storm praying for God to ave the ship, a beamy tub, propelled by Michela ngele que musclemen, that p lows through wildly turbulent waves. The conception i quite different from Rembra ndt's; but there is a struggle to get down the sa il, just as there is in both de Vos and Rembrandt, and there is a man

8

1 \ . t oll.1c-rt, Iller \ l.icrtC'll J \ o • < /in t 111 rl· \ 1 1 ,, ,,

• 10

p1durt' luJ I n·n n:proJu~lJ Ill t•n •r.1\· 111~' or

4 Ruben\, C/mst 111 the

rorm 0 11 the Sea of Galilee, ca 1608- 10, o il on panel, 100 x 141 cm., caatliche Kumc\ammlungen, Dn..,J en.

9

11 \\1.· knl'' Rlmbr.llldl h.tJ 1r.Hd-

5 Adam Willaerts, Storm at Sea, 1614, oil o n oval panel, 65 x 86.5 cm., Rijksmuseum, Amsterdam.

led to the southern Netherlands, I think we could safely add them to the visual impressions Rembrandt worked into his own version of the subject- especially the dramatically tilted-up aspect of the boat.

But since there is no evidence that either happened, we are left speculating.

The engraving after de Vos could not have suggested more to Rembrandt than a mise en scene and some stage business. To learn how to paint a believable ship battered by a believable sea storm Rembrandt had to look elsewhere - certainly not to Rubens, whose compositions might have stuck in Rembrandt's mind, but whose fantastically stylized waves, huge wallowing boat, and anguished nude oarsmen would have not been useful. There was plenty of help to be had , however, in the sea paintings of Rembrandt's contemporaries.

All during his youth, Rembrandt had witnessed the growth of sea painting, a genre that had become mo re popular and richer in possibilities at the hands of painters of the older generation - H endrik Vroom, Cornelis Verbeeck, Claes van W ieringen, and Adam Willaerts being the leaders- whose pictures must have been easily available to him in Leyden and

Amsterdam. 8 These painters were interested above all in glorio us or disastrous or frightening incidents at sea, portrayed in lively fashion and using such convenient pictorial conventions as a high viewpoint and a stylized treatment of the"waves and the motion of ships. Rembrandt would have learned something fro m these pictures.

In the Storm at Sea by Adam Willaerts of 1614 in the Rijksmuseum (fig. 5 ),9 ships struggle to prevent being driven down on a rocky coast. A little single-masted fishing vessel like Rembrandt's is in similar trouble, but worse: the wind propels it backward in an absurdly unseamanlike maneuver that would be impossible in real life, in which the square sail has swung around and now pulls the boat toward the rocks. It looks as though only divine intervention will spare the crew, and there is no Christ aboard. Sailors struggle with the sail and a man vomits over the side a detail I have found on ly in Rubens and' Rembrandt. Such a picture would have given Rembrandt pointers on how to show a contemporary fishing vessel in distress, but the arbitrary and unnatural conventions of the older generation, such

10

6 Jan Por ell1..,, 0<1111/oopcrs

111 .i tro11g Brce~e. ca.

1622-24, 011 on panel. 16 x 0 m., JnonJI !Jnnme l u;eum, Greem 1 h.

a the high vantage p int or the green h et f water fringed with la , would have lo ked passe. R mbrandt ho et bring the vantage p int down t the wave t p and lo er up, a de o had d ne, making the pe tat r' experien e eem more immediate, and !erring him devote three-qua rter of the picture to a turbulent ky. Rembrandt' ky and water make it clear that he wa looking at more than ju t the print after de Vo . H e wa I king at more recent ea painting .

A painting of a hip in di tre by the lirrle-known Pieter talpaert of 161 , 10 three year after the Willaert , ha a greatl y lowered vantage point. The ea a nd ve el are more credible, de pite the fact that the wave a re till flo ridly rylized . T hi picture, even tho ugh it rep re ent hrist on the ea of Galilee and is, therefore, intere ting a one of the ra re predece o r of Rembrandt' , wo uld neverthele probably have had lirrle to teach Rem brand t if he had known it.

O n the o ther ha nd, a group of pictu res of 1622-32 by J a n Po rcellis mu t have sugge ted how Rembrandt might visua lize a mo re irregular ea app ropriate to the shallow water of the Z uider Zee o r the Sea o f Galilee, a sea w ith strongly lighted heaps o f foa m, een fro m a l owere~ p~ int of view, tha t pro duce a more convincing mo tio n fo r the e blunt vessels, w hich roll a nd lift their bows in the abrup t waves (fig. 6) . 11 Rembrandt eventually owned six

picture by J an P rcelli . In the e year a group f Rembrandt' contemporarie , in luding the elder Por elli and hi on Juliu , the young 1mon de lieger, Bonaventura Peerer in ntwerp, and ther who e work Rembrandt urely knew, brought about an aggiornamento of ea painting thr ugh ju t thi kind of mode t picture. Their painting would have provided Rembrandt with model for another of hi dramatic device : the turbulent dark cloud that are torn apart, a llowing a beam of un to play over the hip and water. The light come from off rage, a it were ju ta it doe in Rembrandt' indoor ubject with u h powerfu l effect.

In the Gardner painting, nature became a n actor in Rembrandt' work for the fir t time. In giving thi role to changeable nature, Rembra ndt participated in the hift in landscape and ea cape painting that was going on all around him. The ky and it freight of cloud became more prominent than ever before in art, and it could now express subtle nuance of weather a well a the variable moods of nature, including its uglier, more threatening side. Porcell is, de Vlieger, van Goyen, and Salo mo n van Ruisdael all contributed to this discovery of the expres ive variety o f skies in landscape. In Porcellis's 1631 beach scene with a shipwreck, now in the Mauritshuis, The H ague, 12 for in ranee, the roiling clouds and sla nting light

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7 Rembrandt, The Stone Bridge, ca. 1638, oil on panel, 29.5 x 42.5 cm., Rijksmuseum, Amsterdam.

strongly reinfo rce the dra ma of the stranded hip a nd the lifesav ing operatio n in the di tance. In just a few years, Rem brandt wou ld paint h is first p ure landcapes, in which a benign nature i animated by the clo uds. In the fa miliar Stone Bridge of abo ut 1638 in the Ri jksmuseum 13 a passing sto rm is bo th threatening a nd li fe-giving (fig. 7) . The moving clo ud give the scene a tempo ra l dimen ion as well as the obvio us psycho logical o ne of generating u pense and the prom ise of relief. In the Christ in the Storm on the Sea of Galilee the e elements no t o nly play a pa rt in our re po nse, but make their first appeara nce in Rem brandt's work.

Rembrandt took w hat he needed fro m contemporary ea paintings to prod uce a fa ir likene s o f an everyd ay fishing vessel in a heavy sea- but it was o nly a fa ir likeness at best, since Remb randt was less intere ted in literal truth tha n in poetic effect. Just as he conjured up a vast Semitic-Gothic fa ntasy the year before as a suita bly awe-inspi ring setting for Simeon's song of praise, 14 so he conceived hi ship no t as a naval a rchitect o r professio na l m arine pa inter, but as a dram atist needing effective props. To demonstrate this I need to ma ke a brief nautical digression.

The disciples' ship is basically a hoeker, a sma ll North Sea o r Z uider Zee fi hing vessel w ith a ingle mast, a square ma insail, a nd sometimes a triangula r staysa il

8 Jan Porcelli , ThreeMasters Approaching a Rocky Coast, detail, ca.

1615, oil on panel, 35 x 67 cm., Hallwyl ka Museet, rockholm.

(fig. 8). 15 But Rem brand t took some liberties: he m ade the hull impossibly asy mmetrical so that o ne side doe not correspo nd to the o ther; he made the mast unnatura lly heavy a nd, therefore, a more p rominent diagonal in the compositio n; and he did no t give the square ya rd the rollers it needs to move up and down . His rigging wo uld never work since there are no braces (the ropes that pull the yard around to catch the w ind), there is no ha lyard to pull the mainsail up, and there are unequal stays to suppo rt the mast (fig.

12

9 Derail of fig. 1.

10 Robert de Baudous, after Corneli Jae van Wieringen, Autumnus, derail, ca. 1600, engraving.

9). Even the most striking deta il, the loose stay that flies from the masthead, looks right at first gla nce but actually could not have broken loose from the rail at both ends simultaneously in the way it is shown.

Furthermore, anybody w ho knew ships would have wondered w hat in the world the crew i doing. Just as Adam Willaerts, who was no more a sailor than Rembrandt, had his little vessel sailing full speed astern toward the rocks, Rembrandt's crew has brought its squarerigged ship a lmost head-to-wind so tha t the sails no longer propel but only create strain and so that the ship pitches heavily into the steep waves. Four men are battling to ta ke in the sails, three of them hau ling down on a mainsail that has no visible means of support and ought logically to crash down on top of them. The other crewma n in the bow pulls at the jib in utter futility since the halyard that ho lds it up seems to be made fast. T he yard, which has no braces to control it but does have useless lifts, has swung around parallel to the ship. A senseless ma neuver for a ship

with this kind of quare sa il, this looks to be another useful error on Rembra ndt's pa rt since it resembles a procedure that Rembrandt could have seen in any number of prints or painting that show spritrigged vessels reducing ail in heavy weather by lowering the end of the sprit, allowing the sail to twist a nd belly o ut as Rembrandt's is doing (fig. 10). This could not be done on a hoeker rigged like that of the disciples.

These mistakes, regardless of how they might disturb a sailo r, have clear dra matic purposes: they emphasize the raw physical struggle, a nd they create the upwa rd spiral of form, carried further by the w hiplash of the loose stay, that expresses the disruptive force of nature that only God can subdue.

Not long after the Gardner picture was painted, it impressed Rembrandt's exact contemporary Simon de Vlieger enough to cause the latter to use it as the basis for a t least three versions of the subject. 16 As a professional sea painter, de Vlieger was careful to get the hulls, rigging, a nd ma-

13

11 J. ''cnbt:c:~k . Jfcc:r 1mon Jc Vltc:gcr, Chmt 111 the \ton11 0 11 the \e.i of (,.i/tla , ( J 16 r. etching.

ncu\l r., JU'>r nghr (fig. 11 . ur h1~ pt rurc'>, tor Jll rhc:1r Jc..non JnJ nJut11.•1I c: pc:rmc:, bd.. the: h111J111g c:nc:r~ JnJ rhc: lOnc..cntr Jnon rhJt "c: c: pc:u.1lh 'aluc: 111 Rc:mbr Jndr\.

I'' .111r ro point our one: ~m.111 bur '>tgn1fil'.Jnt J1fkrc..ncc: bc:mc:c:n Rc:mhrJnJr\ tn:.umc:nt of (In ·t 111 the tor111 011 the Sl!.1 of ,altlt•e .111J ch Jr of c\ t'IJ orhc:r Jrmr I kncl\\, 111duJ111g Ruhrn .... In rhc: orhc:r-,, hn"r 1 Jh\ J\' he'' n J'>kcp. The: me.. '>Jgc: of I It' '>kc..p I'> rhar rhc: ~rorm JnJ rhc: rhrc:.H ot Jc:arh rhar rem mortal'>, C:\ en c:'pc:nc:nc..c:J ti-,hc:rmc:n, haw no powc:r m c:r hrl\t. He '>lc:cp'> t'\ en J rhc: J1.,uplc:~ ti] ro J\\akc:n Him, a) 111g, "~ IJ-,rc:r, ~ !J-.cc:r, '' e are pen~h1ng!" The -.pc:ctJror'> knO\\ '' 11..lt ''di happen nc:,r: He:'' di'' akc: up, rebuke rhe '' 111J anJ ''a'c:.,,anJa-.krheJ1 c1ple.,,"\ hc:re,,a., your frmh ?"

In one: of rhe three nprural \Cr ion of the ~tor), J lmlc: more g c: n that ma ha\e helped ro gl\e Rembrandt a reJ on ro depart from trad1n n. 1ark ay'> that bdore hn~t almeJ the rorm, "He'' a 111 the h111Jer parr of the !>htp, a leep on a pillow: and they awake him, and ~ay unto him," Ma rer, care'>t thou not that we pemh?" In Mark\ ver i n (4:35- 4 1), rhe d1-,c1ple., do not imply give rhe alarm, they a<,k hn t 1f He care whether they

pen h; .rnJ 1r m.:t\ he th!'> 1ro111cal que-.non thJt u ge reJ to RembrJnJr the c:nnreh ong111JI 1JeJ of -,hm' 111g hn r :l\\ake JnJ It cen111 almh to the e'oreJ J1 c1ple ''ho gra p-; H1 h ulder fig._ . '\ hatt'\ er rhe d1 1ple 1 ) mg, ho'' e'er, 1r 1 ~ure rhJt rhc: rt' f the J non•~ the enc unter of a p..lnc:nt hn r '' 1rh .111-roo-monal human '' h e f.rnh ha-, been re ted and found la king. bnll1anr quill-pen drJ\\ mg 111 the Bnn h cum frhe~amne.u-,ho''"an rher alarmm rnal of rhe f;1rh of the e ne'' h re n11red fi hermen (fig. 12 . eemg h~1 r '' all..111g n rhe '' arc:r, Pc:rc:r J uhred rh.u 1r ''a reall) Hc: and .:i-,1..eJ Him r pr 'e 1r h) lemng him'' alk on rhe '' :.ltc:r row:.lrd hn r. Bur Peter \\:l'> fnghrened b) the '' md, ~caned r 111k, Jnd begged hmr r ~ave him. The rebukc: '' .:i rhe ame: " ch u f lmle fa1rh, ''herd red r ch u doubt?" ( l:mhrn 14:22- 33). ga111, the ~ea pr 1de rhe elemental meraph r f Rembrandt' p1 rure: fa1rh a bu )anC) and life, d ubr a inking and death. ~lu

14

2 Rem b ra nd t ' Christ 1 the Waves, ca.

Walking on d 路 k 166 x nan m ' 1633, pe Bn路rish Museum, 266mm., London.

~ I I

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13 Rembran d t, Doubting anel on P ' Thomas, 16 3 4 ' oil hkin 50 x 51 cm., Pus Museum, Mo cow.

(fig. J 1}. The le on of the 111 1dent, lrn r make lear, 1 rhar you hou ld n r need a dem n rranon, but h uld mere!) belie, e-111deed, Hnay, "Ble ed are the) charh,nen r een,andyerha,ebel1e,ed."

(John 20 : I -29 . Thi 1 the p int underlined b) the leep111g d1 1ple 111 the Pu.,hk111 picture," ho I u~pecr 1 nor the ) mbol of ignorance and blindne!'> char ha., been la1med 1 -forhe1 .:id1~c1ple, after all-bur 1mre.:id rand for rhe oppo1re, rhe ble ed "ho leep 111 fa1rh, nel'.d111g no proof fr m hn r. can) rare, the ub1e r 1 lo-.el) related in theme and m r.:ilrorhee,enr.. onrhe ea ofjude.1of the preceding year.

In rhe Gardner pa111ring, Rembrandt alre.id) portr.1) hn r in .i nl'.\\ gu1.,e, re,ealer of truth to the weak- p1nred and 1gnoranr. Ir 1 .:i d1fferl'.nt r le from char of rhe "onder-worker "h ra1 e L17aru'> from rhe dead 111 the er h111g of ab uc a war earlier,' and from the era\ eller, ¡ ilhouerred ag.1111 r rhe light and lean111g back a'> though 111 e ca~), n!\ealing H1., di\ in1t) to H1!'> Liil\\ 1mng mpan1 n at Emmau-, 111 the lmle painnng of .ibour I l 111rhe~lueeja quemarc- ndre. 1â&#x20AC;˘ In 16 H, the )ear after the ardner p1 cure, Rembrandt rerurned r the 11pperat f111111<111s 111 an er h111g "h e actl n i~ mu h more on enrraced and wh e bod language 1 111 re ubcle (fig. 14). nd 111 the <,amc year, he made a 1 rge drawing, 111 Terler u eum, Haarlem, h wing lrn r peak111g ro the di ciple (fig. I }.

Rembrandt aga111 how lrn r 111 pr fi le, rad1at1ng light; Hi onvicn n and the force f H1~ w rd reg1 rer up n the di c1ple and au e e pre i n fun errainty, urpri e, and perhap acceptance. Thi i a new element in the content of Rembrandt' work: rhe diffi ulty f apprehending h ri~t with the intellect and th vital need co believe, whi h wa a ardi na l tenet of the alvini t belief th at permeated the cu lture in whi h the arci t worked.

There 1 nll a great deal we w uld like t kn " ab ur rhc ardner picture, e peialh rhe cir um ranee f It'> rean n.

Re ~n rruct111g the c 1rcum ran e ha often been a fruitful pur u1r 111 rhe ca e f p rrra1r , "here ne" d1 o' em: c nnnue robe madl'.: rl1l'. r bu-,r elder!) couple in rhe d uble ponra1r 111 Buckingham Pala e f the .:ime year a!> rhe ardner p1 cure, I 3, ha recenrh been 1dent1fied _..,the ma rer hip bu1lcier of rhe Dur h J r mp. 11) Jan Rl)ben, .rnd h1 "1fe India nee Jan 7. (Ir \\Ould be fl 111at1ng ro kn ""hat R1Jk en \\Ould h,1,e m.:ide of Re.: mt randr' alile.111 hoeker. In rhe ca e of h1 r r) p.11nt111g-. rhe relanon fa d umenred or likel) O\\ ner 111 Rembrandt' nme ro the .,ub1ect matter fa pa1nc111g 1 ob' 1ou l) <l1fferent from ch.u of p rcr.11c , bur 111.1) be no le., meaningful and a g <l deal more 111rere r111g. h1 tOf) pa111r111g ma) h.we been acquired 111p.'.lrtr e'pre ore,en.:id,err1 l'.the '>pe 1fic belief , a p1ran m, or claim f the "ner. Panent re-.e.irche-, 111 rhe arlm e f m rerdam are gr.'.lduall) g" 111g u am re'" 1d idea of Rembrandt' bent and their 111rerrelan n hip , .111d 1r ha been pr p cd char h1 ch ice of ~ut JC t how th.'.ltthc am r "a., mu h le 111dcpendent of 111Auen e from hi lienc than ha alway been upp ed by arr hi r rian , "ho ha e c ntinu d ro ling co rhe idea of independen ea a hallmark f hi gen1u!'> . '' Whar ab ur the ardner /ms/ in the ton11 on the ea of alilee-<lid Rembrandt paint iron order for a u comer or n pe ulari n? Luge wa ure ir wa a commi ion, believing that Rembrandt w uld n t have attempted the no 1genre of ea ape o n hi O> n account. i i hwartz recently added tantalizing eviden e from the m terdam ar hive .

We have a umed that the ardner pi ru r i the one H ubraken aw in the hou e of Jan Jacob z. Hin lop n; more re encly it

16

14 RemhranJc, ( lmst «t 111111.Jm . tht• ·111,11/t•r Platt', 1614, er hing "1ch Jn po1m.

15 Rembrandt, hrist and His D1sc1ples, 1634, red and bla k chalk, pen and brush, vmh body color, 35 x 4 mm., Teyler 1u eum, Haarlem.

17

has been identified with a picture that was owned by the widow of Thymen Jacobsz.

Hinlopen, who would have acquired it before her husband's death in 1637. 23 But Schwartz has fo und a Rembrandt painting of the same subject mentioned in the estate of Jacques Specx, and it cannot be the same picture as Hinlopen's; there must have been two versions of Christ in the Storm on the Sea of Galilee. Specx, w ho also owned Rembrandt's A bduction of Europa of 1632 (Br. 4 64, private collection, New York), had been governo r general of the Dutch East Indies and was recalled, making the dangerous sea voyage

from the other side of the world and arriving in Amsterdam in 1633, the year this picture was painted. 24 If we can ever identify Specx w ith rhe Gardner version, its size and unusual su bject w ill convince us that it was a commission, like all of Rembra ndt's portraits and pro ba bly many other history pa intings of these years, and that it has meanings specific to its time and place- do ubtless to the experience of the man who ordered it after being safely delivered from the perils of the sea.

j ohn Walsh

This article is based on a paper given at a symposium in honor of H oward McP. Davis at Columbia University on October 26, 1985, and on a lecture at the Gardner Museum on October 22, 1986. It appears in somewhat different form in Source, Notes in the History of Art, V, No. 1, 1985, 44-52. I a m grateful for

the advice and help I have had fro m Rollin van N . H adley, Deborah Gribbe n, Ga brielle Kopelman, Kristin A. M ortimer, Karen E. H aas, M. S. Robinson, Julius S. H eld, Susanne H eiland, Annaliese M ayer-Meintschel Irene Winter, Anne-Mieke H albrook, There~a Williams, and Patricia H oward.

18

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' I hanna d R uad ( cribe) and Manuscript f Vir if fr m Brescia

Mr . ardner there are no furrher referen e r the 1r ii manu cnpt, bur the b k' pre en e in her olle ion today 1~ proof that he did indeed a cepr and keep rton' g1 ft .

1 Virgil, Aeneid, p. 1, Inv. o. 7.-2125, Long Gallery, Isabella Stewart Gardner Museum.

Ith ugh r . ardner replied in kind n 31 Ma (" Ir wou ld be indeed a great ' real plea ur to mer have rho e beautiful th ing in my h u e. Thar you have ancrioned them by living ith them and caring fo r them would be fa r fro m the lea r of the plea ure . .. ")and a day " ne r week" wa fixed fo r her vi it to hady 1 H ill ambridge ro in peer the rrea ure , it i clea r that he did nor buy them all.

For in a letter of 4 June 1904 Norton thank her fo r the check fo r 1500 but ob erve that " I do not feel ure that the m . & the book fo r which it pay me were worth thi um in the ma rket, a nd, to relieve my elf from thi oppre sive do ubt, I hall end to you on M onday the manu cript Aeneid which you saw ye rerday; a copy of Malvasia ... . If you will graciously accept these you will add one more to the many kindnesses fo r which I am grateful to you."â&#x20AC;˘ In the remaining corre pondence between Norton and

Thar the c de b) mclf held n pc 1al attra n n f r Mr . ardner 1 under randable in e 1r 1!> a rather hornet produ r made e\'en more !>Ob) '' arer damage. on 1 nng f 140 folio that mca urc 00 2 11 mm. (\\ nttcn pace 20 x 120 mm.), the ma nu npt 1~ "ntten in I 11 line n paper b) a ap.-iblc but unprofe 1 n I and und1 nn u1 hed hand, .-ind there 1 n 1lluminat1 n fan) kind. The npr em pl ) d 1 a humani n "book npr" with ur 1\e fearure ; 1t d1 play a rge preadmg I, 2- haped r, b th un 1al and upn ht d, and g ''1th I wcr lo p pull mg a\\ a) t the nghr, and hen c ma be a 1gned t n rrhwe r Ital}. middle r third quarter f the fifteenth entuf). In 1t pre enr nineteenth- enruf)' binding f red leather er b ard , the lean~ "ho e uter margin ha e been trimmed ro fir the binding) are arranged rhu : 11 + 11' - IO + 4 12 -10 1- + II "+ 121 +II. later hand ha numbered br pagman n rather than foli non (mad enenrly kipping two page immed1arelr f II wing p. 16 ), and ar hword are' 1 1ble ar the b n om right-hand mer f pp. 20, 40, 60, 10 , 132, J 6 J , 202, 22 , and 2 4 (on p. 4 the para llel the vern al bounding line of the te t). "Je u "appear ar the top of pp. 85, 106, 109, 111, 122, 14 , 145, and 205, and "Je u hri ru "at the top of p. 114. Pa ted to the in 1de front cover i the bookplate of" ath. holml E q!," and on the fir r fly-leaf i a pen illed note " Pur ha ed of Thorpe 1 2 . ÂŁ 12 - 12 - O" ("Thorpe" i probably Thoma Tho rpe, the Lo ndo n book eller). part fro m the letter mentioned above, there i no other evidence linking the ma nu ripr with had es Elio t orton, and how he came into posse sion of the book i nor known at present!

21

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Appearances, however, are often misleading. So it is with this codex, which contains a colophon, two fifteenth-century ex-libris and an abundance of marginal and interlinear scholia - in short, more than enough to be interesting.

Let us consider first the colophon and the ex-libris. On p. 277, a few lines after the conclusion of the Aeneid, the scribe has written: "Publij maronis uirgilij eneis per iohannam de rouado tra(n)scripta est die xxviiij m(en)s(is) noue(m)br(is) ora s(er)a." Fig. 3 shows that water stains have affected the legibility of the scribe's first name, and it might be thought that the word is " iohannem " 7 ; but careful examination by natural and ultra-violet light reveals that " io hanna m" is what actually should be read. At the top of p. 1 (see fig. 1) there is a partially erased exlibris that can be deciphered as "S(anct)i Barnabae Brixiae : ad usu(m) fr(atr)is Cherabi (m) . . . [illegible]," and in the line immediately following is seen " f(rate)r Paulus D(e) perg(am)o. V(icarius).

G(eneralis). Manu p (ropri)a. R(estitu) t(um)." From such information emerge the following facts that link the manuscript more securely to northwest Italy (specifically Lombardy) during the middle to third quarter of the fi fteenth century: 0

1 the copyist was "Iohanna de Rouado" who completed her task on 29 November at a late hour; 2 the codex formerly belonged to the Augustinian monastery of San Barnaba, Brescia and was used by Cherabim . . . (?),one of the monks;

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3 Paul of Bergamo (Paulus Lulmius, 1414-94 ), prior of San Barnaba, Brescia in 1459 and vicar general of the Augustinian Order (OESA) seven times from 1465 to 1483, entered an ex-libris in his own hand. 8 4 " R(estitu)t(um),'' written in a slightly lighter shade of ink, indicates that the manuscript was " returned " 9 (presumably to the library of San Barnaba?) .

From the viewpoint of Italian humanist culture these facts are illuminating. Rarely during this period did a female scribe indicate her sex or sign her name to a manuscript of a classical author, and, of the two instances previously known, both have a connection with northern ltaly. 10 " Iohanna" is also fro m this general area since " Rouado" is do ubtless to be identified with the modern Rovato, a small city approximately twenty kilo meters west of Brescia. Hence the Gardner Museum manuscript confirms what other facts indicate, namely, that northern Italy in particular seems to have afforded women in the fifteenth century an opportunity to take part in the humanist movement. '' Unfortuna tely we know nothing more at present regarding "Iohanna" or the extent of her role vis-a-vis the revival of learning or how the manuscript she copied came to San Barnaba. The colophon does not indicate that "Iohanna" herself had any connection with religious life. She is not recognized as the author of any literary effort, nor have other examples of her penmanship yet been identified . To judge

22

3 Virgil, Aeneid, detail, p. 277.

!rum hl'r n.111w, 'hl Ill.I\ not h.t\L' hl'l 11 ,l llll'llll l r u( .1 prrnllllll'l1; l.111111). ·'' " "" rrul of thl· \\llllll'11 hum.tn"h h1tltl'rto kno\\ 11 .ind ... rud1ld, ''ho 1...ltnl from .111 .tr"IU r.H11. or profl "l<Hl.ll mtl1l'U or l dungnl to l rulmg f,1mil). II "'folu11n,t'' ''toll .1"01..1.Hl·J ''1th Brl·,1..1.1, ,hi.' might h.lH fuund tlwrl. or l'\L'l1 hdpl'J to prl·-

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5 G1ovan Pietro da Cemmo, deca1l of The Glor1ficat1011 of St A11g11stme, 1490, frl!'i o, an Barnaba, Bre\cta.

23

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2 Virgil, Aeneid, p. 117.

24

IX), classical literature (epistolary and philosophical works of Cicero, Juvena l, Suetonius), history (Orosius), patristics (Gregory the Great), together with a work by their former prior that must have been of special import for the monks of San Ba rnaba (Paul of Bergamo, Apologia religionis fratrum Eremitarum ordinis sancti Augustini). 15 Of the San Barnaba manuscripts at least one o ther is known : Venice, Biblioteca Nazionale Marciana Fondo antico 498 (1919) (huma nistic miscellany), copied by "Antonius Gurceensis civis brixiensis" in 1424 at Padua and displaying o n fol. lr the later, partially erased entries "S(anct)i Barnabae Brixiae, ad usu(m) fr(atr)is Seraphi(m) de Luzago I f(rate)r Paulus de Perg(am)o." 16 Whatever the perhaps vicarious route taken by the Gardner Museum manuscript of Virgil into and out of the library of San Barnaba, it is evident that this is a book that was read along the way. Several unidentified hands of the late fifteenth century have entered in more or less random fashion many marginal and interlinear scholia explicating various words or phrases in books 1-8 of the Aeneid, and one (or more?) of these hands drew the doodles on p. 117 with the initia ls "AM" and "DR" (see fig. 2) . If the scribe "Iohanna de Rouado" also added explanatory material, her notes are not easily recognizable among the a bundance of comments, nor are those of the erstwhile user " frater Cherabim" whose script can be ascertained only vaguely from the erased autograph (?) ex-libris.

Paul of Bergamo does not seem to have added observations of his own.

While it is tempting to speculate that the glosses were jotted down by student~ . listening to a teacher's lectures on Virgil, this is difficult to prove since the entries do not exhibit any kind of unified design such as might be expected from classroom instruction. The absence of a clear scheme

of organization may be owing in part to the abrupt beginning of book 1 with Arma uirumque cano . .. rather than with the hexameter summaries of the action that usually precede the first line of every book. Without such a helpful a id, the teacher might have found himself plunged somewhat unwillingly " in medias res" and accordingly might have dispensed with an accessus or " introduction " to his initial remarks. However, there is no accessus provided for books 2-8 by any of our scholiasts even though not one but two hexameter summaries precede the beginning of nearly all these books (as well as books 9-12) : single-line summaries ("Monosticha in libris Aeneidos" ) followed immediately by the very popular ten-line summaries attributed to Ovid. 17 The comment approximating most closely to an accessus is found at the beginning of book 6 (p. 109) where the four kinds of descent (by nature, virtue, art, and vice) to the underworld are described, a classification found earlier in the twelfth-century Aeneid commentary attributed to Bernard Silvestris. 18 Moreover, the annotation of the books is distributed unevenly, with book 1 receiving the most attention (as was usual), followed by books 6, 7, 8, 3, 5, 2, and 4. Since book 4 is generally one of the books most heavily annotated and book 5 one of the least, the glosses were added, more probably, by "students" of the poem in the broadest sense rather than by students following a prescribed course of study that might treat the books in order with more or less equal attention and begin with the first line of each book (the glosses on books 2-5 start well after the beginning of the book).

Each of these studiosi of course had individual interests. The resulting comments are a mixture of the traditional and the innovative, that is, Servian and nonServian. So great was the authority of the commentary on the Aeneid produced by

25

Servius (fourth/fifth century A.D. ) that even those la ter commentators who did not rely on Servius exclusively could not escape him entirely. For example, a n interpreta tion of the poem's fa mo us opening words (Arma uirumque cano) was to prove d ifficult w itho ut at least some recourse to Servius, a nd the "scho lar " who entered in humanistic cursive the fir t complete ma rginal glo s illustrates the dilemma well. At the top of p. 1 (fig. 1) we read (cropped letters that have been upplied a re enclosed in a ngle brackets): "arma virum (Aen. 1.1): prius enim 'virum' q uam 'arm(a)' dicere debeba t, ed per figu ram quae ystero(n) protheron vocatur hoc fecit; quae primo p (er) quae secundo dicere debuerat. Arm(a): arma posuit qui bus vtimur in bello (p ro) ipso beUo." This is certa inly reminiscent of Serviu 'comment on the first line that understands arma to signify " bellum" through meto nymy (the use of the na me of one thing to indicate some kind red thing), adding " na m arma qui bus in bello utimur pro bello posuit," and then allude to the use of a (rhetorical) figure in discusing the word order of arma uirumque. '9 O ur commentator thus offers a rearra nged and condensed versio n of the Servian rema rks along with new info rmation in that he gives the name o f the figure a hysteron proteron (a figure of sp eech consisting of reversal o f a natural or ra tional order).

Regretta bly, the identity of the commentator is presently unknown. Small a his/her contribution eems on this po int, it is quite interesting since hysteron proteron was mentioned in connection w ith Aen. 1. 1 only ra rely by medieval commentators after Servius20 and perhaps not at all by other Renaissance exegetes who preferred Servius' metonymy and their own hendiadys (the expression of an idea by two no uns connected by and, instead of by a no un a nd an adjective) . Subsequent

elucidations of this commentato r, w hich a re seemingly confined to book 1, often provide " novel " interpreta tio ns of etymological, mytho logical, and sema ntic questions. For the moment, we can say at least that they bear no real resembla nce to fifteenth-century printed commentaries on the Aeneid or to the unedited commentaries of leading Italia n huma nists such as Angelo Poliziano.

O f the rem aining annota tions in the Gardner M useum ma nuscript, two general types may be treated briefly. The first comprises straight excerpts of varying character fro m Servius; they a re cattered th rougho ut and p roba bly make up rough ly half the a nnotations, as is sometimes the case for ma nu cripts exh ibiting glosses by different ha nds. More often tha n not, Servius is not identi fied a the source of the gloss, and thi is usual for insta nces o f "composite" annota tions.

Approximately twenty times, h_owever, Servius is acknowledged in some way (" ut dicit Servius" or simply "Servius" ); interestingly enough, w hen he is invoked specifically, a grammatical po int is usually the issue, as at Aen. 1. 615 (p . 18), "Quis: qualis, et 'est potius admira ntis qua m interrogantis' dicit Servi us." Note, nonetheless, tha t the Renaissance commentator feels free to interpret p ast a uthority: at Aen. 3. 4 83 (p. 5 7) picturatas, there is the explanation "'Est p articipium sine origine verbi' dicit Servius" a nd then his own reasoning " quo d hoc est quidem impossibile." A reworking of the Servia n comment a t Aen. 8. 173 annua constitutes the last marginal gloss in our manuscript, and it reads: "Anniversaria dicuntur sacrificia que fiunt omni anno secundum calendaria" (p. 162).

In the second general type of comment Italia n is used to explain a corresponding word or phrase of the Latin text. The occurrence of the vernacular is often a n indicatio n of a schoolmaster w ho was

26

instructing on an elementary level and so this particular reader of the Gard~er Museum manuscript may have been a teacher. 21 At least eight times in books 1 and 2 he resorts to his native language in the face of difficult o r rare words, as at Aen. 1. 195 (p. 6) where he explains cadis as " la barile" (barrel), 1. 499 choros (p ._ 14) whence he derives "corrigus, coluy chi mena la danza," and 1. 693 amaracus (p. 20), which he identifies as " la mazurana" (marjoram). A very telling use of the vernacular appears at Aen. 1. 505 (p. 14) where the explanation of testudine includes a mention of " la bissa," a Venetian dialectical variant of " bissona," a gondola with eight oars used on the Lago di Garda.22 Thus our manuscript would

appear to have circulated for a time in the general vicinity of Brescia, which came under the domination of Venice in 1426.

1 For brief descriptions of this ma nuscript see M. Carter, A Choice of Manuscripts and Bookbindings from the Library of Isabella Stewart Gardner, Fenway Court, Boston, 1922, 26 and S. De Ricci and W]. Wilson, Census of Medieval and Renaissance Manuscripts in the United States and Canada, I, New Yo rk, 1935, 932. It is not included in the short catalogue prepared by Mrs. Gardner herself (A Choice of Books from the Library of Isabella Stewart Gardner, Fenway Court, Boston, 1906) .

I am very grateful to Susan Sinclair, archivist/ librarian, for her help and many kindnesses when I examined the codex in April 1986 and February 1987. I should also like to thank Dr. A. C. de la Mare for expert advice regarding the manuscript's date and origin and for references to the manuscripts mentioned below at notes 10 and 16.

2 Gardner Museum archives. Letter from Charles Eliot Norton to Mrs. Gardner.

4 Gardner Museum archives. Letter from Charles Eliot Norton to Mrs. Gardner.

The link with Venice offers a fitting note on which to conclude this study of the manuscript of Virgil copied by " Johanna de Rouado. " Mrs. Gardner's love of Venice and Venetian art and books is well known. Had she been aware of the significance of the scribal colophon and the manuscript's origin in, and connection with, the territory of Venice, doubtless the codex would have been prized more highly for its own sake. She might even have wanted to buy it.

Virginia Brown

5 Only one watermark (a round tower with three battlements) is fou nd : nearest to Briquet 15873 and 15875 (Germany and northern Italy, including Brescia).

6 The history of his famous library, purchased for Harvard University in 1905, has not been traced in any detail. In the single full-length biography of Norton, there is only this observation: "Like his friends Jarves, Appleton, Henry Adams, and 'Mrs. Jack' Gardner (whose Fenway Court museum was in large part a result of hearing Norton lecture on art), Norton had also been building his own collection of books and miscellaneous objets d'art. .. . The books and paintings which Norton brought back from Europe to his library at Shady Hill he placed at the disposal of his friends and other American scholar " (K. Vanderbilt, Charles Eliot Norton. Apostle of Culture in a Democracy, Cambridge, Mass., 1959, 144-145). Clues to the growth of Norton's library would almost surely be found in his voluminous correspondence, but in none of the edited selections is there a reference to our

3 H arvard University, Houghton Library bMS AM 1088, item 2509 (letter from Mrs. Gardner to Charles Eliot Norton).

27

manuscript of Virgil. Norton's acquisition of the codex may have been prompted ultima.tely by his great love o f Dante and perhaps a wish to own a copy of the Latin epic o f the poet who had served as guide fo r the author of the Italian epic. We know that Norton admired .

Virgil since, a fter Ruskin recommended to him particularly a careful reading of Aen. 8. 441456 Norton remarked on " the admiratio n whi~h the perfectio n of Virgil's art inspires" . and "the personal sympathy which the.peculiar depth and delicacy and tenderness of his sentiment o ften evokes"; see C. E. Norton, ed., Letters o fjohn Ruskin to Charles Eliot Norton, II, Boston and New York, 1904, 18-19 (Ruskin's letter of 17 August (1870]).

7 As was tra nscribed by the compilers of the descriptions cited in note 1 above (De Ricci, however, queried this reading).

8 For biographical information on this illustrious Augustinian, also the author of a number of hagiographical and ascetic works, see D. A. Perini, Bibliographia augustiniana cum notis biographicis. Scriptores !tali, III, Florence, 1935, 36-37 (with citatio n ofolder literature) . I have interpreted " V. G ." to mean "Vicarius Generalis" rather than "Verbi Gratia."

9 The abbreviation could also be expanded as "Responder," but in this context " Restitutum " makes better sense; for a similar abbreviation. of "Restitutum" see the numerous examples m J due primi registri di prestito del!a Biblioteca Apostolica Vaticana. Codici vaticani Latini 3964, 3966, ed. M. Bertola, Vatican City, 1932.

10 Yale University, Beinecke Library M arsto n 279 Uustinus, Epitom e) was copied by Ginevra Nogarola (1417-61/8) o f Verona who signed her name on fol. 2r; see P. 0. Kristeller, "Learned Wo men of Early M odern Italy" in Beyond Their Sex. Learned Women of the European Past, ed. P. H . Labalme, New York and London, 1980, 97 and 112, note 35 (article reprinted in P. 0. Kristeller, Studies in Renaissance Thought and Letters, II, Rome, 1985 185-205). The copyist of Paris, Bibliotheq~e Nationale lat. 10337 (Cicero, Epistulae ad familiares) began her work m Genoa m 1458 and finished in Arqua on 30 June of that yea r as she tells us in the verse color,ho n on. f~I. 199v, referring to herself simply as scnptnx ;

see Catalogue des m anuscrits en ecriture latine portant des indicati?ns de date, de !teu ou de copiste, III: Madeleine Ma b1Ue et al., Erb- , !iotheque N ationale, fonds latm (N째' 8001 a 18613), 169 and pl. 166. Her calligraphy is far superior to tha t of "Iohanna de Rouado. " 11 For the achievements and Latin and vernacular compositions of these women see M . L. King, "Book-Lined Cdls: Wo men an~ .

Humanism in the Ea rly Italian Renaissance m Beyond Th eir Sex, 66- 90 and A. Grafton and .

L. Jardine, From Humanism to the Humanities. Education and the Liberal Arts m Fifteenth- and Sixteenth-Century Europe, Cambridge, M ass., 1986, chap. 2, 29-57.

12 For Cereta's life and works see A. Rabil, Jr., Laura Cereta, Q uattrocento H umanist, Medieval and Renaissance Texts and Studies 3, Binghamton, 1981.

13 A. Morassi, Catalogo delle cose d'arte e di antichita d'Italia. Brescia, Rome, 1939, 79; G. Panazza in Storia di Brescia, I, Brescia, 1961, 760-761. According to the "Inventarium Monasterio rum, Conventuum, Hospitalium, Ecclesiarum et Domorum veteriorum Civitatis Brixiae ac Dioecesis confectum de anno 1797" the date is ca. 1280 (P. Guerrini, "M onasteri, conventi, ospitali e benefici semplici nella diocesi bresciana," Brixia sacra 2 (1911], 324).

14 See, e.g., Morassi, 80-82, with older bibliography, and M . L. Ferra ri, Giovan Pietro da Cemm o. Fatti di pittura bresciana def Q uattrocento, Milan, 1956, 67-77, with further bibliography, and pis. 48-55.

15 U. Baroncelli, Gli incunaboli della Biblioteca Queriniana di Brescia (Catalogo), Brescia, 1970, nos. 208, 217, 225- 226, 307, 316, 370, 446, 454, 555, 672, 891, and 952.

Occasio nally the ex-libris mentions by name the (rater who used the book, but the "Cherabim ... (?)" of the Gardner Museum manuscript is not among them. Dort. Francesco Lo M onaco has kindly informed me that the Biblioteca Civica, Bergamo also preserves some books formerly belonging to San Barnaba.

16 G. Valentinelli, Bibliotheca manuscripta ad S. Marci Venetiarum, IY, Venice, 1871, 184186; C. Miani, ed., "Petri Pauli Vergerii ad Ubertinum de Carraria De ingenuis moribus et

28

liberalibus adolescentiae studiis liber" in Atti e m emorie de/la Societa Istriana di Archeologia e Storia Patria, N. S. 20-21 (1972-73), 185186, 200 (pl. of fol. 46r). The " f(rate)r Paulus de Perg(am)o" in this ex-libris is almost surely the same monk who entered his name in the Gardner Museum manuscript. "Seraphi(m) de Luzago" may have been a member of the noble Luzzago family of Brescia, one of whose later members was the Venerable Alessandro Luzzago (d. 1602), a celebrated lay advocate of educational and religious reform a nd friend of St. Charles Borromeo. See Bibliotheca sanctorum, VIII, Rome, 1967, cols. 405-408 and P. Tacchi Venturi, "Sconosciuti particolari circa ii sacro deposito <lei Ven. Alessandro Luzzago," Brixia sacra 2 (1911 ), 365- 368 (Alessandro Luzzago was buried in the church of San Barnaba and his remains were eventually translated to the church of Santa Maria della Pace, Brescia).

MSS. 16380, fol. lrb (s. XIII) and 33220, fol.

30vb (s. XIII).

21 For example, vernacular explanations are often given by the anonymous a uthor of the co~mentary on Virgil's Eclogues in London, Bnnsh Library Add. MS. 15341 (copied in 14~7, perhaps in Milan); this commentary, which constantly employs such expressions as "Construe," is obviously intended for students wi th a rudimentary knowledge of Latin, and the author refers to himself several times as a poor "paedagogus" and "magister" with unruly pupils.

22 .Grande dizionario de/la lingua italiana, II, Tunn, 1962, 258, s. v. bissona.

17 E. Baehrens, ed., Poetae latini minores, IV, Leipzig, 1882, 176 (no. 179), 163-168 (no.

176). Only the "Ovidian" summaries are given for books 2, 3 and 9.

18 J. W Jones and E. F. Jones, eds., The Commentary on the First Six Books of the Aeneid of Vergil Commonly Attributed to Bernardus Silvestris, Lincoln and London, 1977, 30.1-16.

19 G. Thilo and H . Hagen, eds., Servii grammatici qui feruntur in Vergilii carmina comm entarii, I, Leipzig, 1881 (reprinted Hildesheim, 1961), 5-6. The "Servius Danielis" comment on arma virumque actually mentions (6.8-9) hyperbaton (a transposition or inversion of idiomatic word order).

20 Prof. Mary Louise Lord has kindly pointed out to me that the unedited twelfth-century Aeneid commentary erroneously (?) ascribed to Anselm of Laon (d. 1117) also refers to hystero n proteron under this lemma, but the differences in phrasing between this work and the note in the Gardner Museum manuscript are so great as to rule o ut any possibility of dependence on or use of a common source. For the text of "Anselm of Laon's" commentary, by far the most widely circulated of the nonServian pre-thirteenth-century expositions, see, inter alia, London, British Library Add.

29

1 Paolo Veronese and assistants, The Coronation of Hebe, 1580's, oil on canvas, 387 cm. square, Inv. No. P25c26, Veronese Room, Isa bella Stewart Gardner Museum.

30

Veronese and The Coronation of Hebe at the Gardner Museum

The late years of Veronese's activity very often show the master's hand in association with the intervention of a large workshop, w hich included his brother Benedetto, his sons Gabriele and Carletto, and his pupils de! Friso and Montemezzano.

Through the fruitful effo rts of D r. Crosato Larcher, it has become possible to distinguish the various personalities of th is bottega, destined to assume the name of haeredes Paoli after the death o f the master in 1588. 1

the Maggior Consiglio in 1584 (ibid., no.

284). Equally, Veronese' assistants have been identified in the large ceiling painted for San Niccolo in 1582, now divided between the Accademia and San Zanipolo (ibid., nos. 287- 295 ); the cycle painted for the Scuola di San Fantin perhaps in 1576 (ibid., no. 300); and the ten stories fro m the Old and New Testament in the collection of the duke ofBuckingham, now divided among Vienna, Prague, and Washington, D. C. (ibid., nos. 301-307).

In addition, some recent studies on Veronese's drawings have reconfirmed the evidence of an increasing connection especially during the 15 80's - between the " invenzioni " by Paolo and the execution by his assistants. 2 This evidence lies in a procedure now well understood, namely the transcriptio n of a motif invented by the master and documented by his summary sketches o r by more finished chiaroscuri, which were often reused on various occasions ("similes"). N ot only do some original inventions by Paolo happen to survive in works of the bottega, but also in some cases it has become clear that he did even mo re by adding final touches to paintings after they were almost completed. While these masterly touches, mostly consisting of glazes (velature), give a p articular flavor to the whole, they also have contributed to the confusion in problems of attribution.

There is no doubt that such collaborative works, mostly concentrated within the last decade of Veronese's li fe, will continue to elude precise definition. In fact it remains difficult - even if not impossibleto pinpoint the sti ff but superficial style of Benedetto, the glittering and slightly Bassanesque manner of Carletto, the dull and stolid hand of Gabriele, the crackling glitter of de! Friso a nd the embellished decorativeness of Montemezzano. Recently, however, many of these pa intings have been partially returned to Veronese, since a better knowledge of his workshop procedure has allowed a more proper evaluation of the importance of his own finishing touches.

Entire cycles of paintings, which were intended fo r large decorative settings, underwent this kind of collective workshop procedure, before Paolo's brush added the final strokes that gave them a superio r quality. It is not difficult to offer examples of this: the ceiling with the Olympic Gods painted for the Fondaco dei Tedeschi (ca. 1580), now in Berlin (T. Pignatti, Veronese, Venice, 1976, nos.

209- 212); some A llegories painted in the Sala del Collegio in 1576 (ibid., nos.

192-202); and The Trium ph o f Venice for

I would suggest here that the excellent condition and legibility of The Coronation of Hebe in the Gardner Museum (fig. 1) offer a chance to re-examine the nature of those paintings produced in the workshop under Veronese's direct guidance. The canvas is square (387 x 387 cm.), but originally was a little larger on all sides.

The iconography is rather complex (more than 50 figures!), but basically involves the reception of Hebe by her parents, Jupiter and Juno, o n M ount O lympus where the girl is about to become official cupbearer to the gods. Some corrections have to be made to the traditional interpretation of the iconography. 3 At the center, Hebe p roceeds towards Jupiter, and is accompanied by M ercury and

31

Diana. Jupiter sits on his throne, em bracing Juno on his right; on a lower level are Ceres clasping fruits and Venus with Cupid ; the figure w ielding a staff below Venu is proba bly Cybele, but might also refer to Venice because of the lion o n her left. Behind H ebe one sees Amphitrite and Neptune w ith his trident, while below them, Apollo plays in concert with two assistants. On the left one sees M ars and Bellona, both armed, and then Ariadne sitting with Bacchus; Hercules is also identifiable at the bottom, because of his club. That the canvas has been cut down o n all sides is obvious from the incongruo us appearance of the many figures who have been deprived of limbs o r attributes. 4 More information a bo ut the canvas comes fro m my research on the sources and documents, which has completed the earlier report given by H endy in the M useum Catalogue. 5 The painting belonged to the della Torre fa mily in Udine probably shortly after its completion by Veronese. The della Torre were a p rominent fa mily, and were known for their sympathy with the H apsburg Empire.

Beca use of this, the townspeople burnt their palace in 1511, but in 1540 count Gerolamo della Torre rebuilt it in the contrada called Strazzamantello or Spellavillan (now via Paolo Canciani near Piazza 20 Settembre). The palace was sold in 1580 to a wealthy merchant, Antonio M a rchesi, who enlarged and redecorated it, and many contemporary documents praise its beautiful restoration. One of them also explicitly mentions a "studietto" with a painted ceiling that suggested the idea of Psyche and Amor (" in cui pareva spirar Psiche e volar Amore"), which might well be the Veronese canvas under consideration. 6 In 1613 the palace returned to the former owners with the marriage of Caterina M archesi to count Gildo della Torre, whose descendants were to become, at the

end of the century, the brothers Sigismo ndo and Gerolamo della To rre. A legal pamphlet preserved in the Gardner Museum's archives info rms us of events involving the Veronese ceiling. We learn tha t in 1693 the canvas had been offered repeatedly (" per mo lti e molti mesi" ) fo r sale at Udine by count Sigismondo della Torre. H e fin ally sold it to two Venetians, Francesco Vezzi and Gerolamo Ga!Tlbato, who took it to their city (an intermediary, the painter Francesco Caffi, is also mentioned). The canvas is described as being

by Veronese, as measuring six by six braccia (the actua l approximate size), and as being damaged at one corner (" lacerato in un canto" ). Probably this happened w hen the count himself had it removed from the ceiling of the palace ("e stato d a esso signor Conte .. . staccato dal Soffittado del Palazzo d ' Udine della Casa Turriana, dove si ritrovava incastrato ii Quadro medesimo"). In 1695 the count's brother, Gerolamo, took legal action against the new owners, apparently accusing them of having retained the painting, which-he assumes-was only lent to them in order to have a copy made. Vezzi, however, successfull y resisted and maintained possession of the canvas until at least 1702, when the case reached the superior court (" Quarantia Civil Vecchia") . Then we lose track of the canvas until 1776, when it was in the palace of Senator Angelo Querini and was etched there by Galimberti (fig. 2). Finally, in 1896 the canvas was sold by the Galleria M anfrin in Venice, and was acquired three years later by Mrs. Gardner through her agent Robert from Boudariat in Paris. 7 Now that we know for certain that the painting was installed in a ceiling, we can better understand its composition on various planes, represented by the clouds that host the numerous gods and goddesses of Olympus; they all rise along a diagonal line in the direction of Jupiter's

32

2 Franciscus Galimberti after Veronese, The Cor~na­ tion of Hebe, 1776, etching.

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34

4 Paolo Vero nese, study for The Coronation of the Virgin, ca. 1586, pen and brush with brown ink, 305 x 210 mm., The Governing Body, Christ Church, Oxford.

throne. This scheme is entirely Veronesian, and may be compared with the very late Coronation of the Virgin (fig. 3) painted in 1586 for the Ognissanti and now at the Accademia (ibid., no . A 346). There the saints are also placed in small semicircular groups along the borders of the clouds, and scholars have identified the collabora-

tion of assistants, especially in the minor figures. A superb drawing at Oxford outlines the whole composition, as well as the details of minor groups (fig. 4).

The Coronation of Hebe employs a similar compositional idea, but its lack of coherence indicates that it very likely was

based upon several partial sketches. The small groups of secondary personages are scattered somewhat randomly along the undulating recesses of the clouds: an anonymo us population of pygmie that hardly matches the larger and imposing primary figures, such as Jupiter with Venus and Ceres, H ebe with Diana and Mercury, M ars w ith Bellona, Bacchus with Ariadne, and Apollo w ith his musicians. In this discrepancy I detect a complicated compositional p rocedure, which involved the use of numerous "stock sketches" rather than a single unique Paolesque invention.

H owever, we should not overlook some characteristic motifs that directly relate to well-known works by Veronese himself. It seems evident, in fact, that the main compositional theme- the movement of H ebe fro m the right to the left - depends

upon one of Verone e's major undertakings, the so-called Tribunal of Love (fig. 5 ) in the Villa Barbaro at Maser (ibid., no.

99). The pose of H ebe with raised arms is clearly related, as is Jupiter's group, which recalls the " judge" of the M aser fresco .

Other references to our canvas are fo und in paintings closer in date, such as the entire group of the O lympian gods in The Triumph of Venice pa inted in the early 1580's for the ducal palace. In its preparatory sketch (fig. 6), now in the H arewood collection (ibid., no. 284), we discover on the left an antecedent of our Jupiter, and on the right the naked shoulders of Ariadne just as she appears in the Gardner Museum canvas. All this confirms the suggestio n that the entire paraphernalia in the painting of H ebe derived fro m Veronese's "stock " drawings, and implies a workshop procedure of the kind we have been describing.

36

5 Paolo Veronese, The Tribunal of Love, ca. 155960, fresco, Villa di M a er, Treviso.

6 Paolo Veronese, study fo r The Triumph of Venice, ca.

1580, pen and ink, 533 x 3~5 mm., reproduced by kmd permission of the Ea rl of Harewood, Harewood House, Yorkshire.

Paolo Veronese's share in the actual execution remains to be established.

While the earliest written sources, up to the M anfrin sale in 1896, accepted the attributio n to Veronese, more recent opinions have differed. L. Venturi (1929) and Berenson (1930) endorsed the traditional attribution, but Fredericksen and Zeri (1972) and H endy (1974) gave the painting to an assistant. 8 The present writer too has raised doubts (ibid. , no. A 30) about an unconditional attribution to Paolo, and has suggested a partial collaboration, perhaps by Gabriele Caliari, on the basis of similarities to his Liettoli altarpiece.9 In light of this discussion, however, T he Coronation of H ebe now appears as quite an attractive p ainting.

Although I continue to consider it in the group of "composite" workshop productions, I also have no doubt as to the participation of Veronese himself: at least in the invention of the principal figures, and in their finishing touches with cool silvery glazes, smooth and changing, a feature that is indeed typical of many other paintings by the master in the last decade of his life.

Terisio Pignatti

1 L. Crosato Larcher, "Per Gabriele Caliari " Arte Veneta, 1964, 174; idem, "Per Carleno ' Caliari," Arte Veneta, 1967, 108; idem, "Note su Benedetto Caliari," Arte Veneta 1969 115 路 idem, "Proposte per Montemezza~o," A~te ' Veneta, 1972, 73 ; idem, "No ta per Al vise Benfatto <lei Friso," Arte Veneta, 1976, 106.

2 H . Tietze and E. T ietze-Conrat, The Drawings of the Venetian Painters in the Fifteenth and Six teenth Centuries, New York, 1944; R. Cocke, Veronese's Drawings, with a Catalogue Raisonne, Ithaca, New York, 1984.

3 P. Hendy, European and American Paintings in the Isabella Stewart Gardner Museum Boston, 1974, 284 . ' 4 We are grateful to Dr. M assimo Gemin of the University of Venice for help in iconographic identifications.

5 Hendy, 284-285 . We are grateful to Dr. Giuseppe Bergamini, director of the Civic Museums of Udine, for having directed us to the local sources, and for doing some personal archival research on the painting.

6 Deta iled information on the della Torre palace is given first by V Joppi, "Descrizione <lei palazzo M archesi in Udine . . . ," Pagine friulane, 21 Sept. 1890 (11118), 124.

7 Hendy, 284-285.

8 Ibid., 285 .

9 Reproduced in Crosato Larcher 1964 174 figs. 208,209. ' ' '

37

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38

Stewart Serendipity: a Missing Text of the Modus Tenendi Parliamentum

Historiated 'T' at the beginning of the first Treatise on the Office of Marshal, fo. 26 of the manuscript with the

Modus Tenendi Parliamentum or Form and Manner of Keeping the Parliament of England, ca. 1558-59, 34 folios, 22 x 16 cm., purchased fro m J. Pearson, 24 November 1902, Inv. No. 3.T/8, Long Gallery, Isabella Stewart Gardner M useum.

Serendipity, a word coined by that great collecto r and connoisseur H orace Walpole, is " the faculty of making happy and unexpected discoveries by accident." 1 Isabella Stewart Gardner and her advisers possessed it to the highest degree; and even the visitor to the M useum needs a little if he is to make the most out of the sta rtling jux tapositions that confront him at every turn . In the middle section of the Long Gallery, for example, stands the M ary Queen of Scots case. In it are some supposed fragments of Mary's dress, her Book of H ours, a copy of Bacon's Essays that belonged to her son, James VI of Scotland and I of England, and a manuscript written, we are told, for Edward VI, to who m she was briefly betrothed. It was this last that proved my " happy and unexpected discovery." For " the manuscript that slept very soundly for decades in the M ary Queen of Scots case" 2 p roves to be an impo rtant missing link in English constitutiona l history. It also tells its story, not in terms of abstractions, but of people-a high aristocrat o n the one hand, and a radical parliamentarian on the other, both of whom owned it in the later sixteenth century.

The manuscript, bound in old red morocco, is an English translation of three late medieval tracts: the M odus Tenendi Parliamentum or Form and Manner of Keeping the Parliament of England, together with two Treatises on the Office of M arshal of England. 3 The marshal, or earl marshal as he became more generally known, was one of the fo ur noble great officers of state. In war he shared the supreme command of the royal army with the constable (this is the subject of the second Treatise on the marshalship), while in peace he was responsible for the discipline of the king's ho usehold (this task, discharged in practice by his deputy, the knight marshal, is dealt w ith in the first Treatise). 4 The Modus, w ith which the volume begins, also gave an important

role to the marshal. Chapter 10 empowers him, along with his colleagues the high steward and the constable, to convene a special parliamentary commission to settle "any discord between the king and any of the estates of the realm" (fo. 17v).

So, to judge from content alone, the volume was a working compilation, put together to assist an earl marshal in the exercise of his official duties. Moreover, the volume was evidently conceived and executed as a p iece. It begins with a chapter-by-chapter index to all three tracts (underscoring of course that it was a practical compilation, designed to be used, and not merely an antiquarian exercise). It is written in a single hand and is embellished througho ut with simple illuminated gold capitals o n a red and blue ground. At the beginning of the first Treatise on the Office of Marshal is an historiated 'T' showing the earl marshal seated under a cloth of estate. In his right hand he holds his baton of office and in his left a book. Standing around him are the heralds, whose chief he was, in their ta bards of arms (fo. 26). A similar smaller initial appears at the beginning of the second Treatise on the marshalship (fo.

32v), while on the fi rst page of the Modus is a rather clumsily placed miniature, fo rmed fro m a Roman initial 'T', of the king enthroned in majesty with the earl marshal bearing the sword on his left. The heralds are again prominent (fo. 13). As a fro ntispiece to the whole volume is a full-page achievement of the arms of the H owards, dukes of Norfolk and hereditary earl marshals, comp lete with crest, supporters and mantling (p. 3); on the back of the same leaf is a much simpler version of the royal arms of England modern (that is, from 1405 to 1603), surmounted w ith the crown imperial and encircled with the Garter but without supporters (p. 4).

39

The balance of these two coats of arms, ta ken together with the content o~ the. volume settles the question of attnbutton.

The ma~uscript was compiled, not for Edward VI or any other king, but fo r a H oward duke of Norfolk a earl marshal of Engla~d. But which duke and when ?

T he H owards created dukes of Norfolk in 1483 claim,ed the earl marshalship in tail ma!~ (that is, heredita ry succession) as heirs of the M owbrays, also dukes of Norfolk. But the clai m was o nly erra tically recognized in the sixteen~h centu ry as the political w itch back earned the H owards fro m prosperity to disgrac~ and back again. The first duke and his eldest son, the earl of Surrey, fo ught aga inst H enry VU at Bosworth. The fa ther wa killed while his son recovered the fa mily honors only slowly; he was not restored to t~e dukedo m till 1514 and he never regained the hereditary marshalship. In tead he was made earl marshal for li fe in 1510.

This meant that on the death of the second duke in 1525 H enry VIII was a ble to give the office, not to the third duke, but to his own favo rite and brother-in-law, Charles Brandon duke of Suffolk. Not indeed till 1533, on' the eve o f the coronation of his niece Anne Boleyn as queen of England, did the third duke o f Norfolk regain the hereditary marshalship. And he lost it, along with everything else, in January 1547 when his eldest son, Henry H oward, earl of Surrey, wa condemned and executed fo r treason. The fa ther was condemned as well but he escaped execution because the terrible old King H enry VIII died fi rst. The duke remained imprisoned for the whole of Edward VI's reign and during this time the earl marshalship was granted successively to the tw~ men who ruled England fo r the young kmg: Edward Seymour duke o f Somerset and John D udley, duke of Northumberland. With the accession of M ary, N orfolk was restored to his honors, including the earl marsha lship, and on his death in 1554 at

the ripe age of eigh ty he was succeeded. as duke of Norfo lk and earl marshal by his grandson Thomas, the fo urth duke. ~ut Tho ma in turn fell fo ul of Elizabeth s government for his part in the plot~ings of 1569- 72, which aimed to marry him t~ M ary, Queen of Scot and m a~e the pa ir king and queen of England. E.ltzabeth was unw illing to execute him but m 1572 her hand was fo rced and he went to the block.

And not till 1621 did M ary's son James, by then king of England, restore Norfolk's grand on to the ma rshalship- and then only for life. 5 This chequered and turbulent fa mily h istory leaves only two periods when the manuscript can have been written: between 1533 and 1547 for the third duke, and between 1554 and 1572 for the fo urth duke. (The other theoretical possibility of 1509 to 1525 fo r the second duke is excluded since, as we shall see, textual evidence shows the volume i:o have been w ritten after 1526.) On personal grounds, either 1533-47, fo r the third duke, or 1554-72, for the fo urth duke, is possible.

The third duke, a formidable soldier, took the office, and its military aspect in p articular, very seriously: in his portrait by H olbein, painted in about 1539, he gives his m arshalship precedence over his other great office of lord treasurer .o f England ~y holding the short baton of his marshalsh1p in his right hand, leaving his left to hold the treasurer's longer white wand.6 And three years earlier, when he was a bout to go into action against the rebels in the Pilgrimage of Grace, he begged that as marshal of England, " I may have vanguard. " 7 In making this claim he might merely have been reflecting tradition ; or he may have looked up the index to this volume (or one like it) and found under chapter 1 of the second Treatise, on the " Office of M arshal in Time of War " (fo.

10), a description of how Thomas o f Brotherton, marshal of Engla nd, "demanded the fo rward in the field " (fo. 10).

40

M iniature at the beginnin

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The fourth duke, on the other hand, only once held military command, and then had to be dragooned into accepting it.8 But he was deeply interested in the ceremonial duties of his office, in particular in his ex offi.cio headship of the College of Arms, of which he has been called " the real second fo under." 9 Once again, this volume would have been a valuable vade mecum : the first Treatise on the marshalship deals fully with the marshal's claims to a principal part in the coronation ceremonies: to be " high usher" (fo. 8); " to have the keeping of certain doors" by deputy (fo. 8v); and, through his chief deputy the knight marshal, to keep order at the ceremony (fo. 27v). About the heralds, on the other hand, the volume has nothing directly to say; however, as we have seen, they cluster prominently about the marshal in the initial miniature of each of the three tracts.

The arms of the Howards, dukes of N orfolk, frontispiece to the manuscript.

But if personal tastes make either the third or the fourth dukes the possible commissioner of the volume, the actual letter of the text points decisively to the third. At the end of the first Treatise on the Offi.ce of Marshal is added: "A new ordinance ... for the office and due attendance of the knight marshal. " This is <lat~~ by the. index to Anno xvii0 Regis Henrzc1Octav1, that is "in the seventeenth year of Henry VIII " which ran from 1525 to 1526. In ' however, the "ordinance" is the text describ~d as being " prepared by the king our sovereign lord," which would seem to prove that the volume must hav~ be~n written while H enry VIII was still alive.

On the other hand, the " feel" of the manuscript is later. I incline to follow the " feel" rather than the letter of the text and would see the volume as being commissioned by the fourth duke in the first decade of Elizabeth's reign, between her accession in 1558 and 1569, when Norfolk's troubles began. M ost likely it was written in 1558- 59 to help Norfolk discharge his duties at Elizabeth's corona-

tion. No doubt it was copied directly from a similar compilation prepared fo r his grandfather, whence the anachronistic reference to "our sovereign lord " Henry VIII. This is the kind of thing that worries us more than it would have them; nor was it out of place in a volume that went out of its way, in both handwriting and the style of its illumination and miniatures, to be archaic, even mock-antique.

With Norfolk's fall in 1572 his property was confiscated and eventually dispersed : this volume, no doubt, with the rest.

Twenty years later, however, it resurfaced in different ownership to play another part on the stage of history. At the top of the frontispiece is written in a confident italic hand: Edw: Coke Attornat gen: * â&#x20AC;˘ex dona m[agist]ri Britten (p. 3). This volume is thus the manuscript, noted as missing by the modern editors of the Modus, which appears in Coke's own catalogue o f his books as # 333: "A book in parchment cont 'modus tenendi parliament' and of the office &c: of the Earl Marshal of England. " w Edward Coke, solicitor general in 159293 and attorney general from 1594 until his promotion to lord chief justice, first of Common Pleas in 1606 and then of King's Bench in 1613, was one of the greatest lawyers and parliamentarians of the age."

H e revered the laws of England as second only to the laws of God, and he revered parliament as the fra mer and guardian of those laws. This made him a p rotagonist in the heated contemporary debate on the origins of parliament. This may seem a merely academic question to us; then it was a burning political issue. For if parliament had not appeared (as indeed it had not) till the reign of H enry III, then it had clearly been called into existence by the king. And what one king had done, another could undo. On the other hand, let parliament be immemorial and date at least from before the N orman Conquest

43

(whence all succeeding kings derived their title), then parliament's place was secure fro m royal meddling. Needless to say, Coke was an immemorialist. And the strongest case for the antiquity of parliament rested on the first tract in this book: the Modus Tenendi Parliamentum or The Form and Manner of the Keeping of the Parliament o f England. 12 In 1593 Coke, as was customary for a leading law officer of the crown, had been elected speaker of the House of Commons. Cases concerning the privileges of MPs had become a regular feature of Elizabethan parliaments and Coke had prepared himself to shine in the consequent debate: "ever since the beginning of this parliament," he told the H ouse, "I thought upon and searched after .. . the privileges of the House." 13 His oppo rtunity came with Fitzherbert's Case. The learned speaker sought the permission of the House to deliver himself of his opinion, which was readily granted: At the first we (that is, Lords and Commons) were all one H ouse and a ll sat together, by a precedent which I have of a parliament holden before the Conquest by Edward the son of Ethelred (fo r there were parliaments before the Conquest) this appeareth. A grave mem ber of this Ho use delivered me a book which is entitled Modus tenendi parliamentum. O ut of that book I learn this, and if any man desire to see it I w ill show it him. 14

The almost irresistible temptation is to conclude that this volume is the very " boo k" to which Coke referred doubting MPs and "Mr. Britten," whose gift Coke acknowledges in the inscription on the frontispiece, the " grave member of this House" who " delivered" it to him. Arguing strongly for this identification is the fact that, though Coke had two other copies of the Modus in his library (# 335 and # 345), both of which are inscribed with his own name, this is the only one to be inscribed with the name of the donor

as well. 15 But there the difficulties begin.

First is Coke's description of the donor as "a grave member of this House." That suggests a person of some distinction. Of " Mr. Britten," on the other hand, nothing positive is known-though he can be tentatively identified as the Thomas Britten who sat as burgess for St. Ives in the parliament of 1601, in which he made a lawyer-like speech on 27 November. 16 Possibly disconcerting, too, is Coke's description of himself in the inscription as "Attorney General," for he was not appointed to that office till April 1594, a year after the ending of the parliamentary session in which Coke made his speech. 17 Most awkward of all, however, is the absence from this text of the dating clause of the M odus, to which Coke refers in his speech. The tract normally opens: " H ere is the manner in which the parliament of the King of England and his Englishmen was held in the time of King Edward, the son of King Ethelred" 18 ; in this volume, however, the opening is condensed to read merely " H ere followeth the form and manner of the keeping of the parliament of England" (fo. 13).

The historical imagination must therefore be held in check. It would be nice to think of Coke gesturing to this volume as he turned gracefully to acknowledge the generosity of the "grave member of this H ouse," but the case remains not proven .

On the other hand, it is certain that Coke worked on this volume during the controversy over the dating of the Modus, which followed his speech. Two notes in law French at the foot of the frontispiece cite internal evidence to date the text: chapter 10 to show that " this treatise was composed before the statute of 1403, chapter 5," and chapter 20 to prove that "this treatise was composed when there was a Steward of England " (p. 3) . Neither of these references, however, carried the Modus back beyond the fourteenth century. This is, of course, when the treatise

44

Hans Holbein, Thomas Howard, third duke of Norfolk, ca. 1539-40, oil on oak panel, Windsor Castle, Royal Collection.

was composed. But it was not enough for Coke and his fellow immemorialists, one of whom contemptuously referred to a parliament originating in the later middle ages as being a thing " but of yesterday." 19 On fo . 12v, however, comes Coke's masterstroke, delivered in a Latin note: V[id]e libr[um] preced[entium ] 535 temp[ore] Canuti regis. In his library cata logue Coke notes as volumes # 328 and # 329 two lib[ri} precedentium et recordorum, that is " books of precedents and records." 20 In the catalogue the volumes are distinguished as liber [prim ]us (" the first book") and liber [secund]us ("the second book "), conta ining "514 leaves" and "397 leaves" respectively. Obviously this Latin note, referring to fo. 535 of a single liber, was

made before Coke split his collection of precedents into two volumes. Further wholesale rearrangement and dispersal have also taken place,2' which would make it next to impossible to determine just what Coke had in mind. Fortunately Coke himself solves the problem, thanks to his publication of his "discovery" in his last word on the M odus.

This is contained in the preface to the Ninth Pari of his R eports, printed in 1612-13. There he informs the reader of irrefutable evidence of "a parlia ment holden in the fifth year of this King Canutus's reign " (that is, 1020- 21). The evidence was contained " in the Ledger Book of the late monastery of St. Ed-

45

H ans Eworth, Thomas Howard, fourth duke of N orfolk, 1563, oil on panel, private collectio n (Photo: Archive, Paul Mellon Centr Lo ndon).

mundsbury [that is, Bury St. Edmunds, Suffolk], now in my hands, of an ancient handwriting." "Which notable judgment," he concludes, "giveth credit to that ancient treatise entitled thus, Modus tenendi parliamentum, ... which I have in a fair and very ancient written hand. " 22 Coke's arguments, or at least his authority, clearly impressed some contemporaries, and a full note of these paragraphs of the preface to the Ninth Part of the Reports appea rs at the end of one early seventeenth-century transcription of the Modus. 23

The arguments were of course "very fabulous"-in the phrase that a great parliamentarian of the next generation, Sir Simonds D'Ewes, used to describe the claim of the Modus itself to be grounded on parliamentary practice "in the Saxon's time. " 24 Yet their fa lseness scarcely matters- any more than did the fact that many of Coke's legal dicta were fo unded on an equally cavalier use of sources. 25 Instead the Modus, understood or even better misunderstood, was of " immeasurable value" in helping late sixteenth- or earl y seventeenth-century politicians "to

46

strengthen the case fo r an ancient constitution against the King. " 26 But it is impo rtant to be clear that this use of the Modus did not spring from now here. We would of course look in vain in the feeb le pa;liaments ~f the earlier Tudors; o n the other hand, the kinds of ar~u.ments a bo ut a uthority, antiquity a nd t:gmmacy, which raged round the later SLXteenth-century parliament, focused fifty yea rs earlier on the Council and the great offices of tate. And the Modus played a similarl y important part in the debate. This was possible because parliament, counsel a nd office had always interlocked: parliament was the most formal form of counsel; and the great officers the most for mal councillo rs. The connectio ns are clear in both the text of the Modus itself and in the manuscript traditio n. C hapter 10 of the Modus, as we have seen, ascribes a major role to the great o fficers in handling cases of difficulty (as the text tactfully puts it) between the king and his subjects, while one of the two ma in versio ns of the Modus the ' B' ver. . ' s1on, 1s almost always to be fo und in codices alongside lists of precedence and tracts on one or more of the great offices (as of course it is in the present volume). 27 So the shifts in emphasis, from parlia ment to Council and back again, are mere variations o n a theme. H erald of the first stage, fro m parliament to Council, was Sir John Fortescue, a uthor of the midfifteenth-centu ry Governance of England. 28 Fortescue, who owned a copy of the Modus, 29 clearly used chapter 10 as one of his models for his proposed Great Council. Throughout he envisages the Council as the necessary practical complement to the legislative work of parliament: parliament would restore the king's landed estate by an act of resumption, but it was the Council that would make the measure a reality by preventing the king disposing of his newly restored lands by indiscrimi-

nately lavish patronage; the Council was also to serve as a probouleutic Council " npemng . . ,, or preparing business for ' action in parliament.Jo H ere the balance between parliament and Council is an even ?ne-as it was in contemporary practice. Over the next half century, however, the Council steadily gained ground. The background was the shift in royal policy from the enterprise of foreign war to the management of domestic politics. A king who had renounced in practice if not in theory, large-scale Continental war and the heavy taxation war entailed needed fewer parliaments and demanded less of them when they did meet. Conversely, a king who was no longer a war-lord had to work his administration harder, and work himself hardest of all: he had to finance his government from his own resources, in particular his lands; he had to make his own househo ld the real bureaucracy; and he had to centralize politics abo ut his person in his court.Ji At. the center of this new enterprise of domestic management was the Council ~hich becomes the omni-competent ' instrument of the Yorki ts and early Tudors.

The result shows clearly in Thomas Starkey, the next compara ble political theorist to Fortescue.32 In Starkey's Dialogue composed in the fra ught decade of the 1530'~, parliament figures as a mere long stop: 1t was to meet at the beginning of a reign and otherw ise only when there was a "peril of the loss of ... liberty. "JJ In normal circumstances instead its powers were to be exercised by a Council of Fourteen. In shaping this scheme Starkey drew on two main traditions the o ne humanist and fo reign, the other "mere English." On the one hand he was inspired by classical republic~nism and in particular, by what he saw as its cont~m足 porary realization in Venice: more than once he expressed the hope that the English king might become like the Venetian

47

Hieronimo Custodis (?),Sir Edward Coke, 1593, oil on panel, transferred to canvas, Speaker's House, Palace of Westminster, London.

doge.34 But his genius was to clothe this exotic theory in native dress, by using the Modus and the associated Tracts on the great offices o f state. The Council was to be convened by the constable, whose office had been ordained by "our old ancestors, the institutors of our laws and order o f our realm, . . . to counterpo ise the a uthority of the prince and temper the same." 35 Assisting the constable, as the other chief members o f the Council, were the remaining great officers, the "Lord M arshal, Steward and Chamberlain of England. " 36 Here clearly Starkey is working from chapter 10 of the Modus-and much more fa ithfully than Fortescue. He

even paraphrases its actual wording: the special parliamentary commission in the Modus was to be invoked " in case there be any discord between the king and any of the estates ... whereby the peace of the realm might be disturbed " (fo. 17v); Starkey proposed his Council "for the avoiding of all such occasion of any dangerous sedition betwixt the prince of our realm and his nobility. " 37 But Starkey o f course was a theorist, and he has been dismissed as an a bsurdly anachronistic one: "shades of the Provisions of O xford [1258]," exclaims Prof.

Sir Geoffrey Elton of the Dialogue.38

48

wuntt:r-re' olunon of 15 3 -40, '' h1 h re ought '>O mam of the barrk'> o 1536 nd "1th the oppm1te re.,ulr. In 15 3 - 40, 1t "3'> mm1'>tt:nal n ranm m Lr tht ounol "h1 h h.1d been O\Lrthro" n; b\ the Lnd of che t:nrun the f1:ar \\ J'> r.nh.er rh.u rhc po" er of kmg-m- ounol WJ'> m rea-.mg and oughr robe d11nm1 .. hed. Burm chi'> '>truggle, J'> m rhc 1:arl1t.:r one, rht: \loJus, .rnd rh1., r1:xr of 1r m parntular, haJ an 1mportanr part ro p!J,. ornm1.,.,1on1:d by J Hm' .'.!rd and O\\ mJ b\ okc, 1r I\ more rh.:in .'.l '>} mbol o 1..onnnu1n It I'> .10 .:icrual mt Jn'> b, "hil..h m1:d11:\ JI rrad1r1on "J'> rrJn mm1:J r chc '>l'\t.:nrct:nrh tcnrun. lndLt.:d, I[ I~ J LfU 1.11 ml '>Ing link. f Of I( h " rhar rht.:r1.. "J'> no brc.1k m rhe E-ngl1 h on nrunon.:il rr.1d1t1on m rhe .,. rr.:cnrh tt.:nrun; in n.ad of rhL "Tudor de pon m" of a~ earlier g1:ntranon of h1 ronan , or the "Tudor rt:' olunon" oi a more n.: cnr )1..hool, "c .. hould think rathLr of" udor conult.m m." E.ul m.u hal and arrorne) gcni:r.:il haJ mort in mm nth n rh1., book.

David tarkl!)â&#x20AC;˘

It wa a remarkable fu ion. There an be no doubt that in ha ping it a key figure had been Thoma , third duke o f orfo lk, earl mar hal and lord trea urer, and the commi ioner of thi volume or it lineal ance ror. imilarly the influence of it content , the M odus and the Tracts on the great office , permeate each rage of the

49

All book s are published in London, unless otherwise noted

19 British Library, Cotto n M S Titus F II, fo .

81v. The speaker is Richa rd Broughto n. Dr.

1 Oxford English Dictionary.

Dean suggests th at, tho ugh " it may be stretching things a bit," Brough ton could be the " Britten " of Coke's inscriptio n (letter to the a uthor, 10 Februa ry 1987).

2 Letter o f 22 ovember 1985 fro m the a rchivist, Susan Sinclair, to the a utho r.

3 See generall y the impo rta nt new editio n of the Modus in N. Pronay a nd]. Taylo r, Parliamentary Texts of the Later Middle Ages, Ox ford, 1980.

4 For the Treatises o n the ma rshalship, see M. Prestwich, War, Politics, and Finance under Edward I, 1972, 263, no te 3.

5 G. E. [o kayne], The Complete Peerage, new ed . revised by V. Gibbs and later H. A. Doubled ay (13 vols., 1910-49), 11, append ix D, and sub "Norfo lk. " 6 ]. Rowla nds, Holbein : The Paintings of Hans Holbein the Younger, Oxford, 1985, no.

68.

7 Letters and Papers, Foreign and D omestic, of the Reign of Henry VIII, 1509- 47, ed. ]. S. Brewer et al. (21 vo ls. and addenda, 18621932), XI, 642.

8 N. Williams, Thomas Howard, Fourth Duke of N orfolk , 1964, 52 ff.

9 Cited ibid., 41.

10 Pronay and Taylo r, 56, no te 159 and W 0.

H assa ll, A Catalogue of the Library ofSir Edward Coke, New H aven, 1950, 26.

11 Dictionary of National Biography (hereafter D.N.B. ) and P. S. H asler, ed., The H istory of Parliament: The House of Commons, 1558- 1603 (3 vols., 1981), I, 622- 625 .

12 Pronay and Taylo r, esp. 56- 57.

13 British Library, Cotton M S Titus F II, fo.

86. I am very grateful to my colleague, Dr. David Dean o f Goldsmiths' College, Lo ndo n, for a tran cript of this MS and for hi advice o n the possible identification of " Mr. Britten" (see note 19 below ).

14 Ibid. , fo. 86v.

15 H assall, 26- 28.

16 H asler, I, 484.

17 Ibid., I, 624.

18 Pronay and Taylor, 80.

20 H assall, 26.

21 Ibid.

22 Sir Edwa rd Coke, The Ninth Part of the Reports (1738), fos. i(v), iv.

23 Pronay and Tay lor, 212. But th e editors a re wrong to cla im tha t the note "ca ts some light upon the historical knowledge of certa in of these transcri bers [of the Modus]"; it shows o nly tha t th is tran criber was fa miliar w ith the Reports.

24 The Private j ournals of the Long Parliament, 7 March to 1June1642, ed . V. F. Snow a nd A. S. Yo ung, New H aven a nd Lo ndo n, fo rthcoming, 355. I owe this reference to the kindness of Prof. Conra d Russell.

25 C f. D .N.B. 26 Pronay and Taylor, 56-57.

27 Ibid., 20-21.

28 Sir Jo hn Forte cue, The Governance of England, ed. C. Plummer, O xford , 1885.

29 Pronay and Taylor, appendix I. 30 Fortescue, 142-149.

31 For a sketch of all this, see D . Starkey, " The Age o f the H ouseho ld " in S. M edcalf, ed., The Context of English Literature: The Later Middle Ages, 1981.

32 Tho mas Sta rkey, A Dialogue between Reginald Pole and Thomas Lupset, ed. K. M .

Burton, 1948. Pro f. Tho mas M ayer is undertaking a full reapp ra isal o f Starkey, usefull y summa rized in "The Place o f the N o bility in Ea rly Tudo r Po litical Tho ught: Tho mas Sta rkey and a Respo nsible Ari tocracy," American Historical Association: One Hundred First Annual M eeting, 1986, Session

# 31.

33 T. Sta rkey, 166.

34 Ibid., 163, 167.

35 Ibid. , 166.

36 Ibid. , 167.

50

37 Ibid. , 166.

38 G. R. Elton, Studies in Tudor and Stuart Politics and Government, Cambridge, 1974, II, 251.

39 J. A. Guy, "The King's Council and Political Participation," in A. Fox and J. A. Guy, Reassessing the H enrician Age: Humanism, Politics and Reform, 1500-50, Oxford, 1986.

40 For a preliminary sketch of what follows, see D. Starkey, "The Lords of the Council: Aristocracy, Ideology and the Formation of the Tudor Privy Council," American Historical Association: One Hundred First Annual Meeting, 1986, Session #31.

41 Huntington Library, San Marino, MS 41, 955, fo. 92 ff. I am very grateful to Dr. Mary Robertson, Curator of Manuscripts at the Huntington, for drawing my attention to this important MS, which contains a full transcript of the hitherto missing Household Ordinance of December 1539.

51

1 View of the house at Green H 1.ll (built in 1806), ca. 1901.

52

Ancient Marbles from the Italian Garden at Green Hill

As repo rted in 1902, the " broad estate of Mrs. Jack Gardner in Brookline has often been spoken of as one of the best examples of the Italian landscape-garden in this country." 1 Mr. and Mrs. Gardner had inherited the house and forty-acre grounds at Green Hill in 1884 after the deaths of his parents, and Mrs. Gardner, an "eminent horticulturalist," 2 set to work creating not o nly an " Italian" garden, but also a Japanese garden graced by a pavilion overlooking small ponds with lotuses and waterlilies, and a "spring" or English garden, " ... lying within a circle of spr~ce a nd fir and arbor-vitae. H ere the grass 1s quite veiled with the earliest flowers of the season, and the shrubs form a ring of flame inside the somber evergreen hedge. " 3 Just as in the early formatio~ of her ar_t collection and in the innovative planning of her museum, Mrs. Gardner proved to be in the vanguard of American landscape design. The Ita lian garden - in which she placed mostly classical sculpture, some_of which is discussed below-took shape m about 1895,4 and snapshots in the Museum archives show the Gardners together (Mr. Gardner died in 1898) by a stone seat under one of the vine-covered pergolas that enframed it. Two published descriptions, the first again from 1902, capture something of the spirit that must have prevailed during Mrs. Gardner's years there.

Within is a rectangular enclosure -possibly one hundred and fifty feet square - hemmed in by a high wall and traversed by leafy trellises arching over its paths. In the center of the area, which slopes southward the better to receive . the sun, splashes a fountain- Nep~ne sporting with his dolphins in the center of a circular basin ... it is in reality a great outdoor, fa 1rweather museum ... .5

perfection. A wooden pergola crosses it, dividing it into two unequal portions . .. . roses ... jostle one another aUa long the left of the walk, and as far as the confining wall, which repeats their pink and gold and creamy hues.

This wall appears ancient, and is relieved at irregular intervals by inset fragments of old bas-reliefs, showing smiling faces and graceful limbs, now dancing, now at rest.... T~ the right, long beds brilliant with flowers lie between narrow, box-bordered paths that end in some o ld statue, vase, o r marble seat. ... 6

Photographs taken in about 1901 (figs.

1-5) attest to the accuracy of these statements and demonstrate that Mrs. Gardner brought the same brilliant, idiosyncrati_c unity of vision to her landscape gardening as she did to the achievement of her museum.

The Japanese and English gardens are still traceable on the remaining original part of the Green Hill property, and the greenhouses that served all three are very much in active use, but in 1919 Mrs. Gardner "conveyed to H arold Jefferson Coolidge the westerly end of the ... estate, containing 13.4 acres . .. and including the Italian garden. " 7 The Italian garden may be gone, but the sculptures that she already had moved to the gardens, walls and interior of Fenway Court before 1919 have now been joined, fittingly and happily by other of those " lovely fragment[s] res~ued from the envious centuries. " 8

Kristin A . Mortimer

The second is from 1910: This Italian garden is above all else notably simple, with the simplicity of coherence and

53

2 View of the center of the Italian garden, with the Statue of Neptune in a circular fountain, ca. 1901.

3 View of a pergola with stone seats and sculpture, ca.

1901.

54

4 View of the marble staircase leading up to the central fountain, ca. 1901. The Torso of a Silvanus or Youthful Male Season (S8e2) at the lower right is an example of a piece moved to the Museum during Mrs. Gardner's lifetime.

5 View of the boundary wall at the bonom of the Italian garden, ca. 1901.

55

6 Statue of Adonis or Me/eager.

The Greek and Roman statues and reliefs that Isabella Stewart Gardner placed in the Italian garden at Green Hill expressed the same taste as the classical marbles to be seen in the courtyard, cloisters, and gardens of Fenway Court. Major masterpieces in and around the court, like the Peplophoros (S5c2), the Creeping Odysseus (S5s23), the Throne (S5c4), and the Farnese Dionysiac Sarcophagus (S 12e3) were not set out-of-doors in the varied climate of New England, but a number of important and interesting sculptures remained at Green Hill until the time of Mr. Binnie's generous gift (see Report of the Curator). As old photographs in the Museum archives reveal, these sculptures were moved about during Mrs. Gardner's lifetime, and certain pieces found their way from Green Hill to Fenway Court long before the visits and activities in the summer of 1986 (see fig. 4 ).

In terms of the history of Greek sculpture, the most important statue is the Adonis or Me/eager, whose head, arms, and left leg were restored in the eighteenth century (fig. 6). This is a Graeco-Roman copy. The simple treetrunk support combined with a moulded plinth suggest that the statue was carved in the time of the Emperor Claudius (A.O. 41to54) or the Emperor Nero (A.O. 54 to 68), after an original statue in bronze by a follower of Polykleitos, the master who lived and worked around 440 B.C. The Polykleitan follower may have worked about 70 B.C., when the tastes and figural proportions of the fifth century B.C. were revived for rich Roman patrons like Lucullus, Crassus, and Cicero. He created this statue of a young, athletic hero who hunted the boar, probably Adonis who was loved by Aphrodite rather than Meleager, also a hunter of boars. The latter was usually shown as a more heavy-set, mature athlete, as in the famous statue after Skopas (ca. mid-fourth century B.C.), now in the Harvard University Art Museums.

In the figure from Green Hill-, a funerary statue of a boy victor, the so-called "Narcissus" identified with Polykleitos or his pupils and thought by Napoleonic and Victorian romantics to be gazing on his reflection in a pool, was used as the prototype for the resting Adonis. What is important here is that, unlike other copies, the boar's head and the treetrunk support are ancient and belong to the torso, the legs, and the roughly circular plinth. Mrs. Gardner's Adonis must have been in Rome around the middle of the eighteenth century, for the celebrated rejuvenator of ancient marbles, Bartolommeo Cavaceppi, used this statue to restore the boar's head and support on a similar statue long in the collection of the earls of Leicester at Holkham H all in Norfolk, England. The Holkham H all statue was bought from Cavaceppi by the then earl's agent and architect Matthew Brettingham in about 1750, and it seems likely that Cavaceppi also owned (and restored) the headless

56

7 Statue of a Seated Lady.

8 Cinerary Chest.

but iconographically more important ancient replica which, like quite a few of her compa rable ancient marbles, Mrs. Gardner later acquired from know n sources a nd/or sites in Italy. Like all the marbles from the Green Hill garden, the Adonis h as suffered somewhat from nearly a century of exposure to the elements, but the statue remains impressive both as a work of art and as a do cument of aesthetic and iconographic history.

Equally fascinating in these resp ects is the Statue of a Seated Lady - of abo ut the time of Claudius's unfaithful a nd ill-fated wife M essalina (A.D. 50 )- represented as a priestess or attendant of a major Roman goddess such as Cybele and her cults near Rome (fig. 7). Older priestesses o f this great Asiatic mother-goddess usually wore a mural crown, since Cybele was the patroness of many cities, but here the elegant young lady may have held a relatively minor position in Rome's urba n

cults of the goddess, whose temple was near the ho use of Augustus a nd Livia on the Palatine Hill. H ere not only pose but also drapery are based on a famo us statue fro m the atelier of the fa mily of Polykleitos, the cult-image of H era created a round 400 B.C. fo r the temple in the uplands a sho rt distance fro m the city of Argos. The statue fro m Green Hill has preserved a n especially skillful handling of the drapery, in itself a visual pleasure as well as an expression of the majesty of the la rger-scale original in the fa mous shrine and temple of the Pelo ponnesus. In addition, the Graeco-Roman sculptor gave the young lady a n elegant chair in the Greek tradition of the fourth century B.C. and embellished it w ith figures of priests of Cybele and her attendant Attis in low relief on the sides.

The Ro man Cinerary Chest (lid m issing), in the form of an elaborate piece of fu rniture w ith a lion and lioness standing as the long sides, handles, and feet, is a curiosity, an unusual document of ancient and post-classical decorative art (fig. 8 and see fig. 5 for its appearance ca. 1901). T he heads and forepa rts of the beasts h ave been restored, perhaps in northern Ita ly in the seventeenth century, and the base or plinth under the front p aws has been taken from a Roman tombstone of the first century of the Roman Empire. This funerary slab features a two-thirds figure 57

58

10 Fragment of a arcophagus relief with Achilles Taking Leave of Deidameia.

9 Mrs. Gardner seated on the marble staircase with her dogs, 1902.

of Eros or Cupid shown frontally in a circular med allion with mouldings in relief forming the frame in the upper center of the slab. The original, rectangular cinerary urn was carved in the age of the first Emperor Augustus (27 B.C. to A.O. 14). Such cineraria were used for cremation-burials in the niches a nd on the shelves or floors of underground tombchambers around Rome and other cities as far north as Aquileia in Italy (w here the tombstone used by the restorers as the plinth has excavated parallels). The unusual form of this urn depended on designs evolved by Graeco-Roman decorative carvers for sundials, elaborate tablesupports, thrones w ith animals as their arm-rests, and similar sculpted household and garden ensembles found in houses and villas from the Alban Hills to Pompeii and H erculaneum. Perhaps the commissioner ordered this special cinerarium in imitation of one of his favo rite metal or wooden chests. Mrs. Gardner placed the cmerarium in a prominent positio n opposite the monumental staircase at the bottom of her garden, and she and her dogs (fig. 9) must have enjoyed walks past it, with its unusual early-Roman imperial to post-Renaissance Italian lions guarding the center of the long, lower terrace (fig. 5).

Of the dozen fragments of reliefs from sarcophagi or funerary and votive monuments let into the long garden-wall at Green Hill, the one that came to Fenway Court in 1986 is the section of an Attic mythological sarcophagus of about A.O. 225 showing the myth of Achilles on Skyros at the outset of the Trojan War (fig.

10). This important fragment features Achilles taking leave of Oeidameia, one of the daughters of King Lykomedes, and one of her sisters or attendants. The section of broad fillet moulding decorated with a floral pattern that is above the three heads formed the outside of the rim of the coffin proper, on which the lid once rested.

Since Achilles was doomed to die in the Trojan war, his divine mother Thetis hid him, disguised as a girl, a mong the many daughters of King Lykomede on the northern Aegean island of Skyros. Wily Odysseus (who would later creep around Troy), and his partner in all adventures Oiomedes, came disguised as itinerant merchants with trinkets for the princesses, a sword ill-concealed in the midst of the jewelry. Achilles naturally seized the sword and was thus revealed and shamed into jo ining the Greeks besieging Troy.

Here, in this late manifestation of the Classical sculpture of Athens, Achilles, now divested of his woman's garments and attired for travel and war, turns to say farewell to the princess with whom he had had a love affair while hiding in exile. Like the famous Farnese-Gardner sarcophagus (S12e3), this one was carved in Attica for

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11 Sarcophagus with strigilar pattern.

export to the region around Rome. A great Attic sarcophagus of about the same date (A.D. 235 to 240) is in the Capitoline Museum at Rome, having been discovered in a major tomb building just to the east of the city. The same myth o f Achilles on Skyros is carved on the chest, and a man and wo man (traditionally the Emperor Severus Alexander w ith his wife or mother) recline on the couch forming the lid. In years to come, other fragments of the carved chest of the Achilles sarcophagus from Green Hill may be identified, but meanwhile, this vignette fo rms a splendid, monumental prologue to the Trojan War in Roman art.

O ne of the latest Ro man monuments from Green Hill is the chest or body (again the lid is missing) of a marble sarcophagus of about A.D. 280 to 300 (fig. 11). The carved decoration on the

front is in the form of a strigilar pattern.

This S-shap ed series of designs takes its name from similarity to the shape of the bronze object used by athletes to scrape oil off their bodies after exercising in Greek and Roman gymnasia. A bust of a man in a tunic and cloak, scroll in the left hand, fills the tondo above the crossed cornucopiae in the center. Unfortunately, the wedge-shaped area of restoration includes all of his head.

There are two Erotes or Cupids with reversed torches and baskets by their feet on the front corners of the body, fra ming in the strigilar designs. These w inged children can symbo lize Love and Death (Eros and Tirnnatos). They too have suffered restorations, although their bodies and poses, with legs crossed and outer hands on their inner shoulders, remain virtually intact as they lean on

60

their nocturna l, funerary symbols. Given the richne of the gro up of uch decorative and symbolic arcophagi at Fen way Court it elf, it i ea y to see why th i re to red example remained at Green Hill.

Still, it will make a handsome additio n to and, doubtle s, a foca l point in the garden o f Mrs. Ga rdner' Museum o n the Fenway.

Cornelius C. Vermeule II I

1 B. Brooks, "A New England Garden Home ... ," ountry Life in America, l, 1902, 148.

2 ee E. M. McPeck, "An 'Eminent H orticultura li t,'" Fenway Court 1977, Bo ton, 1978,

34-41.

3 H. Hawthorne, "A Garden of the Imagination ... ," The Century Magazine, DOCX,

1910, 449.

4 M . Carter, Isabella tewart Gardner and Fenway Court, Boston, 1925, 154.

5 Brooks, 149-150. Mr . Gardner acquired the English eighteenth-century lead tatue of Neptune (SGell) in 1894 ( ee fig. 2). By 1938 the figure was minus an arm and both leg , and wa given to the Museum where it wa placed outdoors. Part of Mr. Binnie' gift of 1986 was the dolphin ba e that belong with it.

6 Hawthorne, 448.

7 F. A. Gardner, comp., Gardner Memorial, Salem, Mass., 1933, 210.

8 H awtho rne, 448.

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The Isabella Stewart Gardner Museum, Incorporated Sixty-second Annual Report for the Year Nineteen Hundred and Eighty Six

Report of the President

Working out new facilities is an interesting process that seems to follow a pattern common to eleemosynary institutions.

Yo u start w ith a need - in our case to remedy inadequate arrangements fo r handling visitors, to provide space fo r educational activities, to provide much more room for conservation, offices, books and archives. Then you work w ith architects to see how on earth everything can be fitted into a design that is practical, that pleases the eye, and that will not cause consternation in the community.

Dozens o f variations are tried, discussed, rejected or adopted. Everyone's particular needs, even dreams, are carefully considered. Finally yo u reach a scheme that not only seems to fit; it is exciting, it has glamour, it engenders a feeling like the anticipation of Christmas.

Then come the cost estimates. There is a period of agonizing retrenchment. Everything is cut back to the bare essentials.

After a while disappo intment is dispelled, and you come to the feeling that you have reached what is really a workable design after all.

That is abo ut w here we a re now. It has taken a long time, but the time has been well spent, not wasted. The Building Committee, headed by our Trustee J ames Lawrence, has been in all respects a model of what a building committee should be.

The architects have been responsive, resourceful, and enormo usly patient.

The next step is to raise the money for the pro ject, which will not be financed out of the Museum's endowment. T here are a good many reasons for saying that this will be an enjoyable exercise. The first one

64

Fo under's Day Concert receptio n in the cloisters.

is that Ca roline Standley has joined the Museum sta ff as director of development.

She isn' t just a money raiser. She likes people and people like her. She is finding new ways to make people feel welco me at the Museum and its fun ctions. Visitors will come not just for the collections, the flowers, the concerts and the lectures, but also to see Caroline. It also generates confidence to have two o utstanding people heading the committee to conduct the capital drive: M ary Ford Kingsley, chairman of the Advisory Committee, and Jack Ga rdner, vice-president and treasurer o f the Trustees.

There have been distinguished additions to the membership o f the Advisory Committee, and it is now at full strength. Full strength is the right term, because it wo uld be hard to find an abler group o f people to

bring new ideas and associations to the Museum and join the Trustees in keeping it on the right course. The members are (as ofFebruary 1987): M r. and M rs.

Samuel Bodman, M r. and M rs. I. W Colburn, Mrs. Graham Gund, Mr. and M rs. Arnold Hiatt, Mr. and M rs. Gordon Kingsley, Mr. and Mrs. William Poorvu, Mr. and M rs. Lionel Spiro, and M r. and Mrs. Roger Wellington.

Many things bring ho me to the Trustees how fo rtunate we are in the q uality o f the staff, under the direction of Rollin H adley.

One was the p rofessional good sense they displayed in identifying the most essential elements of the proposed new facilities when it became necessary to cut back the design . We owe them a lot.

Malcolm D. Perkins

Benefacto rs' Evening with a performa nce by Ramo n de las Reyes and his troupe of flamenco dancers.

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Report of the Director

To set standards within the p rofession, The American Association of M useums started a program of accreditation some twenty years ago. The Gardner Museum was first accredited in January 1972. At the suggestion of the AAM, i:eaccreditation took place in January 1986, after an on-site evaluation by senio r examiner Charles Parkhurst, a former assistant director of the N ational Gallery of Art, and director o f the Baltimore M useum and the Williams College Museum.

Parkhu rst began by noting that the Gardner is an unusual museum, " notable for its founder, her collection, her house, and her detailed w ill. Little can be changed, and this makes it a somewhat static museum. But this leaves the wrong impression, for under the present administration much has changed." Under physical facilities, Parkhurst noted that there are plans to build more offices and laboratories, and particularly to add coatrooms and education space near the front entrance. Final word on that will be available early in 1987 and w ith luck work will begin before the end of the year.

An exhibition showing changes previously made to the outside of the building and grounds, and plans developed over the last five years to meet current pressing requirements, will be mounted in the fa ll.

Changes anticipated in 1987- 88, unlike those in 1972, cannot be fin anced out of the endowment and a major effort w ill be made to raise the necessary capital. In line with that thinking, the Trustees voted to increase the donation requested at the front door to $3 ($1 for elders and students), and once again public contributions kept the budget for operations in the black.

The M embership Program, called " flourishing" and "a very spicy offering fo r a small museum " in the Parkhurst report, continues to attract more attention and loyalty. When the coordinator, Amy

Eshoo, resigned in August to attend art school, Caroline Standley stepped in a nd has continued to fill that role, w ith the assistance of Leslie Flinn, while preparing for the capita l campaign. H appily, the number o f members in the higher categories increased significantly. Details of the lectures, trips and concerts appear elsewhere.

The accreditation repo rt for 1972 no ted that we were just beginning the process of budgeting, and that a financial reporting system was being developed for internal control. H o pe Coolidge, who resigned in August after nine years of service, helped greatly in this area, and she w ill be missed by everyone. The Museum has since hired Raymond Cross and Corey Cronin to work with Linda H ewitt, the assistant director, on all internal financial matters.

They are busy converting to a computerized accounting system that will provide administrative staff w ith additional detailed information for fina ncial decisions on budgeting, purchasing, fringe benefits and manpower. Th~ completion date for this p roject is 1July1987. Besides assisting the staff, the accountants work w ith Gardner and Preston M oss and Arthur Andersen and Company to establish and document all acco unting procedures necessary for accurate and timely financial reporting to the Treasurer and outside auditor.

A package of Lotus software, a gift from the Lotus Development Corporation, was added to our equipment during the year.

We are still seeking more computer equipment for the office, particularly word processing.

The M useum Shop and the Cafe contributed a share to the M useum's income and greatly to the pleasure of visitors. Sales at the shop , now in its second year under Elizabeth Brill, were up 22 %, and income, 8% of w hich is mail-order business doubled during the year over the pr~vious

66

The Museum will feature a eries for the harp ichord next year, including early and contemporary music a nd solo and chamber performances. A new eries of concerts by first-chair member of the Boston Symphony Orchestra introduced much music not often heard for these solo instruments. Through the genero ity of the Peabody Mason Music Foundation Andrew Rangell presented two concert~ featuring the keyboard music of]. S. Bach. In another series, the a udience had the pleasure of hearing all the violin and keyboard sonatas of Mozart. For the annual celebration of the Founder's birthday, Dawn Upshaw, accompanied by Margo Garrett, sang works by Purcell, Debussy, Wolf and Ives. The Church of the Advent, Mrs. Gardner's parish church, performed the annual memorial service in the Chapel on 14 April and members of the choir sang the Latin mass.

William Dowd, builder of the new harpsichord, donated to the Mu eum by Dr. Robert Barstow.

mark. The Cafe cookbook sold out and has gone into a second printing. Meanwhile the Cafe received critical acclaim in Family Circle Magazine and the manager, Lois M cKitchen Conroy, suitable pra ise for her menus. To everyone's regret she is retiring as manager in 1987 but will continue to supervise catering. To o ur good fortune, her able assistant Suzanne LaRocca has accepted the position of manager.

Through the great generosity of Dr. Robert 0. Barstow, the Museum acquired a beautiful harpsichord, based on a German design and built by William Dowd.

Recognition for the work of the head gardener, Robert MacKenzie, and his staff came in an interview with the Boston Globe, in which it was po inted out by Richard Daley, director of the Massachusetts Horticultural Society, that most people know his displays but his name seldom appears. When it does appear, as it does in the annual Flower Show, there is apt to be a medal not far away. In 1986 he received for the Museum's entry a silver medal for "a particularly pleasing garden of fine camellias and azaleas" and a cultural certificate for exceptional skill in cultivating camellias, and from the spring Festival of Camellias another certificate of superior commendation for horticultural merit.

At the heart of our work is the maintenance of the collection and its security.

The curator's report ably details the work that is underway and the diversity of the problems that the laboratories must face.

In order for the collection to survive the onslaught of the public, the security chief,

67

Lyle Grindle, has a continuing program of re-educatio n a nd training. It is in the nature of any public institution to receive complaints and to the credit of the entire staff these have been few and far between.

There is always a sense of satisfaction w hen a letter of praise for the guards arrives, and that happens three or fo ur time a year, demonstrating that a little courtesy can add to the visitor's enjoyment, and that the time spent in training and care does pay off.

Returning to the accreditation report, Parkhurst noted the rise in attendance, which continued throughout the year; by December 31 we reached 165,000, up

seven tho usand from last year. The report ended by stating that the future looks promising. "The Trustees are a positive force, and supportive," he wrote, "and the entire staff expressed, in act and word, a clearly up-beat attitude toward its work. ... " As this reflects my own feeling, I can only rejoice that he aid it so well, and look forward to another productive year in 1987 and the pleasure of working with the Advisory Committee as well as w ith the Trustees and staff to fulfill our ambitious goals.

Rollin van N . Hadley

The Museum 's entry ar rhe New England Flower Show.

68

Staff Changes Resignations were accepted from John Cillo, accounting, H ope M el. Coolidge, admini t rative assistant, Amy H . Eshoo, membership coordinator, Joseph F. Kiarsis, gardening, Ela ine Dellande, Philip Riley, Pieter Vanderbeck, Karen Winter, Tho mas Zucker-Scharff, watch, Katherine Caldwell, M arc Chabot, Po lly Crews, David Glass, Kristin Jayne, Kenneth Kelly, Roberta Miller, Naomi Palmer, Bradley Permar, Donald Saaf, M ichael Shea, H arriet Taylor, and Edgar Velasco, guards, Willson Bliss, maintenance, M ichele Kroll, music, Despina Aivliotis, M olly Baron, M arc Bernatchez, Ka ren Curtin, Joseph Dellea, Traci Figu ra, Paul

Fitzgerald, Michele Kemp, Catherine M cLean, Suzanne M unro, Karen O 'Neil, Gio ia Palmieri, Sarah Patton, Denise Rocco, Michele Sharon, M ichael Vozzela, cafe, ]. Daniel Strong, catering. The death of James H aley, guard, was a great sadness to all of us.

Engaged for regular duties were W. Corey Cronin, bookkeeper/administrative assi tant, Raymo nd R. Cross, accountant, Leslie A. Flinn, assistant to the director of develop ment/membership, Caroline D. Standley, directo r of development/membership, Liza Del Gatto, John O'Shaugnessy, Geoffrey Rockwell, Scott Walt, watch, W illiam]. Curtin, Kathleen M. Davis, Deborah A. Field, Karen M. Sangregory-Fox, Allison Jean Line, Anthony ]. Lobosco, William K. Nagle, Lawrence R. Shertzer, Hilary Ta ub, Frank Tully, Phyllis Wentwo rth, Cla rence Wojciechowski, guards, Elizabeth Busky and M erry T. Priest, cafe.

Employed on restricted schedule were William Schroen, printing, M ary Alice Carroll, Bret Schuster, music, Jill Abatemarco, Museum Shop, Elizabeth Bing, Edward Kingston, and Yvonne M ercer, maintenance, Timothy Gosnell, Thomas Larkin, and Kara Somerville, guards, Michael Conroy, Katherine Finneran, Susan Gehle, Jennie Laitala, Emily M o ll, Despina Papoulidis, William Schroen, Alison Tsoi, and Joseph White, cafe.

Bob M acKenzie, head gardener, and To m Wirth, landscape architect, overseeing the arrangement of plants at the New England Flower Show.

69

Report of the Curator

Conservation o f the collection by traditio n has been a top prio rity at the Museum, and in 1986 this was particularl y true.

The conservator continued their constant care of individual objects, and as we all look to the future, we have been more and more involved w ith long-range planning: for larger and more modern la bs; fo r climate-controlled storage space necessary for the temporary retirement of o bjects at risk; fo r ever-better methods of preserving Fenway Court as Mrs. Gardner left it.

This means setting goals that will ca rry u into the Museum's second century, and also means seeking the outside upport and special advice that w ill help u achieve those goals. O ne such step was the acceptance of an application to SPNEA's furniture conservation program, which is funded by the M assachusetts Council on the Arts and Humanities.

Wo rks on paper that were treated and/or rematted and reframed ranged from Michelangelo to M atisse, while Yokoyama Taikan's Landscape, 1904, was sent to the Museum of Fine Art fo r repair after its fragile silk suppo rt failed.

Beside readily advancing in the treatment of two of our most impo rtant tapestries ( ee Fenway Court 1985), the textile staff supervised a project, funded by a matching grant from The ]. Paul Getty Trust, involving a third : Abraham Receives Rebecca (T19n2 1- ). After asbestos sheeting was removed from the wall behind it, the tapestry was vacuumed free of asbestos fibers, sent to the Museum o f American Textile Hi tory for washing, and returned for further attention. Other undertakings were the completio n of new velvet archival case covers for the Long Gallery; repair o f damaged or worn upholstered furniture; and the conservation of two Italian copes (T27w29, T27w30) to be put back on display in April 1987.

Conservation Program and previously assistant conservator at the Peabody Museum o f H arvard, jo ined us in October.

She began her du tie by reorganizing and evaluating the resources of the lab ; by planning for the mo nitoring of environmental condition in the gallerie ; by overseeing the removal and safe transport o f the sculpture from Green Hill (see below); and by sening a schedule fo r the analysis and treatment of o bjects.

Alain Goldrach, paintings con ervator at the Museum of Fine Art , continued the challenging treatment of Pari Bo rdone's monumental Christ Among the D octors (P26wll ), who e cleaning revealed the many changes made by the artist in the course of execution. We look forwa rd to its return to the Titian Room early next year.

The Museum archives, like the galleries, a lways generate a great deal of activity; the archivist handled numerous requests to examine letters, photographs, manuscripts, a nd ra re boo ks, involving topics from Virgil to Keats to many o f Mrs. Gardner's contemporaries and correspondents. Several additions and welcome gifts to the a rchive also were made this year: photocopies of letters w ritten by Mrs. Gardner (N ew York Public Library, N ew York Historical Society); a typescript of the diaries o f A. Piatt Andrew (gift of E. Parker H ayden, Jr.); photographs and tintypes that had belonged to Mrs. Gardner (Museum purchase); prints of two photographs of Mrs. Gardner w ith Teddy Roosevelt (Groton School); and opera libretti given by Mrs. Gardner to George Proctor (gift of Mrs. John G. Weiss).

Another special gift (from Mrs. M ax Seltzer, a relative of Bernard Berenson) was a set of vermeil suga r and condiment bowls that Mrs. Gardner had given to Senda Berenson as a wedding present.

Our new o bjects conservator, Barbara J. M angum, a graduate of the Cooperstown

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Barbara M angum, objects conservator, and some of the sculpture o riginally in the Italian garden at Green Hill.

Asbestos sheeting being removed from the no rth wall of the Tapestry Room .

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Project Explore participants lea rning how tapestries are woven.

We were most fortunate, too, in receiving a gift o f out tanding intrinsic and historical interest, namely a group of classical statue and other sculptures fro m the former Italian garden at Green Hill.

O riginally on the Gardner fa mily estate, this part o f the property was later sold, and the donation came to the Museum from the present owner, William H .

Binnie. W ith the invalua ble assistance of Cornelius C. Vermeule III, Curator o f Classical Art at the Museum of Fine Arts, the sculpture was identified , documented, and photographed in situ, before moving it here. Fo llowing conservation, it i hoped that some pieces w ill be placed in the Museum gardens, while others, more fragile, will be kept indoors.

Since the collection is permanent, the Museum does not normally lend, but one exception was made from the archives; four drawings from the El jaleo sketchbook were sent to the major Sargent show held at the Whitney Museum and the Art Institute of Chicago.

Our policy o f introducing the distinctive qualities o f the Museum to schoolchildren continues to develop. Caroline Graboys, paper conservator, again served as education coordinator for the year, aided by Corey Cronin and Sylvia Yo unt. Two special programs, one w ith the Brookline schools and one w ith the Black Achievers (Project Explore) had their second successful seasons, while a third was new.

Intended for student in the Boston public schools, Friday Mornings at the Gardner (supported in part by a gift of $1000 from the Barstow Fund and in part by a grant of $2500 from the Boston Arts Lottery) has offered the opportunity both to learn about various aspects of the collection and to enjoy a quiet period fo r sketching first impressions o f Fenway Court. A brochure was mailed to teachers, lesson plans geared to middle school curricula were written, and the response was enthusiastic.

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Special exhibition - " Isabella Stewart Gardner and the Venetian Influence" (through April 1986).

M any other Museum and staff enterprises for 1986 merit at least a mention. Planned and installed by the assistant curator, archivist, paper conservator, and photographer, the special exhibitions were Boston's Mrs. Gardner, assembled fo r the first time as a permanent summer show, and Anders Zorn: 1860- 1920. The latter featured the paintings, drawings, and prints of the Swedish artist in the collection, as well as letters and memo rabilia demonstrating his friendship with Mrs. Gardner. In the galleries, projects to improve and add labels, and to protect selected objects by building platforms underneath them, were ongoing. The second Boston University Symposium on the History of Art was held in the Tapestry Room on 29 M arch; nine graduate students read papers to a considera ble audience. Some professio nal conferences attended by staff members were: the College Art Association meetings in New York City (assistant curator); the NEMA meeting in New H ampshire (assistant

conservato r of textiles, who participated in a panel discussion on "successful grants, " administrative assistant, Museum Shop manager, and assistant director); the AIC meeting in Chicago (conservato r of textiles); a NEMA symposium on "The Care of Upholstered O bjects" (conservator of textiles, assistant in textiles, and curator); and the IIC congress in Bologna, Italy (objects conservator, who gave a talk in the stone conservation sessio ns). Publications by staff included: articles in Fenway Court 1985 on the correspondence between Mrs. Gardner and Lady Gregory (archivist) and on M atisse works on paper in the collection (assistant curator); a paper on recommended treatment of the Museum's limestone Tabernacle in a Triptych (Sl 2n5) (former chief conservator, Jack Soultanian, with E. Charola and L. Lazzarini); Harvard University Art M useums/A Guide to the Collections, N ew York, 1986 (curator); The Letters of

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Peter Thornton surveying the Mu eum's furniture collection.

Bernard Berenson and Isabella Stewart Gardner: 1887-1924, Northeastern University Pres , fo rthcoming (director).

Two grants to textile staff members ca me from the Samuel H . Kress Foundatio n: one to Betsy Go uld for study at the University of London 's In titute of Archaeology and on ervation Summer Program, the other to Ada Logan toward funding of her third year o f advanced tra ining at the Museum . Finally, a comprehensive catalogue, Textiles/Isabella Stewart Gardner Museum , by the distinguished scho lar Adolph S. Cavallo, was published by the Tru tee (partially funded under a grant bytheNEA).

Visiting schola r and mu eum professionals add much vitality and intellectual timulation to the Gardner Mu eum, and help keep us up to da te in o ur own knowledge of the collection and its care. Once again these vi itors were fa r too many to enumerate here, but mention of a few (a nd others a ppear in the M embership Program) can at least suggest the diversity of thei r intere ts a nd background .

Thomas La nge of the Huntington Library came for a week as part of his work on a ho rt-title catalogue of rare books in the collection; Richa rd Wil o n of the Freer Art Gallery stud ied the Okakura dogu; H ans H einrich Brummer, director of the Zorn Museum in Sweden, viewed the galleries a nd archives; cura tors from the Schleswig-H o lsteinisches Landessammlungen, Schleswig and the Staatliche Kunstsammlungen, Kassel included the Museum in their study progra ms a recipients of John J . M cCloy Fellowships in Art ; and Peter Thornton, curator of Sir John Soane's Museum, London, came fo r a week as consultant on the care and display of o ur furniture collection.

In additio n to the textile catalogue, there were o ther new items at the Museum Sho p: posters of Vermeer's Concert and Sargent's El ]aleo, a " Museum M enag-

erie" calenda r for 1987 (designed by Leslie Evans), five new postcards and five new notecards. The Vermeer poster received a design award from the Art Mu eum A ocia tion of America and recognition at the annual meeting of NEMA. As in previo us years, interns a nd volunteers boosted all our efforts: Catherine Heins, Richard Cook, a nd N atalie Perkins (curatoria l and administration); M a rtha Bernholz (paper conservation); Aurora Vicars (textile conservation); and N ancy Buschini (objects conservation).

Kristin A . M ortimer

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Membership Program

Members are the keystone of support for the Gardner Museum and fortunately the membership continued its steady growth during 1986. Many friends and acquaintances introduced by members to the special experience of the Museum were inspired to jo in, with the result that everincreasing numbers enjoyed the lecture and other events.

Special thank to Mrs. Gordon F. Kingsley, chairman of the Advisory Committee, for her constant thoughtfulness in drawing o many new and old friends to a closer connection with the Museum. The entire Advisory Committee has been a great catalyst in the effort to reach out to a wider audience.

The Annual Appeal, for gifts over and above membership contributions, focused this year on improvements to the laboratories needed for conservation of the collection. The response to this particular appeal surpassed those of past years, an encouraging sign for future endeavors.

Increased space and more modern equipment for conservation laboratories is one of two major goals of a building program planned to begin in 1987. The second is to enhance visitor services, including a larger checkroom, a permanent exhibition on Mrs. Gardner and her collection, and room for more educational activities. To help raise funds for this program, a development office was created in September 1986, staffed by the director of development/membership, Caroline Standley, and her administrative assistant, Leslie Flinn.

Calendar of Events 1986 The Museum's eighth year of special programming for members contin ued with great success.

"The Pleasures of the Per onal Museum," a popular lecture series over the past few year , concentrated on collections for med by individuals in Venice, London, and Sarasota, Flo rida. Rollin Hadley's talk on the importance of Venice for Fen way Court prepared member for a longawaited tour of Venice and the Veneta.

Led by Mr. and Mrs. Hadley, twenty-six Museum members visited palaces, villas, and historic gardens in and around Verona and Vicenza, before arriving in Venice for five days in that incomparable city. A number of private residences were opened for the group, for a chance to see the collections and to meet the owners. William MacDonald's lecture on southern California architecture served as an introduction for members planning to join the January 1987 trip to Los Angeles.

Other lectures appealed to a broad range of interests among members and the public, ranging from textiles and cassone panels to Spanish culture and Rembrandt's Christ in the Storm on the Sea of Galilee.

Two special evenings brought members the extraordinary voice o f the young soprano Dawn Upshaw and Christmas music of Mrs. Gardner's time performed by the New York Vocal Arts Ensemble.

There were other oppo rtunities for members to learn more about the Museum they support, including tours of the collection and greenhouses, gallery talks on special exhibitions drawn fro m the collection, and the annual celebration of the founder's birthday.

75

Philip Rylands.

Anthony J anson.

January 15 The Peggy Guggenheim Collection, Venice Philip Rylands, director, the Peggy Guggenheim Collection.

February 12 Fabrics as Expressions of Splendor Milton Sonday, curator of textiles, Cooper-Hewitt Museum, N ew York.

March 3 New Members' Welcome A biannual introduction to the Museum, with tours of the collection and greenhouses.

March 12 What Venice Meant to Mrs. Gardner and the Collection at Fenway Court Rollin van N. Hadley, director, Isabella Stewart Gardner Museum.

Aprill The John and Mable Ringling Museum of Art, Sarasota.

Dr. Anthony J anson, curator, the John and Mable Ringling Museum of Art. April 14 Memorial Service April 28 Founder's Day Concert and Reception: Dawn Upshaw, soprano.

May7 The Botticelli and Pesellino Panels in the Gardner Museum: Marriage and Virtue Ellen Callman, Muhlenberg College.

May 14-25 Villas, Gardens, and Palaces of the Veneta: tour for members.

May17 Greenhouse Sale for members.

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John Walsh talking with Vivian Spiro (Advisory Committee) after his lecture.

September 22 Benefactors' Evening Dinner in the East Cloister and a performance by Ramon de las Reyes and his troupe of flamenco dancers.

October 22 Rembrandt's "Christ in the Storm on the Sea of Galilee" John Walsh, director, The ]. Paul Getty Museum, Malibu.

September 24 Images Unlimited: Architecture in Southern California William MacDonald, architectural historian.

November 12 Soane's Own Museum in Soane's Own Time Peter Thornton, curator, Sir John Soane's Museum, London.

September 29 N ew M embers' Welcome with tours of the collection and greenhouses.

December 10 The Old and the New in Castile and Catalonia Edmund L. King, Princeton University.

October 18 Members' Gallery Talk on the special exhibition of works by Swedish artist Anders Zorn.

Karen E. Haas, assistant curator.

December 17 Holiday Concert and Reception for M embers New York Vocal Arts Ensemble.

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Membership

Benefactor Judith and Joseph Auerbach Dr. Robert Barstow Bruce A. Beal Susan Bennerr Dr. and Mr . Leo L. Beranek Wilham H. Binnie Dr. and Mr . dward F. Bland Mr. and Mr . Ronald Brown Wilham G. Bullock Mr. and Mr . Stanford Calderwood Mr. and Mrs. Samuel oco, Jr. Mr. Bertram ohen Mr. and Mr . Wilham G. oughlin Mr . Fredenck B. Deknarel Mr. Paul Doguereau Mrs. Wilham Rodman Fay Mr. and Mrs. Elliot Forbes Mr. and Mrs. George P. Gardner, Jr. Mr. and Mr . John L. Gardner Maynard Goldman Mr. and Mrs. Ma on H ammond Mr. and Mr . Francis W H atch, Jr. Mr. and Mr . Arnold Hiarr Mr. and Mr . W11l1arn White H owell Mr. and Mr . Gordon F. Kingsley Mr. and Mrs. James Lawrence Dr. and Mr . H enry Mankin Mr . Louv11le tie Mr. and Mr . harles A. Pappas Mr. and Mr . Malcolm D. Perkin Mr. and Mrs. William Poorvu Mr. and Mr . Albert Prarr Mr. Jame E. Robinson lll Mr . Beniamm Rowland Mr. and Mr . Franc1 P. ear Jane 1bley Mrs. Donald B. mclair Ir. and Mrs. Burges P. randley Ir. a nd Mr . Ray rara Mr. and 1r . Ezra reven Mr. and Mr . Jame L. Terry ancy B. Tieken Mr. and Mr . Roger\: ellmgron Mr . Robert Lee olff Anonymou (2)

Patron Ir. and lrs. . F. Ada ms and .\!rs.Jame B. Arne Peter J . Ball:mn,Jr. ~Ir.

Elva Bernar Robert F. Birch Mr. and Mr . arnuel W Bodman Mr . Ralph Bradley Mr. and Mr . I. W. olburn harle J. oulrer and Margaret Logan Mr . Gardner ox War on B. Dickerman Mr. and Mr . De oursey Fale ,Jr. Mr. and Mr . Ronald Lee Flem mg Mr. and Mr . Richard M. Fra er Mr. and Mr . James H . Grew Mr. and Mr . Graham Gund tCola Johnson Virgm1a L. Kahn Mr. and Mr . Paul Montie Sam Plimpton and Wendy harruck Mr. and Mr . Henry B. Robert A. Herbert andwen Donald L. aunders Mr. and Mrs. Roger A. Saunders Mr. and Mr . Roberr A. Sinclair Dr. and Mr . William D. Soh1er Jr. Dr. and Mr . Arthur K. Solomon Jeanne and Don ramon M1 Elizabeth B. Storer Mr. and Mrs. Arthur Ver hbow Mr. Charle G. K. Warner Anonymou ( I)

Corporate Benefactor The G1llerre ornpany The john H ancock ornpany

orporate Donor Cambridge Tru r ompany Frank B. Hall and o. of Ma ., Inc. General inerna orporanon Houghton M1fflm ompany

Foundation/Trust Bo ton Globe Foundation Inc. Gardner harttable Trust Gund Arcs Foundanon The Pa me harttable Tru r

Contributor Mr . . R. Ander on Andrew and Elmer Ander on-Bell .\1r. and .\lrs. Arthur . Amon

Prof. Lilian Arm trong Mrs. Francis Reed Au ttn Ir. and lrs. Paul Bernat Beniamm E. Bierbaum, l.D. David Alan Brown 11 s Dorothy A. Brown Mr. and Mrs. Jame M. Bruch Dr. and Mrs. john Bruner Mr. and Mrs. Kennerr F. Burnes Donald R. Burnham Pauline H o Bynum Mr. and Mr . Thomas D. abor Mr. and Mr . Edwin D. arnpbell Fr. George A. arngg Robert K. a arr Mr. and .'vlr . Daniel . heever anta hoare Frederic . hurch,Jr. Jo Ann mon and Cordelia Sherman Mr. and Mr . john W obb Rusell . odrnan,Jr. William A. ole Mrs. W G. on rable Mr. and Mrs. Jo hn L. Cooper Dr. and Mrs. J . H olland orrer Mrs. Franc1 H. urnrnmg Mr. and Mr . harle C. unnmgham Mr. and Mr . Richard B. urner Dr. . he rer d'Aurremom Dr. and Mr . Franc1 de Marneffe John and arol Deknatel Mr . F. ramon Deland athaniel T. Dexter Dr. and Mrs. Charle D1ckm on Mr. and Mr . Thomas G. Dignan, Jr. Mr. and Ir . Bradford M. End1corr Executours Inc. Mr. Jo eph R. Falcone and Mr. P. Fergu on Mr. and Mr . Edwm I. Firesrone hen Flager Dr. and Mr . Corwin Fleming Mr. and lr . Richard Floor Alexander . Forbes F. Murray Forbes, Jr. lr. Walter . Fox,Jr. Mr. and Mr . Joseph S. Freeman Arn he Gardner Dr. and , lrs. A. ties Mr . Lee D. Gille pie Mrs. tephen Gilman Poll> Guth Ernest J. and Elizabeth L. Haas

lr. and Ir . john . Hamlen Fred and Judith . Hanh1 alo Prof. and lr . Donald R. F. Harleman Ir . F. A. Harnngron,Jr. Mr. and !rs. Harry . Heale), Jr. The Rev. A. L. Hemenway Mr. and Mr . eorge .

Homan Dr. and Mrs. Freddy Hornburger Thoma M. Hout/ Manon Jane Hour â&#x20AC;˘ Mr. and Mr. Roger B. Hum Mr. and Mrs. David B. Ingram David . James Mr. and Mrs. Rolandj.jo)ce K1K1 Kneeland Mr. and Mr . arl Koch Mr. and Mr . George W Kuehn MISS Rosamund Lamb Maurice Lazaru Mr. and Mrs. Herbert . Lee Mr. and Mrs. arl1sle Le11ne Marye! and Laurence Locke Mr. and Mrs. orman .

Logan Mr. and Mrs. aleb Lonng, Jr. Mr. and Mr . harle P. Lyman Mr. Mark R. Mac onnell and Ms. Lou1 e Dolan Mr. and Mr . john F. Magee Mam rreer Gallery anrucker Mr. and !rs. Jame Alden Mar h Pn c1lla Johnson McMillan Mr. and Mrs. LOUIS A. McM1llen Judith and Robert M. Mel1er Mr. and Mrs. Edward W Merrill Mr. and Mrs. John E. Miller Mr. and Mrs. Jean Momagu john Rempel Monson Mr. and Mr;. Robert J. Mornmer Allen Moulton Anna arhan on john J. O'Donnell, Jr. Janet . O'Hanley Menam . and R. ayne Oler Mr. and Mr . rephen D. Pame Richard . Perkin ,Jr. Mr. and Mrs. Daniel Pierce Mr. and Mrs. Robert . P1r1e Karhanne Plimpton and John Plimpton Mr . Hollis Plimpton Mr. and Mrs. Joseph W Powell, Jr.

D.1wn Up~l1Jw, oprJno, Jnd her a compan1 r Margo Jrren Jt the Founder'~ l)ny on err.

Mr. and Mrs. j ohn W. Pran Mr. and Mr . lrvmg W. Rabb Mr. and Mr . Perry T. Rathbone Constance Rhmd Mrs. Chandler Robbin II Alford P. Rudnick Mrs. Ralph P. Rudnick Mr. and Mr . Daniel Ru ell Joseph M. Saba Ors. Daniel and Joan Sax Mr. and Mrs. L. Robert Schissler Benjamin Schore and Kira Fournier Mrs. Ma on Scudder Mr. and Mrs. George C. Seybolt Francis G. Shaw Mrs. David W. Skinner S. D. Slarer Dr. Sidney B. Smith Fra nces H ayward Smith David I. Solo Mr. a nd Mrs. G. Ro bert Stange Mr. a nd Mrs. Burton Seem Mrs. Robert G. Stone Dr. and Mrs. Somers H . Srurgis Mrs. Cynthia H . Sunderland Bill a nd Joyce Tager Dr. and Mrs. Irvin Taube Mr. and Mrs. W Nicholas Thorndike Mr. and Mrs. Diggory Venn Mr. and Mrs. George A. Vera, Jr. Mr. and Mrs. S. D. Warren Neale Wheeler Watson Mrs. E.G. Weyerhaeuser Mr. and Mrs. Andrew F. Willis Thomas Wirth Mr. and Mrs. Oliver Wolcon,Jr. Dr. and Mrs. M arshall Wo lf

Mr . harle E. Wyzan k1,Jr. Mr. and Mr . Michael Xeneh Anonymous (1)

Family/Dual Mr. and Mr . Frederick L. Ames Mr . Frederick A. Archibald, Jr. Mr. and Mrs. john J. Arena Craig and Tere a Arm rrong Mr. and Mr . Rodney Arm rrong Mr. and Mr . Peter R. Ashjian A. Smok1 Bacon and Richard F. Concannon Mrs. Cynthia Bacon Mr. and Mr . William W. Bain Mr. and Mrs. Donald Baird Dr. and Mrs. Theodore Barton M o lly and John Beard Mr. a nd Mrs. G. d'Andelot Belin Joan Berkowitz Mr. and Mrs. George T. Bernard Mrs. ]. L. Bethune Nathaniel Bissell Emilio Bizzi and Jane Shaw Kare D. Blair Mr. a nd Mrs. Jo hn A. Blanchard Mrs. Henry M. Bliss Mr. and Mrs. M. W. Bouwensch William D. Bradshaw Dr. and Mrs. j ohn H . Brandt Mr. and Mrs. George W. W. Brewster Mr. and Mrs. Karl L. Briel Mr. and Mrs. F. Gorham Brigham, Jr. Mr. and Mrs.Wm. S. Brines William Bromell

Dr. and Mr . David . Brook Dr. and Mr . Charles . Brown Marianne and Timothy Brown Mr. and Mr . George B. Bullock, Jr. Lout W. abot Mr . Lewi P. abot Dr. J. Lmcoln am and Rosemary am Dr. and Mr . Elliot arlson David and Rachel Casper Alfred Cav1leer, Jr. and Robert Cav1leer Mr. and Mrs. Jun Celm Mr. and Mr . Alfred Chandler Mr. and Mrs. Laurence M .

Channing Mr. and Mr . An el B. Chaplin Mr. and Mrs. Charle W Chatfield Dr. a nd Mrs. F. Sargent Cheever Dolores H. Cifrino Mr. and Mrs. R. Morron Claflin Dr. and Mrs. George H . A. Clowes, Jr. Sidney Cobb Mr. and Mr . Marsh Cohen Mr. and Mrs. Sidney H. Cohen M s. Mary P. Colleran and Mrs. Katherine T. Cronin Rev. and Mrs. C. Blayney Colemore Ill Dr. and Mrs. John D. Constable Lawrence Coolidge Mr. and Mrs. Henry Coolidge Mr. and Mrs. Hamilton Coolidge Mr. and Mrs. Jo hn Coolidge Michael A. Cooper and

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arolme ow1e !are and Helen onon Wilham P. oues Mr. and Mr . Jes.e X. ou m Arthur urley Paul urns and We York Ro e D'Amato and Eve D'Amato Mr. and Mr . Paul . Dadarna Mr. and Mr . David Dalton P. . Dankens Prof. and tr . Paul Deane Edith and Rus el deBurlo Prof. Richard de eufv11le and Virgm1a Lyon Parker J. Dexter Prof. B. 01 Bartolo Dougla W. Dodd ,Jr. and A md Ander on Dodd Dr. and Mr . Leslie Pari Dornfeld Mr. and Mr . Edgar J. On coll, Jr. John and Le lie Dunton-Downer Jame H. Duzak and Sandra Saltzer-Duzak Suzanne and Leo H. Dwor ky Mr. and Mrs. Wilham . Edgerly Leon and Carola E1 enberg Monika and David Eisenbud Sa lly Elliot and William Moran Mrs. Alexander Ellis, Jr. Emmanuel College Library Kathleen Emrich and Robert Sherwood Ralph and o rliss Engle Mrs. Dons E. Epstein Dr. and Mrs. A. J. Erakli

The direcror's gallery tour fo llowing the M emo rial Service.

Mr. and Mrs. Donaldj . Evans Shaoul and Suzanne Ezekiel Salvarore Farinella j ean Fuller Farringron M r. and Mrs. Martin Feldsrein George and Susan Fesus M r. and Mrs. Spencer Field Dr. and Mrs. E. F. Finnerty Dr. and Mrs. E. G. Fischer Mr. and Mrs. William Flavin Thomas and Ursula Follett Mr. and Mrs.john B. Fox, Jr. M rs. Miriam D. Fox Prof. and Mrs. S. J. Freedberg Dr. and Mrs. Paul Fremont-Smirh Mr. and M rs. M arc Friedlaender Friendsffaunron Public Library Jeannette and Kenneth Fullerton Mr. and Mrs. Albert L. Fullerton, Jr. Frances M . Gabron Edward B. Galligan Dr. and Mrs. Walrer J. Gamble Dr. Paul William Garber James W Gardner Mr. and Mrs. Vincent Gardner Kennerh and Barbara Gee Ors. Ingrid and Sanford Gifford Mrs. Pamela Giglia Dr. and M rs. Michael A. Gimbrone, jr.

Milron and Renee Glass Dr. and Mrs. Philip L. Goldsmirh M ary Jane Gorto n j ohn and Sandra Gould Lionel j . Gouler Ill Edgar A. Grabho rn Mr. and Mrs. Edward Greaves Mrs. Henry M. Greenleaf Prof. and Mrs. Srephen A. Greyser Mrs. S. Elior Guild Edgar and Carol Haber Geoffrey and Kary H all The Rev. and Mrs. Lyle G. Ha ll Mr. and Mrs. Ro bert T. Ha mlin Dr. and Mrs. Richard H ammer Cecelia Hard David and Lynne Harding L. Branch Ha rding rv and Diana K. Verrilli Mr. and Mrs. John W H averry Mrs. Vincent H. Hazard Mrs. Clyde J. Heath Rev. and Mrs.Wendell Henkenmeier Mr. and Mrs. William W Hennig Sue Ellen Herley and Paul H ogan Dr. and Mrs. Howard Hiatt Mr. and Mrs. Joseph Hinkle Mr. and Mrs. Srurrevanr Hobbs

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M argarer and James Clark Hodder Elizabeth Hodgman and Sara Cornell William F. Holsr M iss Emily C. Hood Mr. and Mrs. Ja mes R. Hooper Perer and Narasha Hopkinson Mr. and Mrs. Ro bert Ho rowitz Henry S. H owe Mr. and Mrs. j o hn S. Howe Mr. and Mrs. Gerard H .

Howkins, Jr. Mr. and Mrs. Charles A. Hubbard Mr. and Mrs. Lawrence Hughes Mr. and Mrs. James F. Hunnewell Mrs. J . Perer Hunsaker Mr. and Mrs. Fritz R. H untsinger Mr. and Mrs. Chrisropher W Hurd Jo hn K. andjudirh B. Hurley ldeamario n Inc. Dr. and Mrs. James H . J ackson Karherine Jaffe Carol R. j ohn o n Mr. and Mrs. Edward C. Johnson, Ill Mr. and Mrs. Richa rd I. J ohnson Mr. and Mrs. M ari1.1s j ohnsron, Jr. Mr. and Mrs. Michael Jolli ffe Mr. and Mrs. Miguel C. Junger Mr. and Mrs. Andrew D. Katz Mr. and Mrs. Chrisro pher P. Kauders Mr. and Mrs. Richard Kaye Emily Kiekho fer Mrs. M ary A. T. King Dr. and Mrs. Richard A. Kingsbu ry Dr. and Mrs. E. T. Kirkpatrick Linda J. Kline and Kennerh M .

Sen el Fred Koen er and Susie Kim Berna rd M . and Ba rbara M. Kramer Mr. Charles A. Kury and Ms. M a rcia Bo rot Mr. and Mrs. Benjamin H. Lacy Peter and Sandra Lawrence Ms. Linda M . LeCain Mr. and Mrs. Henry Lee Todd and Felicia Clark Lee Mr. and Mrs. R. Willis Leith, Jr. J. Joseph Leona rd, Esq. Dr. Ro bert V. Lewis

Mr. and Mrs. Henry R. Lewis Dr. and Mrs. Don R. Lipsin ]. Anrhony and Marilyn Swam Lloyd Mr. and Mrs. Boardman Lloyd Ann S. Lo well and Mary Steigner Dr. and Mrs. Bernard Lown Victo r and H arrier Lurnicki Mr. and Mrs. H enry Lyman Ernest and Carla Lymon Gladys R. M acDonald " Jo hn and Sally M ack Mr. and Mrs. George Macomber Mildred M ancusi M yro n and Barbara M arkell Mr. and Mrs. Joseph M aybank lI1 Richa rd and M ary McAdoo Joseph L. McDonald Philip and M arguerire M cDonald Mr. and Mrs. Thomas Mercalf,

Jr. Lee and John R. M eyer Mrs. M ary Louise Meyer Mr. and Mrs. W Robert Mill Mr. and Mrs. Albert Minevitz Sandra 0 . M oose Mr. and Mrs. John R. M oor Mr. and Mrs. Daniel Mo rley Mrs. Alan R. Mo rse Mr. and Mrs. Michael Scott M o rron j ohn J. Murphy and Frank Shelron Mr. and Mrs. H. Gilman Nichols Mr. and Mrs. Albert L. Nickerson Paula and Joel Noe No rtheasrern Universiry Publicarions Mr. and Mrs. Daniel F. Nugenr, Jr. Mr. and Mrs. Hugh J ames O 'Neill Mr. j erry P. O 'Sullivan Diana F. and William S. Olney Mr. and Mrs. William B. Osgood Carlos E. Paige Mr. and Mrs. john Pappenheimer Elizaberh M . Pappius a nd M a rc P. Lefebvre Mr. and Mrs. G. Kinnear Pash Dr. and Mrs. Oglesby Paul Anthony N. and Judith H . Penna John and Dolo res Perkins

Museum members visiting the Villa Cordellina-Lo mbardi on the spring trip to Venice.

Mrs. A. Perschonok Mr. and Mrs. A. Tom Philis Dr. and Mrs. Arthur S. Pier Mr. and Mrs. Ronald]. Plotkin Mr. and Mrs. James Po pe Mr. and Mrs. Jerome H. Porto n Dr. and Mrs. Stephan H . Powell Dennie Pratt and Midge Stafford Mr. and Mrs. Herbert W. Pratt Mr. and Mrs. Joseph 0 . Procter Dr. and Mrs. Curtis Prout Bernard H . Pucker Nancy Winship Rath borne Lincoln and Deborah Rathnam John and Alene Reed Emery and Joyce Rice Dr. and Mrs. Edward Richardson, Jr. Mr. and Mrs. James V. Righter Mr. and Mrs. Sidney Robbins Mr. and Mrs. Ha nson L. Robbins Mr. and Mrs. Laurance Roberts Mr. and Mrs. John Ex Rodgers Mr. and Mrs. Clem Roegge Paul M . Ronsheim and Mary L. Person Marcy and H . James Rosenberg Mr. and Mrs. Mark E. Rubenstein Mr. and Mrs. Samuel Rubinovitz Mr. and Mrs. Angel Rubio Robert and Frances Rumsey Dr. and Mrs. Paul S. Russell Adel and Leticia Sarofim Mr. and Mrs. John B. Schnapp Mr. and Mrs. Marvin Schorr Dr. and Mrs. John B. Sears Dr. Ruth E. Setterberg and Miss Rose Setterberg Mrs. Nadene N. Sexton Mr. and Mrs. Charles N. Shane Sumner and Dolores Shore Mr. and Mrs. J. P. Short Barry and Jane Shulman Mr. and Mrs. Ronald Shulman Mr. and Mrs. Willia m A. Shurcliff Dr. and Mrs. Richard L. Sidman Patricia and Gerhard Sollner Mr. and Mrs. Ralph Sorenson Mr. and Mrs. Mark Emerson Spangler Conrad Squires Dr. and Mrs. Frederick J. Stare Dr. and Mrs. George W. R. Starkey Dr. Thomas D. Stewart Dr. and Mrs. Albert Stone, Jr.

Mr. and Mrs. Sidney Stoneman Mr. and Mrs. James M. Storey Mr. a nd Mrs. Edward M. Streit Mr. a nd Mrs. Rudolf Talbot Dr. and Mrs. Daniel Tassel Davis Taylor Helen T. Taylo r Dr. and Mrs. Britt A. Thedinger Arthur and Virginia Thompson Mrs. Richard H . Thompson Douglas Thomson and Laurie L. Day Dr. and Mrs. George W. Thorn Mrs. R. Amory Thorndike Dorothy D. Titcomb Constantine Tsaousis and Carroll Wales Alan and Susan Tuck Hugo Uyterhoeven Sonia Vallianos Mr. and Mrs. W. E. Vander Velde Mr. and Mrs. Cornelius Vermeule M ary Crawford Volk William A. and Sybil J. Waldron Mr. and Mrs. James A. and Margaret Wall Mr. and Mrs. D . F. H. Wallach Waltham College Club Mr. and Mrs. Howard Ward Margot Warner Dr. Richard Warren Mr. and Mrs. Francis C. Welch Mrs. Christopher M . Weld Mr. and Mrs. Frederick H. West Wheelock College Library Jerry Wheelock and M a rion Scott Mr. and Mrs. John W. White Mr. and Mrs. Robert].

Whitehead Anne and Jeremy Whitney Prof.John C. and Stephanie Whitney Mr. and Mrs. Peter Wick M ary A. and Thomas B. Williams, Jr. Mr. Jo hn Willo ughby and Family Elizabeth H . Wilson Mr. and Mrs. W. W. Windle Mr. Frank E. Winn and Mrs. N ancy W. Winn Mr. and Mrs. Thomas A. Winter Mrs. Katherine B. Winter Mr. and Mrs. Nathan N. Withingto n Mr. and Mrs. Richa rd Wolfe Mr. and Mrs. H arvey W. Wood

Mr. and Mrs. Rawson L. Wood Mr. and Mrs. Sheldon Wool Miss Elizabeth Yankowski Drs. Dorothy and Norman Zin berg Rya W. and Hiller B. Zobel Anonymous (1)

Individual Mrs. William M . Abbott Andrea Ackerman Mrs. Weston W. Adams Mrs. Rebecca M. Ahern Mrs. Herbert K. Allard Bette Rea Allen Michael J. Allen Mrs. Edward P. Almy Chester A. Alper Russell W. Ambach Mr. Vincent Antonelli C.A. Anzoni William S. Appleton Ms. Renee M. Arb Helen M. Attridge Dr. Aina M. Auskaps Diana Gerrans Avril Mrs. Raymond F. Baddour Mrs. Charles B. Barnes Mrs. William A. Barron Ill Grenelle Bauer-Scott Mrs. E. M. Beals Anne Beauchemin Leo M. Beckwith Ms. Susanna E. Bedell

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W. Bentinck-Smith Mary Kathryn Bertelli Isabel Besecker Edgar M. Bingham, Jr. Barbara J. Bishop Stephen E. Blatz Mrs. Edward P. Bliss Benno Blumenthal Hollis A. Bodman Judith Borit, M .D. John A. Boyd Cecily Bradshaw David Alden Branscombe Mrs. K. P. Brewster Alexander M. Brofos Anne M . Brooks AmyS. Brown R.G. Brown Ill Richa rd W. Brown Mr. Kingsbury Browne Mrs. Katherine F. Bruner Mrs. Mary B. Buckley Mrs. George P. Buell Mrs. Sylvia K. Burack Dr. Parris R. Burd Mrs. Dunn Burnett Katherine S. Burrage Frances K. L. Bushnell RobertN. Cable, Jr. Acheson H. Callaghan Miss H elen E. Callahan Carl]. Camelo, Jr. Katherine Canfield Annmarie Cappiello

M arie Cargill Muriel P. Carlson Mrs. John M . Carroll Peggie L. Carroll M arion H. Carter Alice F. Casey P. B. Catchings Lila Channing Clare Chapman Dr. Liana Cheney Hoima Forbes Cherau Mrs. E. M. Clemons Cherune Clewley Addison W. Closson Selma L. Cohen Katherine Coleman Anstiss M. Collins Jill A. Colpak Miss M ary B. Comstock Mrs. John P. Condakes Thomas F. Connolly DanielJ. Coolidge Helen R. Cooper Susan Cooper M arie T. Cotter Eleano r G. Coughlin Margaret R. Courtney M o rna E. C rawford Mrs. John F. Cremens Mrs. U. H askell Crocker Dr. Ward Cromer Helenka Currens Jeanette Cumby Mrs. M yer L. Cutler Mrs. Robert L. Dancy Mrs. NelsonJ. Darling, J r.

Fellowes Davis Susan S. Davis Mrs. Freeman I. Davison, Jr. R. H . Davison Bertha Ann Del eon Susan Del ong Terri Dedman Gabriella Della Corte Simon P. Devine, D.M .D. Wendy Dewire Anirudh Dhebar Levo Di Bona Mrs. Robert I. Diamond Anne K. Diaz Lance D. Dickes, AIA Ann Yo ung Doak Dr. James E. Doan Neva rt Dohanian Anne Donovan Mrs. Alfred F. Donovan Janet L. Drake Ms. Janie Driscoll Joseph M. Dubin

Edna A. Duncan Georganne Sahaida Dunn Dr. Richard W. Dwight Anne H. Dyrud Mrs. Ea rl H. Eacker Eleano r Earle Dorothy Eastman Mrs. Otto Eckstein Carrie Edwards Mrs. J oseph Edwards Mrs. Philip Eiseman Rebecca P. Ellis Mrs. H . Bigelow Emerson Elizabeth C. English John D. Eubanks Mrs. H arris Fahnestock Dr. Josephine Riss Fang Miriam A. Feinberg H elaine Allison Feivelson Ms. Charlotte Fellman Caroline Fenton Elizabeth G. Ferguson James Patrick Finerty Mrs. John H. Finley III Michael Andrew Fish M ary A. Flanagan Sara Fleschner Florence E. Flynn Joseph M. Flynn Dr. Philip S. Foisie M. Jean Foley M arc Foster Stella Frabotta Mrs. Ba rker Fred Mrs. Savage C. Frieze, Jr. Mrs. Lon L. Fuller Susan Furst Selma C. Ganz Rebecca C. Garland M ary Gasman Alexander F. M . J. van Geen Rosemary Giglia Donald L. Gillespie N adia Gillett Elizabeth H . Gilligan Sheila Gilmo re Barbara Glander Mrs. H . Shippen Goodhue Mrs. Milton Gordon Helena Gray-Smith Mrs. H . P. Greenspan Ms. Joen Greenwood Drew E. Griffin Jonathan D. Griswold George W. Groesbeck Sarah M . Gutting Mrs. Kenneth W. Guymont Eleano r Hadley Mrs. Richard W. Hale

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Edward A. Hanson, Jr. Mr. Allan I. H atfield Debo rah H auser Joyce E. H avlick Elizabeth L. Hemingway Mrs. Hugh Hencken Gregory H enderson Lebelle R. Hicks Olivann R. H o bbie Elizabeth Hodder Mrs. Gerald H oeffel Mark Hoffman H arley Pierce Holden Mrs. Richmond Yo ung H olden Esther L. Holmes Karen Ho ltzman Helen A. Holzwasser Shirley B. H oward William P. Hunnewell William M o rris Hunt Andrew A. Hunter Louis C. Hunter Mrs. Benjamin D. Hyde Christine M. H yland Elizabeth Ingalls Mrs. Sidney H . Ingbar Kenneth L. Isaacs Mrs. M ary Lee Johansen Beth J. Kantrowitz Gertrude Kapstein Mrs. M anfred L. Karnovsky M yra Karstadt Mr. Ro bert J. Kaufmann Marana Kern Daniel W Ketelaar M a rion D. Kilson Suzanne R. Kirschner Laurine Kohler Lisa Brog Kondo Ms. Heidi Kost-Gross Rosemary A. Koury Cornelia Cassidy Ko utoujian Karen J. Kozlowski Phyllis Krag Sandra Krasker Mrs. Lo uis Kro nenberger Mr. Corby Kummer Louise Kush Paul J. La Raia, M.D. Virginia Ladd Ruth Isabella Gardner La mere Jane Langton M .A. Lasek Dr. Catherine C. Lastavica Helen H . Laupheimer Kenneth M . Leet Mr. Henry B. Leonard Eleanor Lintner Jo hn D. C. Little

Gina Graves Lloyd Ms. Debo rah T. Logan Bo b Londergan W illiam T. Loomis Miss Susan G. Loring Mrs. Thomas B. Loring Mrs. Francis B. Lothrop Debo rah Lowry Cla ire C. Lyons Edmund J. Lyons M a rie D. Macintyre Peter R. Maggs, M .D. M a rtha L. M agnuson Mrs. William M alamud Elizabeth E. Marshall French Cultural Attache Dorothy D. Martin Nancy F. M artland Pauline Shrier M ason Duane M attiesen Rebecca G. M attison Mrs. D. H. M ay Kenneth M ayer M arga Dieter McCormick Mrs. Ross A. McFarland Trudy M cFarland Mrs. M aurice E. M cl o ughlin Lynda Jeanne M cNally George F. M cWhinnie Helen M eagher Frank R. Miglierini Kevin Miles M argaret Anne Miles Ms. Anne B. Milto n Michael S. Mittell, M .D. Mrs. Peter M . Money Barbara W. Moore Mrs. Beatrice M. Mo rin Mrs. Robert H. Morris E. Morrison Cecily 0. M o rse Mrs. Emily C. M o rse Eliza S. M o rss H arold N. Murphy Lo rraine T. Nazzaro Helen Keating N eal H. Rodney Nevitt, Jr. Mrs. Henry Ha ll Newell Suzanne R. Newton N ortheastern Univ. Press Ro bert A. N ovelline, M .D. Tod O 'Donnell Mr. Stanley B. O lson Mrs. Gordo n Osbo rne Junko Oshima Mrs. Esther G. Parker Francis Parkman Franklin Patterson Chester A. Pearlman

Amy Eshoo, membership coordinator.

Mrs. Selma Peck Guido R. Perera Faelton C. Perkins, Jr. Mary Ann Perkins John C urtis Perry Ronald Pesta na Angela M. Piergrossi Mrs. Virginia M . Pinches Irene E. Pipes Judith A. Pirani Isabella Pizzi William W Plummer Anne H . Po lk Peter Jonathan Po rtney Ellen M. Poss Frances L. Presto n Mrs. Ro bert W Proctor D. Samuel Quigley Oliver Radford eil W. Randall, M .D. Dr. Christine B. Redford Mrs. C. C. Reed Scon Alan Ridlon Mrs. William M . Riegel Miss M ary K. Riley Mrs. Christopher M . Riley Mrs. Peter G. Robbins Manhew Roberts Mrs. Dwight Ro binson Roland A. Ro binson Mrs. Isado re Rosen berg Mrs. Jerome Rosenfeld Barba ra Rosenkrantz Shelley Rosenstein Barbara Ross Jeffrey Ja mes Ross Ma rilyn Ro si Eleanor Rozomofsky Dr. Jo rdan S. Ruboy Michael J. Ruggiero Laura B. Ryan Anthony Mitchell Sammarco Stephen Francis Samo lyk Mrs. Adele W. Sanger D. Sarachik Prof. Dr. Annemarie Schimmel Elizabeth Schnapp France Schwab Peter L. Seu II y Hon. John W Sears Helen C. Secrist Mrs. W Ellery Sedgwick Mrs. Max Seltzer Douglas Sha nd-Tucci Mrs. M ayo A. Shattuck Pam Shaw Elinor D. Shea David Shearo n Mrs. George B. Sherman

K. Siba ry Mrs. T. E. Singer George E. Skillma n M artin H . Slo bodkin Anne Blake Smith Glo ria R. Smith J ane C. Smith Nancy A. Smith Richard E. Smith Ba rbara L. Solow Edythe E. Soule Mrs. H o race H . So ule M. L. So uthwick Mrs. Arthur S. Spangler Mrs. Alice W. Stewart Peter H. Stone Christopher E. Stra ngio Evelyn D. Strawn Constance H . Strohecker Mrs. H a rbo rne W. Stuart Mrs. Henry Swaebe Sha ri J. Switko Mrs. Priscilla R. Sykes M argaret W Ta ft M arva West Tan M s. Priscilla M. Tatro Mr. William C. Taylo r, Jr. Susan Duncan Tho mas Mrs. Glo ria Tho mpson George W Tho rn, M .D. M s. Margaret L. Tiernan Mrs. Cha rles Townsend Willia m A. Truslow Miss Ruth Tucker Paul W Tyler-M endez M a rgaret Ullman Alex Va nderburgh Joan E. Virgile Ro bert A. Vogt Theodo re N . Yoss Mrs. M argaret W. Walker Mrs. B. G. Wallace Willia m K. Wa lters Dwayne A. Warren Lynne F. Wa rren Mrs. Daniel Warren Carol S. Watson Mrs. Albert Wechsler Dr. Gail S. Weinberg Mrs. David Weisberger Mrs. Stephen Wheatland • Alexa M . Wheeler Mrs. James Alexander White III Mrs. Walter Muir Whitehill Rosemary Whiting Nancy Reid Whitman E. B. Whitney Grace R. Whinaker Maxine Whin aker M.D.

Katherine T. Whiny Ethel S. Wilhelmson M s. Berne! Williamson Winchester Public Library Mrs. David Winklba uer Mrs. Frederick Witherby, Jr. Mrs. Leona rd Wo lsky Elizabeth V. Wood Richard F. Wo rn Ka rin Yarisal Robert Zykofsky Ano nymous (2)

National Mrs. M a rtha L. Barr J ane Ferree Bisel M arcia C. Boraas Burto n Boxenho rn George a nd Betsy Bra mblen Colleen Brennan M yron Carlisle James A. Carruthers R. Edward Chapman Mrs. Benjamin F. Cornwall Mr. John A. Crandall Georganna Daley Kathyann Dirr Richard E. Ford Tom Fukuya Jeanne M . Gleason David Granger John Davis H atch Mrs. J. F. Hawkins Nancy P. Herron Rachel Jacoff Dr. Frank Keffersran

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Thongchai Kengmana Ruth S. King Steve Lewis Dr. and Mrs. John N. Lukens Steven M aryanoff Mrs. Norman Pa ul M eyn Christopher M o nigan Caro l Muller Patricia H a mpton Noland Armando Parces-Enriquez Jennifer L. Pawles Virginia A. Pra n Lawrence G. Pucciarelli S. B. Purdy William A. Reasoner Elizabeth D. Reed Julian B. Schorr, M .D. Alan Sidman Stewart T itle Guaranty Co. Dr. Serena Stier Susan J. M. Stranick Sandra L. Swinburne Gerald Taranrino Mr. L. Tradulsi J an Yiscomi John B. Wade Wm. Ward Mrs. Libby K. White Elaine and Robert Willoughby

H onorary Lifetim e Benefactor M r. Harry Ellis Dickson • Deceased

Publications

Forthcoming Publication The Letters of Bernard Berenson and Isabella Stewart Gardner: 1887-1924 Rollin van N. Hadley, Northeastern University Press, 1987 An edited and annotated account of the creation of Mrs. Gardner's collection as documented in her correspondence with the noted art historian Bernard Berenson, who played such a large role in her collecting; 800 pp., illustrated. Clothbound $49.95 until 1January1988, $65.00 thereafter; Postage and packing $3.50 (domestic) $5.50 (international).

collection: furniture covers, vestments and secular costume, laces and openwork, and embroidered and woven fabrics, including seldom-viewed pieces from the storage collection; 224 pp., 286 black and white, 31 color illustrations. Paperbound $32.50; Clothbound $49.50; Postage and packing $3.50 (domestic) $5.50 (international).

A Brief Tour of the Isabella Stewart Gardner Museum An introduction to the highlights of Isabella Stewart Gardner's fine collection; floor plan, Museum hours; 14 pp., 37 black and white illustrations; color cover.

Booklet $1.00; Postage and packing $1.80 (domestic) $2.90 (international).

Berenson in 1887.

Textiles I Isabella Stewart Gardner Museum Adolph S. Cavallo, 1986 A comprehensive, lavishly illustrated volume featuring the tapestries and many other textiles, western and eastern, in the

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The Gardner M useum Cafe Cookbook Lois M cKitchen Conroy, 1985 A sampling of the author's favorite soup, quiche and luncheon pie recipes accompanied by reproductions of drawings, photographs and objects fro m the M useum's collectio n; 149 pp., 30 black and white illustrations; second printing.

Paperbound $8.95; Postage and packing $2.20 (domestic) $4.20 (international).

The Gardner Museum Cafe ~COOKBOOK8

LOIS McKITCHEN CON ROY

A Guide to the Collection An illustrated handbook including a floor plan, a description of each gallery and biographical information about the fo under; 116 pp., illustrated. Paperbound $3 .00; Postage and packing $1.80 (domestic) $3.30 (international).

IUlllLA STlWAlT GAIDNl:a MUSIUM

Sculpture in the Isabella Stewart Gardner Museum Cornelius C. Vermeule III, Walter Cahn, and Rollin van N. H adley, 1977 A catalogue of the sculpture collection, which includes examples from the classical and medieval periods through the Renaissance to the modern era; 188 pp., 264 black and white illustrations. Paperbound $10.00; Clothbound $15 .00; Postage and packing $2.50 (domestic) $4.50 (international).

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OJ\ IEW I L nml

ISl~\..\llC

\l\T

O riental and Islam ic Art in the Isabella Stew art Gardner Museum Yasuko H orioka, Marylin Rhie and Walter B. Denny, 1975 A fully illustrated catalogue; this small collection includes sculpture, paintings, ceramics, lacquer ware, miniatures and carvings; 136 pp., 113 black and white illustrations. Paperbound $3.50; Postage and packing $1.80 (domestic) $3.30 (international).

T he Isabella Stewart Gardner Museum A handsomely illustrated book with essays on the fo under and the collection by the director and prominent scholars; 80 pp., 24 color plates. Clothbo und $12.95; Postage and packing $2.50 (domestic) $4.50 (international).

Mrs. j ack I A Biography of Isabella Stewart Gardner Louise H all Tharp, 1965 A lively account of the fo under with illustrations of Mrs. Gardner, her fa mily and friends, and her museum and its remarkable collection; reprinted exclusively for the Museum ; 365 pp., illustrated. Paperbound $12 .95; Postage and packing $2.50 (domestic) $4.50 (international).

Drawings I Isabella Stewart Gardner Museum edited by Rollin van N . H adley, 1968 A small group of notable drawings ranging in date fro m the late fi fteenth century to the early twentieth century; 67 pp., 38 illustrations, frontispiece in color. Paperbound $2.00; Postage and packing $1.80 (domestic) $3.30 (international).

Isabella Stewart Gardner and Fenway Court Morris Carter, 1925 A biography of Isabella Stewart Gardner and a history of the formation of her collection by the first director of the Museum; fo reword by G. Peabody Gardner; 265 pp., illustrated; fo urth edition.

Clothbound $12.00; Postage and packing $2.50 (domestic) $4.50 (international).

European and American Paintings in the Isabella Stewart Gardner Museum Philip Hendy, 1974 A descriptive catalogue, with biographies of the artists and reproductions of a ll the paintings in Mrs. Gardner's collection; 316 pp., 282 black and white illustrations; 38 color plates. Clothbound $20.00; Postage a nd packing $3.00 (domestic) $5 .00 (international).

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A Checklist of the Correspondence of Isabella Stewart Gardner at the Gardner Museum This checklist comprises over 1,000 names of correspondents-writers, composers, performers, politicians, historians, and friends from the 1860's to the 1920's-with locations of collected letters in the Museum; 12 pp. Pamphlet $.10; Postage and packing $.45 (domestic) $.90 (international).

Po ter of the following are available: Jan Vermeer, The Concert; John Singer Sargent, El ]aleo; Carlo Crivelli, St. George and the Dragon. $12.95 each; Postage and packing $3.60 (dome tic) $5 .60 (international ).

Fenway Court A publication issued annually with illustrated a rticles on the collection and archives, including an essay on the drawings of Matisse, a note on Mrs. Gardner's collection of fans, and an illustrated article devoted to the Kelmscott Press.

The years 1973, 1975, 1979 and 1980 are available for $2.00; 1981, 1982, 1984, 1985 and 1986 are available for $3.50.

Paperbound ; Postage and packing $1.80 (domestic) $3 .30 (international).

Mail orders will be shipped third cla , book rate (domestic) or surface rate (international). Please address correspondence to the Museum Shop and make checks payable to the I abella Stewart Gardner Museum.

A catalogue listing slides, cards, prints and publications is available on request.

Libraries and other educational in titutions are offered a 40% di count on most items.

Manuscripts on subjects related to the collection will be considered for publication. Please send proposals to the curator.

87

Report of the Treasurer Isabella Stewart Gardner Museum

Statements of Net Assets as of December 31, 1986 and 1985 1986

1985

Net Assets Investments (Note 1): Bonds, at market (cost $7,870,584 in 1986 and $7,107,086 in 1985) Stocks, at market (cost $8 ,925,655 in 1986 and $8,124 ,744 in 1985) Stocks and Bonds, at market Allowance for unrealized appreciation Short-term investments, at cost which approximates market Total investments, at cost Cash Prepaid interest and other assets Accrued income taxes (Note 1) Museum Property (Note 1): Contents of Museum building Greenhouse and underlying land Museum building and underlying land Other Museum property (net of depreciation) Cafe (net of depreciation) Net assets

$ 8,187,971 14,385,920 $22,573,891 (5,777,652) $16,796,239 1,351,700 $18,147,939 $ 225,048 30,011 (67,023 ) $ 188,036

$ 7,471,190 12,886,176 $20,357,366 (5,125,536) $15,231,830 914,893 $16,146,723 $ 286,394 48,466 (58,544) $ 276,316

$ 4,015,000 560,507 366,400 24,416 9,012 $ 4,975,335 $ 23,311,310

$ 4,015,000 560,507 366,400 27,188 11,456 $ 4,980,551 $ 21,403,590

$ 21,087,485 1,568,368 390,767 264,690 $23,311,310

$ 19,349,741 1,568,368 210,696 274,785 $21,403,590

Fund Balances General Maintenance and Depreciation (Notes 1 and 3) Operating (Note 3 ) Capital Campaign (Note 4) Total fund balances

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

88

Statements of Cash Receipts and Disbursements for the Years Ended December 31, 1986 and 1985 1985 (See note 1)

1986 Operating Receipts Investment income: Interest Dividends Grants Total operating receipts Operating Disbursements Maintenance a nd security Administration Care of collections and paintings Gardening and grounds Music Professional services Pension and deferred compensation (Note 2) Insurance Federal income taxes (Note 1) Catalogue expense Boston Fen way Program Unemployment expense Miscellaneous Total operating disbursements N et operating receipts (disbursements)

848,858 560,863 51,200 $ 1,460,921

$

$

$

$

569,681 302,651 235,709 133,043 131,917 70,054 54,426 63,735 54,816 29,778

555 2,978 $ 1,649,343 $ (188,422)

Nonoperating Receipts: Sales desk (net) Cafe (net) Visitors' contributions Membership Other receipts Total nonoperating receipts

Capital Campa ign receipts Capital Campaign disbursements Net Capital Campaign receipts (disbursements) Total net cash receipts (disburs ements) Transfer to Capital Campa ign fund Total net cash receipts (disbursements), net of transfer

$

$ $

85,809

$

$ $

85 ,809 406,582

$ $

$ $

218,160 77,762 (125,946) (48 ,184) 169,976 (38,089) 131,887

$ $

$ $ $

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

89

530,916 453,216 123,119 91,369 77,843 54,076 41,116 53,869 24,965 32,985 5,000 669 4,652 $ 1,493,795 $ (164,974 )

38,734 15,600 250,178 150,436 37,443 492,391

$

Nonoperating Disbursements: Membership General building care Total nonoperating disbursements Net nonoperating receipts (disbursements) Total cash receipts (disbursements) before the Capital Campaign

745,458 516,681 66,682 $ 1,328 ,821

$

$ $ $

35,845 22,731 225,493 165,658 22,383 472,110 72,097 15,725 87,822 384,288 219,314 199 ,727 (3 6,647) 163,080 382,394 (24,343) 358,051

Realized and Unrealized Gain on Investments (N ote 1) 1986 Realized ga in: Proceed from ale of inve tment o t o f inve tment old Tax on realized gains Net realized gain on investments Unrea lized Appreciatio n: Beginning of year End of yea r Increase in unrealized appreciation N et realized and unrealized gain on investments

1985

$17,764,422 (15,991,214) $ 1,773,208 (35,464) $ 1,737,744

$19,428,773 (17,930,711 ) $ 1,498,062 (29,861 ) $ 1,468,201

$ 5,125,535 5,777,652 $ 652,117 $ 2,389,861

$ 3,664,973 5,125,535 $ 1,460,562 $ 2,928 ,763

1986

1985

Statements of Changes in Net Assets for the Years Ended December 31, 1986 and 1985 (See Note 1) et a et were received from : Operating receipts et realized gain on investments Nonoperating receipts apital Campaign receipts Net asset were used for : Operating disbursements Nonoperating di bursements Capital ampa ign disbursements Total increase in net assets The increase in net assets was represented by changes in : Investments Cash Prepaid expenses and other assets Accrued income taxes M useum property Total increase in net assets

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

90

$1,460,921 1,737,744 492,391 77,762 $3,768,818

$1,328,821 1,468 ,201 472,110 199,727 $3,468,859

$1,649,343 85,809 125 ,94 6 $1,861,098 $1,907,720

$1,493,795 87,822 36,647 $1,618,264 $1,850,595

$2,001,216 (61,346) (18,455 ) (8,479) (5,216) $1,907,720

$1,692,060 144,003 41 ,866 (23,613 ) (3,721) $1,850,595

Statements of Changes in Fund Balances fo r the Years Ended December 31, 1986 and 1985 02erating Balance, December 31, 198 4 Total ca h recei pts in exces of disbursements et realized gain on investments (Note 1) M aintenance and depreciation allocation (Notes 1 and 3) Transfer to Capital ampaign ( ote 4)

(24,3 43)

Balance, December 31, 1985

$210,696

Total cash receipts in exce s of disbursements et realized ga in on inve tment ( ore 1) Ma intenance and depreciation allocatio n ( ores 1 and 3) Tran fer to Capita l ampaign ( ote 4 ) Balance, December 31, 1986

General $17,881,5 40

Maintenance and De2reciation 1, 584,093

219,314

Capital Cam2aign $ 87,362

Total $19,552,995

163,080

382,394 1,468,201

1,468,201 (15,725 )

15,725

24,3 43 $19,349,741

$1,568,368

218,160

$274,785

21,403,590

(48,184)

169,976 1,737,744

1,737,744

38,089

(38,089) $390,767

$21,087,485

1,568,368

The accompanying notes are an integral part of these fina11c1al statements.

91

$264,690

$23,311,310

Notes to Financial Statements December 31, 1986 and 1985 1 Summary of Accounting Policies The Isabella Stewart Ga rdner Museum, Incorporated (Museum Corporatio n), the sole trustee under the will of Isabella Stewart Gardner, is the owner of the property which is located at 2 Palace Road, Boston, M assachusetts, and Mrs. Gardner's a rt collection conta ined therein. The more significant accounting policies of the Museum Corporation include the following: A Basis o f Presentation - The Museum Corporation prepares its financial statements o n a modified cash basis of accounting. Under this method, income and expenses are recognized when cash is received and paid rather than when earned or incurred, except for federal income taxes which are recognized when incurred.

B Investments-The Museum Corporation carries investments at quoted market price, less an allowance for unrealized appreciatio n. No change in unrealized appreciation is recognized for financial statement purposes. However, this informatio n has been included for purposes o f additio nal analysis and is nor a required part of the basic financial statements. Gains and losses fro m sales of investments are calculated on the first-in, first-o ut basis.

C Museum Property- Museum property is stated at appra ised values established on December 24, 1936.

Additions made subsequently are stated at cost. The Museum Corporation has consistently followed the practice of charging renovations to expense rather than providing for depreciation o f Museum property, except for the cafe and piano, which are being depreciated over their estimated useful lives. Allocations to the Maintenance and Depreciation Fund are credited thereto when autho rized by the Trustees.

D Federal Income Taxes -Under the Internal Revenue Code, the Museum Corporation is classified as a private operating foundation and, accordingly, is required to pay a tax of 2% on net " investment income", as defined. The Museum has received a favo rable determination letter from the Internal Revenue Service regarding its request to change fro m private foundation status to public foundatio n status if certain conditions were met over the five-year period ending December 31, 1986. A public foundation is

exempt fro m the 2 % tax; however the Museum has elected to continue to pay the tax during the five-year period. If the Museum qual ifies as a public foundation, the taxes of $210,000 paid plus accrued interest wiLI be refunded in 1987.

E Transfers to Capital Campaign Fund-Amounts segregated by vote of the Trustees for improvements to the Museum building (See Note 4 ) are shown in the accompanying statements of cash receipts and disbursements as reductio ns in total cash receipts in excess of disbursements, net of transfer.

F Certain 1985 bala nces have been reclassified for consistency with the 1986 presentatio n.

2 Employee Benefit Plans The Museum Corpo ratio r. has a pensio n plan, which covers substantially all full -rime employees who meet certain age and employment requirements. The Museum Corporatio n's policy is to fund pensio n costs accrued. The pension expense includes amo rtization of past service costs over 15 years. Pension expense was $22,405 in 1986 and $20,672 in 1985.

January 1 Actuarial present value of accumulated plan benefits Vested Employees Non-Vested Employees

1986

1985

$400,457 8,654 $ 409,111

$350,804 13,685 $364,489

Net assets available for plan benefits $879,766 $712,775 The weighted average assumed rate of return used in determining the actuarial present value of accumulated plan benefits was 6.5% for 1986 and 1985.

The Museum Corpo ration a lso has a deferred compensatio n plan for Museum employees and makes supplementary annuity payments to former employees not included in the above pension plan.

Costs charged to o peratio ns in 1986 and 1985 for these items were $32,021 and $20,444, respectively, and are included in " Pension-Deferred Compensation" in the accompanying Statement of Receipts and Disbursements .

92

3 Restriction on Operating urplus The Trustees are directed under the will of Isabella Stewart Gardner to pay to certain designated hospitals any surplus income which, in the opinion of the Director and Trustees, will not be needed for the proper and reasonable maintenance o f the Mu eum.

These amounts, if any, are payable at the end of successive five-year periods, the next o f which end December 31, 1989. At December 31, 1984, the accumulated surplus fo r the five-year period then ended was transferred to the Maintenance and Depreciation Fund to provide for future Museum renovations.

4 Capital Campaign Fund Balance Museum members are asked to do nate funds in addition to their annual fees to finance improvements to the Museum. In 1986 and 1985, $77,762 and $199,727 was contributed, re pecrively. The Trustee have voted to segregate these funds and certain additional amounts in a separate fund balance to be used specifically for Museum improvements. In addition, transfers to this fund in 198 6 and 1985 amounted to $38,089 and $24,343, respectively.

Cash disbursements from this fund amounted to $125,946 and $36,647 in 1986 and 1985, respectively.

To the Trustees of The Isabella Stewart Gardner Museum, Incorporated, Trustee Under the Will of Isabella Stewart Gardner: We have examined the statements of net assets of The Isabella Stewart Gardner Museum, Incorporated (a Massachusens corpo ration, nonprofit), Trustee Under the Will of Isabella Stewart Gardner as of December 31, 1986 and 1985, and the related statements of ca h receipts and disbursements, changes in fund balances and changes in net assets fo r the years then ended. Our examinations were made in accordance with generally accepted auditing standards and, accordingly, included such tests of the accounting records and such o ther auditing procedures as we considered necessary in the circumstances, including confirmation of securities owned at December 31, 1986 and 1985 by correspondence with the custod ian.

As described in ore 1, the accompanying financial statements have been prepared on the modified cash basis of accounting. Under this method, income and expenses are recognized when received or paid rather than when earned or incurred, except for federa l income taxes which are recognized when incurred. Accordingly, the accompanying financial statements are not intended to present the financial position, results of o peratio ns and changes in net assets in conformity with generally accepted accounting principles.

In our opinion, the financial statements referred to above present fairly the net assets of The Isabella Stewart Gardner Museum, Incorporated, Trustee Under the Will of Isabella Stewart Gardner as of December 31, 1986 and 1985, and the cash receipts and disbursements, the changes in fund balances and changes in net assets for the years then ended, on the modified cash basis, applied on a con istent basis.

Arthur Andersen & Co. February 17, 1987.

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Trustees The Isabella Srewart Gardner Museum, Incorporared, Sole Trusree under rhe will of Isabella Srewarr Gardner

Advisory Committee

Staff On regular dury December 31sr, 1986

Administration

Conservation

President M alcolm D. Perkins

Chairman Mrs. Gordon F. Kingsley

Director Rollin van N. Hadley

Conservator of Objects Barbara J. Mangum

Vice-President and Treasurer J ohn L. Gardner

Mr. and Mrs. Samuel Bodman Mr. and Mrs. I. W Colburn Mrs. Graham Gund Mr. and Mrs. Arnold Hiarr Mr. Gordon F. Kingsley Mr. and Mrs. Willia m Poorvu Mr. and Mrs. Lionel Spiro Mr. and Mrs. Roger Wellingron

Assistant Director Linda V. Hewirr

Conservator of Paper Caroline Graboys

Curator Krisrin A. Mo rtimer

Conservator of Textiles Marjorie R. Bullock

Assistant Curator Karen E. H aas

Assistant Conservator of Textiles Bersy F. Gould

Archivist/ Librarian Susan Sinclair

Assistants, Textiles Lisa Lesniak Ada Logan

Secretary James L. Terry Ellio r Forbes M ason Hammo nd Francis W Ha rch, Jr. James Lawrence

A ccountant Raymond R. Cross Bookkeeper/Administrative Assistant W Corey Cronin Administrative Assistant Sylvia Younr Director of Development/ M embership Caroline D. Srandley Assistant to the Directo r of Development/ Membership Leslie A. Flinn Photographer Greg H eins

Maintenance Supervisor of Buildings John F. Niland Maintenance Foreman John Co lleran Shop Technician Michael Finnerry Elizaberh Bing Bal Mokand Kapur Yvonne Mercer Parrick Naughron

Director of Music Johanna Giwosky Museum Shop Manager Elizaberh Brill Museum Shop Assistant Jill Abaremarco Printer Michael Conroy D ocents M arie L. Diamond Judirh E. H anhisalo Lisa Lesniak Ada Logan Lois Srarkey Henry Tare Caro le Taymon

94

Security Chief of Security Lyle Grindle Security Foremen Charles Heidorn David Moss Watch Liza Del Garro Roberr French James Ha rtman Dana Lirrle John O 'Sha ugnessy Geoffrey Rockwell Pierer Vanderbeck ScorrWalr Guards Ro berr Bracketr Lo rraine Cillo William]. Currin Paul Daley Ka rhleen M. Davis Thomas Fahey Dennis Firzgerald Karen M . Sangregory-Fox Alfred Hazoury Anthony J. Lobosco William K. Nagle M ark Pererson Joseph Rajunas Lawrence R. Sherrzer

Gardening Head Gardener Robert M. lacKenz1e Gardeners harle P. Healy, Jr. ranley Kozak

Cafe Cafe Supervisor Loi McKirchen onroy Assistant afe upervisor Suzanne LaRocca Assistant Chef Randall Gay

95

Museum Offi.ce 2 Pa lace Road Bo ron, Ma achuserc 02115