Fenway Court: 1987

Fenway Court

Fenway Court 1987

Isabella Stewart Gardner Museum

Publi hed by the Tru tee o f the Isabella Stewa rt Gardner Museum, Incorporated 2 Palace Road Boston, M assachusetts Copyright 1988 De igned by Kit Kuntze Photographs by Greg H ein Printed by M eriden-Stinehour Pre Thi book i dedicated to the memory o f tephen H arva rd .

Cover: Peter Paul Rubens, Thomas Howard, Earl of Arundel, detail, 1629-3 0, oil on canvas, 122.2 x 102.1 cm ., Inv. No . P2l s15, Dutch Room .

Contents

The Cho t of Homer: Ob erva ti n Philipp P Fehl

n Ruben ' Portrait of the arl of Arundel

I abell a tewa rt ardner a nd the Browning William A. oles

25

in the F nwa

The ru ader (Lu igna n) Kingdom of ypru Cornelius C. Vermeule I I I

The Wedding Feast at ana in the I abell a tewart Terisio Pignatti A Provenance for the Van Dyck Draw ing Rollin van N. Hadley The Portrait of Tommaso Inghirami: Jacqueline Ridge

a rdner

47

Te hni al E

The I a bell a Stewart Ga rdner Mu eum Inco rpor red Sixty-third Annual Report fo r the Year ineteen Hundred and Eighty e en Report of the Pre idem

Malcolm D. Perkins

5

Repo rt of the Director

Rollin van

61

Report of the C urator

Kristin A. Mortimer

Repo rt o n Education Member hip Progra m M embership

72

Publications

80

Report of the Treasurer

. Hadley

69 70

84

Trustees, Advisory Comminee and Staff

u eum

90

65

mina ti n

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31

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1 Peter Paul Rubens, Thomas Howard, Earl of Arundel, 1629-30, oil on canvas, 122.2 x 102.1 cm., Inv. No. P21s15, Dutch Room, Isabella Stewart Gardner Museum.

The Ch st of H mer: bs rvati ns n Ru ens s P rtrait f th Earl f Arund 1

2 Perer P.lUI Ruben . letbt'IJ T.ilbot. '01111tess of Anmdel. 11 •11/J .ittc11d.i11ts ,md ir D11dh"1• C1rleto11, 1620, oil on c,rn\'a'>, 2 I "

265 m., Aire PinJkorhek, !\ lunich.

The mo t recent re roranon of the pa inting en ibly tri to pre ent a omprom1 e between the element of the p1 rure tha t ar

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3 Peter Pa ul Rubens, Thomas Howard, Earl of Arundel, 1629-30, o il on ca nvas, 68.5 x 53.3 cm., National Portrait Ga llery, London.

4 Peter Paul Rubens, Thomas Howard, Earl of Arundel, 1629-30, oi l o n canvas, 67 x 54 cm., National Ga llery, London.

identifiable as Rubens's own work, those that possibly are by his hand, and the parts added by another a rtist or artists to complete the picture. 8 No effort to arrive at a balance in one picture between two kinds of truth-the record of Rubens's hand and the fini shed work that awkwardly fo llowed - can be fully successful, but what we are offered is most likely the best a conservator could hope to achieve. We can only be grateful for the view now afforded us of Rubens's truth in a double guise, freshly revealed in its sketched originality and veiled as well, to approximate the completed form of a painting proper.

5 Deta il of fig. 1.

A drawing in the Cla rk Art Institute at Willia mstown impressively represents the essential rudiments of the Gardner Museum portrait (fig . 9). 9 For cogent reasons it has been accepted as a work by Rubens and it undoubtedly guided the restorer of the painting in the effort to work out what parts of the picture are autograph . We may be a little sorry that, as a result of this wellplaced reliance on the drawing, the p lumes

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6 Detail of fig. 1.

7a and 7b Two views of a helmet, French, seventeenth centu ry, Department of Arms and Armor, The Metropolitan Museum of Art, New York. (Photos courtesy of Stuart Pyrrh )

of the helmet that once waved so proudly are now but a soup~on of feathers, particularly since Rubens, in keeping with the custom of decorating parade helmets, gladly furnished military commanders in his portraits with such plumes, whether or not he painted them himself or expected his assistants to fill them in.10 On the other hand, the great arch that dominates the background of the painting has been preserved in its entirety, even though it does not appear in the drawing. In that area the conscientious restorer was able to distinguish traces of paint that she was able to

attribute to Rubens's hand. The identification, of course, is hypothetical and x-rays, so far, have provided little help in arriving at any kind of certainty regarding the questionable parts of the painting.

There we cou ld let the matter rest were it not for the sudden appearance, on one of my rare visits to Boston, as I looked with admiration at the wonder of the restored painting, of the profile head of a bearded man that seemed to peek out fro m within Arundel's now suddenly wide-open helmet (figs. 6 and 10). I did not trust my eyes,

8 Edmund Scriven, after a drawing by D. Hilton, Th omas Howard, Earl of Arundel, 1817, etching.

9 Peter Paul Rubens, Th omas Howard, Earl of Arundel, ca. 1629, brown and black ink drawing with wash, heightened with white and touches of red, 460 x 355 mm., The Sterling and Francine Clark Art Institute, Will iamstown, Mass.

10 Detail of fig. 1, x-ray of hel met.

but, as it is with faces one sees in clouds, it kept on reappearing. Thinking of clouds and furthermore being constitutionally somewhat disinclined to participate in the game of discovering new meanings in old pictures, I would have dismissed the head as a mere mirage (as surely other observers 'of the picture must have done before me) had I not thought, as soon as I saw the face before me, that I could recognize in it one of Arundel's most prized treasures of classical art, the bronze head of a poet (now in the British Museum), which for a long time was considered to be a head of H omer (figs. 11 and12).11 To make sense this head must be seen, not contained w ithin the open helmet, but placed behind it. The helmet, as a matter of course, is a sign of Arundel's nobility and prowess. If we see the head behind it, we recognize that the helmet also defends, as it were, and protects H omer and all he readily stands for.

So proud was Arundel to be the owner of the H ead of H omer that he chose to fea10

11 The Arundel Head of Homer (probably Sophocles), Hellenistic, bronze, H. 29.5 cm., British Museum, London.

12 Bernard Baron, after a drawing by Isaac Wood, The Head of Hom er, ca. 1740, etching. The etching reverses the drawing, thus showing the ocher side of the face seen in fig. 11 .

11 0 \ l I : ll \ . S ll

ture it, as an aspect of his glory, in the grandest state portrait we have of him, the so-called Madagascar Portrait by Van Dyck (fig . 13 ). This picture exists in two virtually identical versions of which one (at Arundel Castle) is in large pa rt by the hand of Van Dyck.12 In both of these pictures the earl's avocation as a collector of classical antiquities is demonstrated by the presence of the bronze H ead of H omer and a now lost marble head of Apollo set in a bust made of porphyry or red marble.13 In another version of the painting, which survives only as a copy, the H ead of H omer is further singled out by the fact that Franciscus Junius, the earl's librarian (who is present only in this version) places his left hand on the Head of H omer (fig. 14).14 The picture (in all its versions) celebrates the earl's and the countess's grandeur, with a certain emphasis on their concern for the collecting, study, and propagation of the arts. Politics and statecraft, however, are at the center of this monarchial

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couple's purpose. The earl, seated behind a globe which is turned to show Madagascar, points unmistakably to the island.

This is the place that, in the last of his several a bortive schemes at colonization, he set out to govern in 1639.15 His left hand, in w hich he holds his earl-marshal's baton, is firmly placed upon the globe. The baton is a rod of gold, tipped with black at both ends. The H oward arms are engraved at the bottom, and on top are the royal arms ofEngland. 16 Arundel holds the baton in the customary ceremonial pose, indicating that the Howards quite literally support the king. In the situation before us, however, with the earl pointing to Madagascar and looking at us so meaningfully, it also tangibly suggests that he is a bout to take possession of Madagascar in the na me of the king. Lady Arundel, who is represented virtually as the earl's Muse of Navigation, holds the astrolabe and compasses needed to guide the way.17 In front of the globe, as if casually resting there, Van Dyck painted a folio sheet of

13 Anthony Van Dyck, The M adagascar Portrait (Thomas Howard, Earl of Arundel, with Aletheia, Countess of Arundel ), 1639, oil on canvas, 135 .5 x 210.8 cm. , Arundel Castle, His Grace the Duke of Norfolk.

14 after Van Dyck, The Madagascar Portrait, 1639, oil on canvas, Knole, near Sevenoaks, Kent, The National Trust.

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p aper o n which there i , as it were, an o riginal drawing done by him . It shows the earl's heraldic animals (dog, horse and lion) with th e fa mily motto, CONCORDIA CVM CAN DORE, inscribed beneath them.

The dog is a talbot and represents Lady Arundel's family, the Talbots. CONCO RD I A also celebrates the ea rl's marri age.

Aletheia Talbot was given her first name by her godmother, Queen Elizabeth, who herself at times was so addressed. 18 It means Truth . CANDOR, of co urse, among other things signifies the shining light of truth. The entire motto, represented foremost in the composition, therefore provides a fram e for the picture's meaning.

The earl and countess, loyal to th e king, will advance his government and politics, with a special focus on Madagascar, in truth and concord, guided by reason and restraint (as the instruments of measurement in the countess's hand would seem to indicate), a government informed and supported by the love of lea rning and the arts. The H ead of H omer, the bust of Apollo, the books and manuscript pages on the table behind the earl, all h ave a well-appointed place in the picture that proclaims CONCO RDIA CVM CAN DORÂŁ. Junius, the keeper of the earl's antiquities as well as his librarian, puts one hand on the H om er, as if to protect it.

With his right hand, however, he holds a rolled-up manuscript page, and points to Arundel. "He," he seems to say, " protects art and letters." Arundel, at the center of the picture, incorporates within himself good government par excellence. Not only strength but reason, the light of truth and the arts, are the foundations of princely rule, and concord is its supreme accomplishment.19

An antecedent for this picture, as far as the gesture of the baton and the family motto are concerned, may be found in Van Dyck's moving portrait of the earl and his grandson Thomas, dated ca. 1635 (fig.

15 ).20 The young boy, who is about eight

year old , ho lds a sheet of paper that originally had on it a drawing of the Arundel herald ic an imals.21 Grandfather and grandson here represen t the sa me co CORD IA that so richly pervades the Madagascar Portrait and the boy 's innocence, his CANDOR, speaks for itself. The focus of this union is of course different.

Arundel raises his baton a nd displays the king's arms. Young Tom, conscio us of the meaning of the Arundel emblem he holds, looks toward the royal arms w ith the resolve of a well-mean ing child, just as Arundel looks at us. Thus they stand, grandfa ther and grandson, the present and the future, declaring their loyalty to the crown.

The baton is an attribute of Arundel's office, but the unseen presence of the king's majesty in the picture, which the focus on the baton conveys, gives the wo rk a moral character that transcends and intensifies th e charm of the fami ly attachment th at is here portrayed so vividly. The earl may have missed the presence of his earl-ma rshal's baton in Rubens's portrait and therefore have seen to it that Van Dyck included it in his picture.

Van Dyck virtually quotes the pose of Arundel in the Gardner Museum portrait as well as the representation of his a rmor. 22 The double portrait is often praised for its significantly Titianesque character. 23 Perhaps we may ca rry this compliment one step further and consider that Van Dyck here deliberately evokes Titian in memory of Rubens's presentation of Arundel (fig. 1) in the character and likeness of a military portrait by Titian.

The same, mutatis mutandis, can be sa id of Van Dyck's portrait of Arundel's direct heir, Frederick Howard, Lord Maltravers .(fig. 16), which dates from abo ut the same time as Van Dyck's painting of the earl and his grandson. 24 Again, the armor is similar to that in the Gardner Museum portrait. 25 This picture also comes to life and is given 13

15 Anthony Van Dyck, Thomas Howard, Earl of Arundel with his grandson Thomas {later the 5th Duke of Norfolk ), ca. 1635, oi l on canvas, 142.2 x 120 cm., Arundel Castle, His Grace the Duke of Norfolk.

silent speech by a gesture that involves a motto. Maltravers points to the words inscribed on the plinth on which lies his military baton. The baton protrudes beyond the plinth, ready to be taken up by Maltravers just as the motto will have it: DROIT ET AVANT. 2 6

The Head of Homer, to which we now return, appears once more, in a celebration of the earl's grandeur in a memorial print

by Wenceslaus Hollar (fig. 17). The work, after a drawing by Cornelius Schut, is dedicated to Lady Arundel, and was published in 1650, four years after the death of the earl. 27

In the print we see the statue of Arundel placed on a pedestal in the shape of a sarcophagus. Arundel is seated in the pose of Michelangelo's meditating Lorenzo de' Medici. He is dressed in armor over which are thrown a peer's robes, and in his left hand he holds his earl-marshal's baton.

Death and Time, on the one hand, and putti, who wish to guide him to Fame's chariot in the sky, on the other, claim him as their own by tugging at his robes. Both parties win: Time flies and Death takes Arundel's life. But Fama wins his better part; already she raises her trumpet to her mouth and proclaims Arundel's immortal

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16 Anthony Van Dyck, Henry Frederick Howard, Lord Maltravers, ca. 1635, 142.2 x 120 cm., Arundel Castle, His Grace the Duke of Norfolk.

worth throughout the world. Like a star, Arundel's name will rise to the skies.

On earth, however, the arts and virtues are desolate. Minerva, grief-stricken, rushes forth and puts out a protective hand in the direction of Painting and Sculpture. Directly behind the sculptor, who here represents his art, are two busts.

They do not fully resemble the Homer and Apollo in the Madagascar Portrait, but, as their relationship to each other would seem to indicate, they may well have been meant to recall them. 28 Since the countess and Hollar were living in exile and removed from each other when the print

was made, the artist may well have been obliged to "quote" the busts from memory.

We now retrace our steps to the first appearance of the Head of Homer in the Gardner Museum's portrait of Arundel.

How did the head get into the painting, who painted it, and why was it painted out again?

The answers we can only guess. Rubens probably called often at Arundel House during his stay in London, to see the Arundel treasures and to draw and perhaps also to paint the earl from life. 29 Rubens had a

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17 Wenceslaus Hollar, after a drawing by Co rnel ius Schur, M em orial Print fo r Thomas H oward, Earl of Arundel, 1650, etching.

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studio at his disposal at the house of his fellow painter and friend, Balthazar Gerbier, where he stayed, but he also readily could have picked up a brush, if the occasion presented itself, in the studio of the earl's own painters. 3 Conversation with the ea rl would have focused on art as a matter of course and on politics, fo r these were the purposes of Rubens's journey.

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The Gardner M useum picture, though it will pass for a state portrait, cannot be the sort of grand painting the earl would have

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wished to commission of Rubens to match the grand picture of the countess he had painted in Antwerp in 1620 (fig. 2). The time was not propitious fo r such an enterprise, since Rubens was deeply engaged in his diplomacy. The only pictures he completed while in London were his fa mous allegorical celebrations of Good Government and British Peace, which he offered to the king. 31 H e never attempted, or simply was not asked to do, a state portrait of the king. Under the circumstances it may

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not even have seemed proper to emba rk on a portrait of Arundel that in scope would have held its own next to that of the countess. 32 This does not mean, however, that such a pai nting was not considered. It wou ld have to have been envisaged as a work Rubens would do later, once he had returned to Antwerp and could work properly o n the scale at which he was most happy, in his own atelier. This, at least, would explain why he pa inted the two bust-length sketches of Arundel and took them along with him when he left England . That the pictures show the ea rl in right and left pro files by itself indicates that he wished to establish a record of the earl's person in the round, presuma bly to have a greater cho ice of poses for the invention of the grand state portrait, or even to lend the pictures, as th e earl may have wished, to a sculptor fo r the creation of a bust or statue.

The Gardner Museum portrait, as mentioned above, was not finished by Rubens and the quality of the later additions leads us to rule out the idea that he took the unfinished painting to Antwerp to have it completed in his studio and eventually sent back to Arundel.

It is likely instead that he expected an artist in Arundel's household to fini sh the work according to his indications.33 The Clark drawing (fig. 9) is pro bably a first sketch, which he could readily have produced at Arundel H ouse perh aps while conversing with the earl. Even in this incipient version of the picture there may be a subtle reference to Arundel as a lover of art. The picture has often been likened to Titian's Duke o f Urbino in the Uffizi, but it also recalls Titian's series of Roman emperors and, in its pose, echoes Titian's portrait of Charles Vin armor with a baton.

Both the emperor series and a copy of the portrait of Charles V were then in the collection of Charles I of England.34

The earl surely showed Rubens his collectio n, and since the bronze H ead of H omer was so ra re an antique it must have been a subject of conversation. Even the identification of the poet wo uld have been a cause for wonder, for the head looks more like that of Sophocles than of H omer, as Rubens, whose drawings after the antique show that he carefu lly distinguished between the traditional images of the two, surely would have noticed.35 An eighteenth -centu ry engraving (fig. 12) permits us to reconstruct why th is bronze head was identified with H omer. The print was published when the head was in the possession of a renowned physician and art collector, Dr. Richard M ead, who also had acqu ired Rubens's portrait of Arun del in a fu r ro be (fig. 4) and other works of art fo rmerly owned by the earl. 36 The head, as the legend of the print of the H ead of H omer explains, shows by the fragmentation and the traces of fusion at th e neck that it had been a part of a statue that had been in a fire. The legend furthermore quotes fro m the Byzantine w riter Cedrenus who related that a fa mous bronze statue of H omer had been destroyed by fire in Constantinople.37 Since Arundel's agents, on a spectacular purchasing trip in the Near East, made successful stops in Constantinople, 38 we may assume that the head was bought there and that it could be made to fit the passage from Cedrenus. In fact, it even helped to improve upon the story, fo r the head showed that Cedrenus was mistaken in reporting that nothing was left of the statue.

Did Rubens accept this speculative but charming identification? We have no indication that he did. H e wrote to friends full of admiration fo r the antiques in Arundel House and also made drawings of some of them. 39 But of the bronze head his correspondence, such as it is preserved for us, is silent.

This does not mean, however, that Rubens 17

18 ]. Houbraken, Thomas Howard, Earl of Arundel, made for Richard Mead, 1743, etching.

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did not value the head, whether he thought it represented Homer or more likely, Sophocles. H e may well h~ve been the one to suggest, with a few lines of hi brush on the Gardner M useum portrait of Arundel, that it be incl uded to enhance the portrait's mea ni ng or, the earl may have decided on his own to add the H ead of Homer when the p icture was bei ng completed after Rubens's departure.

The head, as we see it now, certainly doe not show the style or the quality of Rubens's art. But then the head suffered a lot, perhaps even in the course of recent rest? ration that did not recognize its potential presence. We therefore should not judge w hat we see before us as if it were a record of what may once have been obvious.

We now continue in o ur attempt to reconstruct the fa te of the Head of H omer in the Gardner Museum portra it. The drawing (fig. 9) shows us the basic structure of the picture. The painting, unfinished as Rubens left it behind, took the invention several steps further. The triumph al gate in the right background adds greatly to the drama of the work, giving it an added depth and a certain heroic dimension. The armor and the helmet present the hero in a pose of noble watchfulness. The arch and the open sky beyond bespeak his glory : per aspera ad astra. At this stage of elaborating on the sketch the addition of the H ead of H om er to the painting may have presented itself to Rubens quite naturally. If, on the other hand, he did not see the H ead of Homer until after he had completed the pen sketch, he and the earl may then have agreed to include the head in the painting. In either case, all Rubens had to do was to open the helmet's visor to find room for the head on the table.

M any such examples of open-mouthed helmets on tables appear in Rubens's portraits of men in armor.

to complete the picture mi ght then have tried his be t to paint the H ead o f H omer as directed, arranging the helmet in fro nt of it satisfactorily enough to show the head behind and not within th e helmet.

Such a job, in the limited space ava il able would have posed no obstacl e to Ruben~ but it may well have been a fo rmidable ' enterprise fo r an ordinary painter. If the painter did not succeed in doing it well he and the ea rl may have given up o n th e attempt and so th e Head of H omer may have become an early pentimento, even if not Ru_bens's. Altern ati vely the ea rl may have hit upon the idea of add ing the head after Ru.bens's departure when the picture was taking shape at the hand of his co urt painter. The result wo uld have been the same.

And now we are ready to conclude with the most likely sequence of events. The court pa inter, fo llowing Rubens' guidelines, opened the helmet and put the head of Homer where it belonged. Even if he did not make a very good job of it the head rema ined to serve as a model and a reminder to the earl and Van Dyck when they discussed th e composition of the Madagascar Portrait which, in the history of the earl's state portraits, takes the place of the grand portrait by Rubens that Arundel may have hoped he would paint for h1m._ Only at a later date, when the picture was m need of restoration but no longer fully understood would the H ead of H omer, by then barely perceptible have been painted over and the helmet ~losed.40 We cannot tell much fro m the engraving of 1817 (fig. 8) rega rding the date of such a reswration, but still the image suggests that it may have occurred in the mideighteenth century. There is someth ing in 1t of the patnoncally oriented romantic fa ncy of the Rococo to which Hugh Walpole subjected the memory of the earnest nobility of the British worthies he admired.41

Whoever of the earl's artists was chosen 19

The recent restoration to which we owe this ghost of H omer happily takes us back to the dignity of Thomas Howard, Earl of Arundel. Rubens's tribute to Arundel is linked to an understanding of the love of art not only as a poetical but as a civic accomplishment in which the fo rces of Rubens and the earl were joined.42 The

1 M .F.S. Hervey, The Life, Correspondence and Collections of Thomas Howard Earl of Arundel. "Father of Vertu in England," Cambridge, England, 1921; D. H owarth, Lord Arundel and His Circle, New H aven and London, 1985 ; P. Fehl, " Poetry and th e Entry of the Fine Arts into England: ut pictura poesis," in The Age of Milton, ed. C. A. Patrides and R. B. Waddington, Manchester, 1980, 273306; idem, "Franciscus Junius and th e Defense of Art," Artibus et Historiae, II, no. 3, 1981, 9-55. On th e portrait by Rubens see Patronage and Collecting in the Seventeenth Century : Thomas H oward Earl of A rundel, Ashmolean M useum, Oxford, 1986; F. Huemer, Portraits I (Corpus Rubenianum Ludwig Burchard, XIX), Brussels, 1977, 89- 91, 107-108.

2 Reported in a letter to th e earl by Fra ncesco Vercellini who attended on Lady Arundel: "a l s' Conte no posso riffutar l'honore che mi fa di comandarmi, tenendollo per un o delli quatro evangelisti e soportator de! nfo arte; seguitando con moire parolle cortesi."

See Hervey, 175.

3 H owarth, 33- 34, 228, note 7. When Lady Arundel sat to Rubens she was on her way to the same Spa to take th e wa ters. See H ervey, 174.

4 Hervey, 281-285. See also M. Gachard, Histoire Politique et Diplomatique de Pierre Paul Rubens, Brussels, 1877, 60- 65, 94-191, 318 f., and Rubens Dip/ornate, Chatea u RubensElewijt, Antwerp, 1962, 9-29 and passim.

ghost of Homer, if we will only look w here he beckons, still can show us more of truth and beauty in the art of painting than meets the eye.

Philipp P. Fehl

5 Huemer, 105- 107, 110; Howarth, 155-156; Patronage and Collecting, 9-10. H owarth suggests that the portrait in the fu r ro be was insp ired by Diirer's engraved portrait of W illibald Pirkheimer, whose library Arundel owned. Note, however, th at Arundel already wears what may well be the same robe in his portrait by Daniel Mytens, ca. 1618, Na ti onal Portrai t Gallery, London.

6 The painting has been cleaned th ree times (1926, 1947, 1975) since M rs. Gardner bought it in 1898. The conservation records stress the point th at only parts of th e pictu re are attributable to Rubens's hand.

7 The painting was in the possession of the earls of Warwick at least by 1763. See Huemer, 108. The picture, which is identified as the Gard ner portrait in E. Dillon, Rubens, London, 1909, pl. CCCXV, is evidently a copy and not the Gardner portrait since neither the curtain nor th e triumphal arch in the backgro und can be discerned in the photograph.

8 The evidence is meticulously detailed in the 1975 conservation record.

9 Huemer, 109; ]. H eld, Peter Paul Rubens, Selected D rawings, New York, 1959, 31-32; Peter Paul Rubens: Paintings, Oil Sketches, Drawings, Royal M useum of Fine Arts Antwerp, 1977, 359; E. H averka mp- ' Begemann, S. D. Lawder, and C. W Talbot, Jr., Drawings from the Clark Art Institute, New 20

Haven and nd n, I 4, 28-2 ; . BurLhard and R. . d'Hul r, R11be11s Drnwmgs, Bru,wls, I 63, 2 -2 4.

10 re, for cx:implc, rhc porrra1r of mbr g10 pinol:i ar Braun hwc1g and of rhc r hdukc erdinand, ardinal Infante of p:un ar rhe john and label Ringling lu cum of rr, ara ra, Fl nda. Pam ularl) rhe larrer ' rk, dared I 3 , dC\Cr\ e ~rud) ro armc ar a berrer apprehen 1 n of Ruben'' proLcdurc 1n painnng rhe ardncr porrra1r of rundel. Ferdinand' p se and helmer, a' well a' rhc uggc•tl n f rhe cable and urra1n, all orre,pond ro the ardner" rk. hen the ~11e 12 '90 cm.

1 rough!) comparable. I regrcr nor hanng een rh1 ,,. rk in the nginal. For derail 'cc Rubens: Runtmgs, Ot! ketches, Or,11vmgs, 221 ;j. R. Marnn, The Decorut1011s for the Pompa lntro1111s Ferd111111d1 orp11s Rube111a1111111 L11dw1g Burchard, VI , Bru el, l 2,22, I 2-1 3.

4 H.B.

13 In the exhibition cata logue Patronage and Collecting, 19, the marble busr i considered to be rhe head of a fema le divinity, perhap Minerva. Ir has al o been identified as "Anroninu Pius" by V. Manners in Connoisseur,

L II , I 2 , 2, bur th1 1 errainly wr ng :.i' a lo k ar the :.illeged model ar ilron will demon era re. I 'nil think the head ma> afely be : M1gned ro rhc Ka el rype of p llo. ce m} "Franu cu Juniu ,"4 ,norc61. ore al o a bu r f polio by Edward 1\far hall, wh1 h ma\ have been demed from rhe head in rhc ladagascar Portrait. For a picture f th1 bu r cc Patronage and ollectmg, 69 .

14 Ir wa' fir r propo ed b) rhc lare Fnt7 ro,,man and lacer b and H warrh rhar rhc figure reprc,cnt' nor Juniu bur ir dliam Pert), rundcl' m~a ured agent in rhe pro urement of h1 annqumc . ee Fehl, "Fran 1 u juniu,"4,nrc ,andHo\\arth,1 -10. in e wc d n r kn '' whar Pcm I oked like :.ind rhc re emblan c f rhe figur~ co J uniu :.i an Dr k portrayed him in an oil kcrc.h no" in the B dle1an L1bral'), xf rd 1 ar besr vague, rhc que non an hard!) be dcuded. arcful examin n n f rhe p1crure ar n le 1 , in an) ca e, 1 ng O\ erdue. Ir 1 the only ver~1 n f the ladagascar Portrmt thar ha enough pa e n r p r give ea t rhe figure and thar make rhe po in n f rundel' bar n full> 1gnifi ant. Ir mar theref re be a p fa lo r and m re generou nginal 1adagasc ir Portrall of" h1 h rhc p1crure ar Kn le and in 1enna ere "p rcable" er ion b , an D k and h1 rud1 . The engraving by L. or rerman (Fehl, " ran 1 u J uniu , " 46, n re 60) would then have been done afcer one of rhe e or fr m a derailed preparar ry drav ing f r the nu leu of rhe painnng. Wa rhe figure of "j uniu " added ro rhe Knole c py or' a 1r in read a pan of rhe p1crure copied? Another opy of rhe Knole type,' hi h I know only from a phorograph, wa old ar ocheby's on 3 February 1971 (Fehl, "Franci cu Juniu ,"46,nore5 ).

The exi rence of chi opy perhap point roward an original fr m which both de cended.

Behind rhe urface of the picrure ar Knole there rill may be wai ting a berrer likene of Juniu -or of Perty(?) -thanwhari beforeu now.Junius wa forty yea r old when rhe Madagascar Portrait wa painted; the portrait of Juniu ar Oxford how him ar forty-nine. ee rhe in criprion on rhe engraving by Hollar afcerrhe porrraic: Fehl, "Franc1 u Juniu ," 13; Howarth, 79. We do nor kn ow when Petty wa born, bur he mu r have been ar lea r ren year older rhan Junius and he died in 1639,

21

the year of the Madagascar Portrait. On his life and work for Arundel see H owarth, 126-170 and passim.

15 O n Madagascar and its allurements to British speculators see H owarth, 167-168; on the poetical glory of the quest for it see esp. Sir William Davenant's "Madagascar. A Poem written to Prince Rupert," 1637, in Sir William Davenant, The Shorter Poems and Masques, ed. A. M . Gibbs, Oxford, 1972, 8- 21, 339340. I am grateful to my friend Judith Dundas who kind ly di rected my attention to this poem.

It may be of consequence in understanding the Arundels' concern for the colonization of Madagasca r that the papacy at the time also seems to have directed its missionary interests there. Note the prominent positionin g of the island on the globe shown in Andrea Sacchi's ceiling painting La Divina Sapienza in the Palazzo Barberini in Rome. On the painting see A. Sutherland Harris, Andrea Sacchi, Princeton, 1977, 9-13, 57- 59, pls. 27-33 .

16 See D. Starkey, "Stewart Serendipity: a M issing Text of the Modus Tenendi Parliamentum," Fenway Court 1986, Boston, 1987, 3949, esp. 38- 45.

17 Fehl, "Franciscus Junius," 46, notes 59, 60; H owarth, 168.

18 Hervey, 24.

19 Fehl, "Poetry and the Entry of the Fine Arts into England," 273- 284, 296- 298, 302- 303.

20 Patronage and Collecting, 16- 17; M illar, 65.

25 The helmet has a simple solid shape and lacks the grand plu me. The d ifference in the painter's choice may indicate the obvious difference in rank and distinction between fa ther and son. This, as much as the deliberate imitation by Van Dyck of Rubens's portra it of Arundel, would be clear if the portraits by Ru bens and Van Dyck were displayed in a sequence corresponding to the order of an ancestral gallery. The fam ily is united and yet each member has his own role to play acco rd ing to his birth and title.

26 Hervey, 334- 336. The " mute speech" of Frederick H oward's pointing out his motto recalls an identical device used in a presumed Portrait of Charles Bourbon which was in Arundel's possession and attributed to Titian.

See the etching by Lucas Vorsterman after the painting in H owarth, 50. See also H. E. Wethey, The Paintings of Titian, II, The Portraits, London, 1971, Appendix, x- 14.

27 H owarth, 187.

28 It is also possible to see in these two heads a quotation of two different antiques fro m the Arundel collection. For the argument see Patronage and Collecting, 23.

29 O n Rubens's practice in painting a portrait and the several steps usually involved, see H eld, Peter Paul Rubens, 31-33. A drawing (possibly an inked counterproof) and reflections, in copies, of a drawing Ru bens made of Arundel's countenance are recorded by Huemer, 107, figs. 49, 50, 54.

22 The armor appears to be a stock item of the painter's apparatus of martial dress, rather than a "portra it" of a piece of armor Arundel owned. This practice was already used by Titian who, however, appears to have distinguished between the two genres of armor painting. I am grateful to Stuart Pyrrh of the Dept. of Arms and Armor of The Metropolitan Museum of Art who kindly acquainted me with the refinements of these differences in Renaissance military portraits.

30 Among the artists working for Arundel, Cornelius van Dalen probably was in residence at Arundel H ouse. Hendrik va n der Borcht was still too young and Wenceslaus H ollar did not join the earl until 1636. A special " Rome [room] for Designes" was set up in Arundel H ouse ca. 1637, see Fehl, "Franciscus Junius," 43, note 29; H owarth, 116, 170- 177. It may have had a less splendid forerunner on the premises. For a selection of artists who were in London or passed through London at the time see L. Stainton and C. White, D rawing in England from H illiard to H ogarth , London 1987 82-86. ' '

23 See note 34.

31 Hervey, 285 ; Huemer, 81-99.

24 Patronage and Collecting, 14-15; H owarth, 211.

32 I return to the portrait of Lady Arundel and its relation to Rubens's later work for

21 Patronage and Collecting, 16- 17; M illar, 65 .

22

Arundel in a separate study (Munchner ]ahrbuch der bildenden Kunst, forthcoming).

33 See note 30.

34 Huemer, 89- 90; ]. H eld, "Titian and Rubens," in Titian, His World and Legacy, ed.

D. Rosand, New York, 1982, 329- 330. For the copy of Titian's portrait of Charles V, now at St. James's Palace, see Wethey, 194, figs.

238 - 240.

35 For relevant inscribed drawings by Rubens, see Rubens, ses maftres, ses eleves. D essins du musee du Louvre, the Louvre, Paris, 1978, 5359, esp. nos. 35, 39, 44, 45 , 49.

36 On Dr. Richard Mead (1673-1753 ) see ]. Kerslake, (Early Georgian Portraits, London, 1978, 183-185, pis. 528-538 ). On Mead's very impressive collection of antiques, painting, drawings, as well as coins and medals, see Mu seum Medianum, sive catalogus nummorum, veteris aevi monumentorum ac gemmarum, London, 175 5. The Head of H omer appears in part II, 219. See also A. Zuckerman, "Dr. Richard Mead ... , a biographical study," M .A. thesis, University of Illinois at UrbanaChampaign, 1965. For a review of Mead's collections see Johnson's England, II, 19-20.

Mead, as a collector, must have considered himself a successor to Arundel. Houbraken's engraving (our fig. 18) features Arundel's portrait by Rubens and the Head of H omer, but also quotes Van Dyck's "drawing" in the Madagascar Portrait, which Mead may or may not have owned. He could not have owned Van Dyck's "drawing," since it exists (so far as we know) only in the painting. In the print the "drawing" is placed at the foot of the engraved pedestal and sufficiently unrolled to be recognized at first glance. I am sorry to say I cannot identify it. The portrait on the relief medallion, on the other hand, very likely represents Dr. Mead (see Kernslake, pis. 531, 536). In the event Mead elected to represent himself as a humble but dedicated follower of the earl as a patron of the arts and collector.

37 Georgius Cedrenus, Historiarum compendium, ed. I. Bekker, in Corpus scriptorum historiae Byzantinae, ed. B. G. N iebuhr, Bonn, 1838, (no. 23 ) XXXIY, 369, C-D, first published with a Latin translation by Guillemus Xylander, Bern, 1566. See Fehl, "Franciscus Junius," 47, note 61.

38 H ervey, 265-280; H owarth, 87-96, 127146.

39 C. Ruelens and M. Rooses, Correspondence de Rubens et D ocuments Epistolaires, Antwerp, 1877-1908, V, 147-15 9.

40 Tell-tale elements of such a restoratio n by overpainting are indicated in all three conservation records on file at the Gardner Museum.

41 This kind of glorification (joined to sound historical judgment and a just respect fo r Arundel's person) read ily come to the fore in Edmund Lodge's account of the earl's life in his Portraits of Illustrious Personages of Great Britain [(London, 1821-34, 110, second, enlarged edition, London, 1835, VI, no. 9].

Frances Huemer (Portraits I, 108) lists among copies of the Gardner portrait an engraving by James Basire of 1763 (frontispiece to Marmara Oxoniensia ) but I have not been able to find this picture. To the copies we may add, however, a steel engraving by H . Robinson, dated 1832 (published, in place of the etching of the first edition, in Lodge's edition of 1835 ). It repeats, with mechanical perfection, Scriven's etching of 1817 (our fig. 8).

42 A Rubens drawing in the form of a double herm of his invention which shows the Muse (or Poetry) and Athena united was recently explained as "Musathena " by Elizabeth McGrath. In the Ga rdner portrait of Arundel Rubens seems to touch upon the same emblematic theme except that it is here the " Head of H omer" who represents the Muse and Arundel is her protector. See McGrath, "Rubens's Musathena," journal of the Warburg and Courtauld Institutes, L (1988), 233245. Van Dyck's "Apollo" (or the Muse?) and the " Head of H omer" in the Madagascar Portrait (figs. 13-14) show, perhaps, the influence of Rubens's emblematic "shorthand " in addition to that of the obvious precedent of the Gardner Portrait of the Earl of Arundel with the Head of H omer. Arundel's collection of antiquities gloried not only in the possession of a "Head of H omer" but also a fu ll-length marble statue of the poet. See H owarth, Lord Arundel, 82, 150. I shall return to a discussion of this puzzling work and its place in Arundel's collection at another occasion.

23

Isabella Stewart Gardner and the Brownings

Robert Browning, cabi net photograph by Alex Bassano, London, M useum archives.

W ith the centenary commemorations of the death of the English poet Ro bert Browning fas t approaching in 1989 it is appropriate to remem ber th at among the memorabilia collected at Fenway Court are the last manuscript autograph fro m Browning's hand and a last lock of his hair encased in a crystal locket. Both were secured fo r Mrs. Gardner by her friend Mrs. Katherine deKay Bronson, an American expatriate who was also an intimate friend of the poet and provided a direct connection between him and his American admirer.

It is hardly surprising that Mrs. Gardner sho uld have been interested in the Brownings - Robert and Elizabeth Barrett and their son, the painter/sculptor Robert Barrett or " Pen " - fo r her tastes extended to all the arts: to literature as well as to music and the visual arts. But with Browning she had special affinities. For Browning was an important link in the chain of AngloSaxon fascination with Italy in the nineteenth century, at a time when that compelling interest had become mo re scholarly and historical, mirroring the central preoccupations of the age. Browning's concern with Italy spanned virtually the entire length of his career, from Sordello near the beginning to Asolando (dedicated to Mrs. Bronson) at the end . Moreover, poems like " Fra Lippo Lippi" and "Andrea del Sarto" helped to fa miliarize the English public with the art of the Italian Renaissance. Browning was then a significant precursor of Wa lter Pater, John Addington Symonds, and Bernard Berenson in fostering a worship of the art and life of the Italian Renaissance, a cult that would powerfully transform American cultural and civic li fe, as two of the principal temples of this religion of beauty, the Boston Public Library and M rs. Gardner's Fenway Court, abundantly attest.

In Italy Browning was most associated with Florence and Venice, which were also

the twin pillars of Mrs. Gardner's interests. The Brownings settled in Casa Guidi in Florence soon after their elopement and marriage in 1846, and lived there until Mrs. Browning's death in 1861.

Then the deeply grieving Browning returned to England with his son. In the last decade of his life he returned again to Italy, this time to Venice, where he met and formed an intimate attachment with Mrs. Bronson. She was also responsible fo r Browning's return to his other early love, the town of Asolo. Just before the poet's death Pen Browning and his American wife Fanny took up residence in the splendid Rezzonico Palace and also later built a house at Asolo, where Mrs. Bronson too had taken a house.

M rs. Bronson, ensconced in her small palazzo, Ca'Alvisi, at the head of the Grand Canal, was at the center of the international colony in Venice. Mrs. Gardner met her while on her world tour in 1884 . She had been preceded by a letter of introduction (dated 2 May) fro m H enry James, though he had said that one scarcely needed an introduction to Mrs. Bronson, so much was she a fixture for visiting Americans. During this trip she also met the Daniel Curtises and their son, the painter Ralph. The Curtises had come from Boston to settle in the Palazzo Barbaro, which Mrs. Gardner would later use as her Venetian base. They too were fixtures in the Venetian world. Both the Bronsons and the Curtises became lifelong friends and helped to introduce M rs.

Gardner to the aesthetic vision of Italy as a Palace of Art, which would info rm her own unfo lding ambition as patron and collector. M oreover, Katherine Bronson and Isabella Gardner even shared some of the same fruitful historical fa ntasies. Mrs. Bronson in Asolo thought of herself as Caterina Cornaro, the exiled Venetian Q ueen of Cyprus (for whom also see page 32 of this report), who had set up a brilliant court in Asolo at the end of the

25

Elizabeth Barren Browning, carte de visite (from a daguerreotype) by Elliot & Fry, London, Museum archives.

fifteenth century. In the same way Mrs. Gardner could imagine herself as Isabella d'Este, the great Renaissance patroness of Raphael, Mantegna, and Castiglione.

If Robert Browning fitted into Katerina Cornaro Bronson's literary imaginings as her Cardinal Bembo, he must also have participated in Mrs. Gardner's evolving taste as more than merely a chronicler of Italian life. For Browning, with much more limited means than Mrs. Gardner (but with an important head start), had also purchased Italian pictures, furniture and objets d'art during his residence at Casa Guidi. The George Mignaty painting of the Brownings' sitting room in Florence, executed just after Elizabeth's death (now in the Mills College Library, Oakland, California), certainly prefigures the tastes and aspirations of Mrs. Gardner. What we see among all these people - and others, for instance, such as the William Wetmore Storys and Henry James-are shared sympathies and cultural values that helped to nourish and sustain one another.

This ethos certainly underlay the little court of painters, musicians, amateurs, and connoisseurs that Mrs. Gardner built up on Beacon Street, in Brookline, and at Fenway Court and for which Bernard Berenson was, as it were, a foreign agent and publicist.

That Mrs. Bronson immediately recognized Mrs. Gardner as a rare kindred spirit is clear from the letter in which she replies to the latter's expression of gratitude for the gift of Browning's autograph and the lock of his hair: It gives me great pleasure to think that you appreciate so deeply the souvenir of my beloved friend the great Poet. I felt sure that you of all women would gladly possess so precious a relic-but I like to know it through yo ur own words.

Lytton once wrote a line I often think of"The immortals know each other at first sight And Love is of them " -

and so with sympathy-which I felt for you on the first day we ever met-I only feel this for chose who like you have high aims-and are capable of great enthusiasm for really great things and people. ... [8 February 1890]

Moreover, Mrs. Bronson had earlier suggested that Browning too seemed to recognize Mrs. Gardner's special qualities.

In originally sending the autograph that Mrs. Gardner had requested, Mrs. Bronson wrote on 12 November 1889: Here is what you ask for, & better than I hoped to get, as I often have to make this request to the dear and great Poet, but he seldom answers more than a line, often only his name. Could it be because I told him in my note that you were a Charmeuse? . .. I wish he knew you well enough to be interested in the octagon of your character. He is so fin e, so penetrating-he would see that all your enthusiasms are genuine. Americans as a rule, at least those in your world, are always ready to consider enthusiasm affectation, don't you chink so? -

26

Ludwig Passini, Portrait of

Katherine deKay Bronson, 1890, oil on ca nvas, private collection. (Photo courtesy of Armstrong Browning Library, Baylor University, Waco, Texas)

Mrs. Bronson had received Browning's autograph manuscript the night before at a dinner given by Pen and Fanny Browning at the Palazzo Rezzonico. Browning and his sister Sarianna were then staying there, having previously visited with Mrs. Bronson in Asolo. It was the revived memory of Asolo, the setting decades earlier of "Pippa Passes," that had suggested the famous lyric from the poem that Browning had copied out. But perhaps what he

had heard of the buoyancy and "life enhancing" quality of Mrs. Gardner's personality had also influenced his choice of poem, which certainly reflected more of optimism than of imminent death: The year's at the Spring And day's at the morn ; Morning's at seven; The hill side's dew pearled; The lark's on the wing; The snail's in the Thorn :

27

George Mignaty, The Brownings' Drawing Room at Casa Guidi, 1861, oil on canvas, collection of Mills College Library, Oakland, Ca li forn ia. (Phoro courtesy of Armstrong Browning Library, Baylor University, Waco, Texas)

God's in His HeavenAll's right with the world.

From " Pippa Passes" Written-that is transcribed in Venice by the author who had the advantage of revisi ting Pippa's Aso lo last week.

Robert Browning November 11, '89.

Only a month later, on the fourteenth of December, the bereft Mrs. Bronson was to write Mrs. Gardner of the poet's death in Venice two days earlier.

In addition to her poetry manuscript Mrs. Gardner at some point acquired, as a gift from the recipient, an autograph letter from Robert Browning to her good friend Henry Adams. It had been written much earlier, on 31March1863, from Browning's house at 19 Warwick Crescent in London and expressed regret that he had been out of town and could not accept an

invitation for the fifteenth past. Adams was then working in London as private secretary to his father, Charles Francis Adams, the American Minister to the Court of St. James. Additionally, shortly after Browning's death, Mrs. Gardner acquired at Libbie's autograph sale on 26 April 1890 a long letter (dated 3 November 1843) from Elizabeth Barrett to the author Richard Hengist Horne. The letter had already been published in the London 1877 edition of the letters of Elizabeth Barrett Browning to Richard Hengist Horne (l,171 ). This acquisition ensured equal representation of the two poets in her collection.

Mrs. Gardner was, of course, not only interested in autographs and mementoes.

Her library contained twelve volumes of poetry by Robert and Elizabeth Barrett Browning and together they comprise a

28

fairly representative and substantial selection of the work of each poet. Moreover, her interest in the Brownings may well have been known to her friends, for two of the volumes were presented and inscribed as gifts: in 1906 George Proctor, her musical protege, gave her a copy of the 1855 New York edition of In a Balcony by Robert Browning as a Christmas present, and in July 1908 Richard Watson Gilder made her a present of the 1905 New York edition of Elizabeth Barrett Browning's Sonnets from the Portuguese & Other Poems.

Further references to the Brownings continue in Mrs. Gardner's correspondence with Mrs. Bronson in the 1890's. She had by then met Pen Browning in Venice and indeed in 1892 had apparently considered renting a house that he owned in Asolo (the Gardners were abroad and in Venice

during that year). Pen wrote to Mrs. Gardner on 22 July 1892 to say that the house, where he had established a lace-making school for impoverished girls of the town, would regrettably be unsuitable for the Gardner's needs. H e went on to suggest an alternative and offered his assistance in the negotiations, but Mrs. Gardner seems to have abandoned the idea. This was the trip during which she purchased her Vermeer in Paris: she had then tasted the blood of serious collecting. Her protege Berenson was already in Italy preparing his scholarly career and would soon help her to realize her ideal of bringing the atmosphere and splendor of Italy, which Browning had so loved, into her own palace on the Fenway for the cultural enrichment of her country and of posterity.

William A. Coles

ote: all autograph manuscripts quoted in this article are in the archives of the Isabella Stewart Ga rdner Museum.

29

The Crusader (Lusignan) Kingdom of Cyprus: Echoes in the Fenway

1 Giovanni Minelli, Paduan, ca. 1460-1527, The Entombm ent of Christ, tomb group of Charlotte de Lusignan, ca. 1483, polychromed terracotta, 91.5 x 114.5 x 12.5 cm. {Entombment fi gures), 104 x 46 x 19 cm. (Charlotte de Lusignan), Inv. No. S31w3, Isa bella Stewart Gard ner Museum.

A polychromed terracotta Entombment of Christ (S31w3 ) by Giovanni Minelli (ca. 1460-1527) of Padua has been well published in the catalogues and pictorial anthologies of Fenway Court, but this charming ensemble seems to have escaped the notice of most writers on Europea n connections with Renaissance Cyprus, probably because the monument was in private collections in Italy from 1829 to 1897 and because Mrs. Gardner's treasures'have never been associated with the sad fortunes of the Lusignan royal dynasty (fig. 1). The group is comprised of an elegant young girl praying before th e Virgin Mary, th e dead Christ, and St. John. She is kneeling and holding a prayer book, a study in courtly detachment m contrast to the sad figures on whom she focuses her devotion. 1

The Last Little Lusignan "The girl is Carlotta, an illegitimate daughter of James II, the last [adult] king of Cyprus from the h o u s~ of Lusignan: With his death in 1473, his wife Caterina Cornaro became the ruler of Cyprus. In order to thwart an attempt to seize the throne the Venetians removed the young girl to Padua where she died in 1480 at the age of twelve. " 2 The name Charlotte ("Carlotta" in Italy and on Venetian Cyprus) recalls that of Charlotte, queen of Jerusalem, Cyprus, and Armenia"(reigned 1458-60), half-sister to James II the Bastard" and the last legitimate representative of the house of Lusignan. Queen Charlotte tried to take back her rightful throne from James II, renounced it in favor of the House of Savoy (still styled kings of these three regions dow~ to . modern times), and was buned either m Assisi or in an honored spot in Old St. Peter's in Rome. Little Carlotta's own half-brother the infant James III was king of Cyprus Qerusalem and Cilician Ar- . menia were no longer a part of the Lus1g~ nan kingdom, although the titles were still

retai ned) from 1473 to 1474, and his mother, Queen Ca terina, handed the kingdom of Cyprus over to her fellow Venetians in 1489.

The Entombment group with th e praying figure of Carlotta was made to decorate the altar of San Salvatore in a transept of Sant' Agostino in Padua. This altar, with the grave of the little princess at the bottom of the steps, was set up in 1483, consecrated in 1487, and replaced due to poor condition by 1761. At that time the terracotta fi gures were set into the wall near a new altar. The church of Sant' Agostino was demolished in 1829 and by 1840 the Entombment group was in the private chapel of Count Schio (count of Chios) at Costozza. The Florentine art dealer Emilio Costantini bought the monument in 1897 and sold it to Mrs. Gardner within the year.

The altar was donated in Ca rlotta's memory by Marietta (or Maria ) of Patras, mistress of the Lusignan king John II (reigned 1432-58 ) and mother of King James II. John II was completely dominated by his second wife, Helena Palaeologina, granddaughter of the Byzantine emperor Manuel II. H elena so hated her fellow-Greek Marietta that during a confrontation between the two she bit off her rival's nose. Queen Charlotte was the daughter of King John II and Quee.n Helena and thus it was noble of King James II to name his ~ittle girl after his half-sister and sometime n val for the Lusignan throne. It was, in the end, even more noble of James II's mother, Manetta " the Crop-nosed," to honor the memory of a granddaughter whose queenly namesake had so disfigured her. 3 In her twelve short years, Carlotta (also known in various chronicles as Charla) led an exciting if tragic existence. In 1473, at the age of six, she was betrothed by Queen Charlotte and the Roman archbishop of Nicosia, Louis Perez Fabreques, 31

to Don Alonzo (Alphonso), a natural son of King Ferdinand of Naples. Queen Charlotte even adopted Don Alonzo. In the few days before his death fro m dysentery on 6 July 1473, King James n named Carlotta an heir, in line of succession after his unborn child (James III) by the Venetian Cath erine, and after his natural sons Eugene and John . The th en all-powerful Venetians were very upset by Carlotta's betrothal, since they fea red King Ferdinand 's designs on the Lusignan kingdo m, and this is why the little gid was spirited off fro m Cyprus to Venice and thence to Padua. M arietta of Patras, Eugene, John, and Carlotta were sent away fro m Cyprus by Antony Loredan, Venetian Captain-General of the Sea, in January 1477. This naturally accounted fo r M arietta's protection of Carlotta as well as her later donation of the altar at Padu a in the twelve-year-old girl 's memory. On 27 August 1478 the fo ur royal Lusignans were then sent from Veni ce to Padua where Carlotta died on 24 July 1480. Marietta herself survived until 12 April 1503. Eugene died or was killed in Turkey in about 1530, while seeking help fro m the sultan in regaining the kingdom of Cyprus, and John returned fro m wanderings to die at Padua as late as 1553. 4 , The sad saga of th e Crusader ruiers of Cyprus ended when the Venetian authorities at her court in N icosia fo rced their own Queen Caterin a Cornaro to abdicate in 1489. She eventu ally died in Venice in 1510.5 Venice ruled Cyprus thro ugh military governors fo r nearly a century, until the great Gothic cities of N icos ia and Fa magusta fell to the Ottoman invaders. Cyprus was to be a Turkish possession until 4 June 1878, when the Ottoman sultan Abdul H amid II assigned the island " to be occupied and administered by England. " The rest is pa rt of modern European history.

Whoever sa lvaged th e Entombment group fro m the demolition of Sant' Ago-

2 Derail of fig. 1.

stino in Padua saved more than just a polychromed terracotta sculpture from the early oeuvre of a student of Bartolommeo Bellano near the end of the Quattrocento in northern Italy. Th e rescuers also preserved fo r modern times one of the few surviving, contemporaneous, monumental likenesses of a member of the great Latin ruling fa mily of Cyprus, the H oly Land, and the last independent area of medieval Armenia (fig. 2).

32

3 Central panel of the Hospitaller tomb from Cyprus, ca. 1468-70, limestone, 72 x 125 cm., Museum of Fine Arts, Boston.

A Late Lusignan H istorical Tomb from Cyprus, 1468-70 It so happens th at Princess Charlotte de Lusignan's Italian Renaissance sepulchral monument at Fenway Court is not the only visual document of the great Crusader dynasty of the Holy Land, Cilicia, and Cyprus in a Boston collection.

In 1968, as part of the preparation for its Centennial, the Museum of Fine Arts received a handsome gift. Five clearlyrelated reliefs, with what appears to be one continuous scene, were recognized by the late Hanns Swarzenski as coming from a Franco-Italian monument (ca.

1450) in the style of the Angevin kings of Provence and the Two Sicilies. When the material from which the ensemble had been carved was recognized in the 1970's

as Cypriote limestone, it was not difficult to reach beyond Provence (ancestral home of the Lusignans) and the Italian peninsula to Cyprus, where the knights of Rhodes first settled before (as Jerusalem was lost), and especially after, the last corner of the Crusaders' kingdom of Jerusalem fell to the followers of the Prophet on 18 May 1291. 6 How the five reliefs reached Europe and then America is not known. They were certainly removed from their setting in one of the Lusignan cathedrals or churches of Nicosia, Limassol, or Paphos (and reused face inwards as building material) when the island came under Turkish control. It is also recorded that the Venetians destroyed many masterpieces of Gothic architecture when they prepared

33

4 Left panel of the Ho pttaller r mb fr m JlOcm.

34

ypru , -1 '

5 Right panel of the Hospitaller tomb from Cyprus, 72x 118 cm.

November 1313 in Nicosia Cathedral the papal legate Pierre de la Pleine Chassaigne confirmed the Order of the Knights (Hospitallers) of St. John of Jerusalem in the grand commandery of the manor - the vast feudal estate-of Kolossi on Cyprus. 8 On the tomb the secular chain of authority is confirmed by the king at his Nicosia castle gate in front of the French-style fortified walls. Amid the banners and trappings of his authority, in the presence of his court, he hands out symbols of Lusignan royal and papal confirmation relics, scrolls, staffs, etc. - to the leading prelates of the kingdom and the military members of this order of warrior priors and monks.

In the decades before and after this tomb was carved, the sculptor or sculptors of these panels were working on the religious

and heraldic reliefs still surviving in the walls and fa<;:ades of the vast structures of the Knights of St. John of Jerusalem on the island of Rhodes, the seat of Hospitaller power closer to Europe and Constantinople. In 1441, for instance, the young sculptor (or his teacher) carved the high relief of the Virgin in Lusignan court costume holding the Christ Child on her left arm in a panel above the shield with the rectangular cross of the order and the shield of the then grand master Lastic (fig.

6). The Christ Child is also clothed like the children on this tomb. In 1477, roughly seven years after his work on the limestone reliefs on Cyprus, the master sculptor returned to Rhodes to carve another series of works, the marble panels set in the walls of several small buildings near the tower of St. Peter (fig. 7). The two

6 Relief with th e irgm as a Lu 1gn an Quee n and [he hn t hi ld, h1eld o f the o rder and o f rand la ter La tic, 1441 , white ma rble, ate o f the 1rgm, fo mficat1on o f the Knigh rs of t. john, Rhodes.

-, Relief w ith angel and tw herald1 bea ts o f rand Ma ter Pierre d ' ubu on uppo mng h1elds o f the rder, 14 / , " h1t1 h tone, eemmgl} marble, wall of a building at r. Peter' Tower, Rh d .

angel ith the c at o f a rm f the order ha e clo thing and face like th e of the yo ung attendant o n the monument fro m ypru . The Rhodi an Rena i an e culprure are lightl y tiffer th an their ypri re co unterpa rt , howeve r, inc they we re executed in a ha rd white tone and we re intended for an o utdoo r, her !die etting. 9 one/us ion Time a nd ch ance, as Sir Arthur Evans and Sir George Hill wrote, dealt ha rshly with the Lu ignan monument of yprus, e pecia ll y painting, culpture, and work of decorative art. The great Gothic ca the-

d ra l o f t. icho la in F magu ta a nd r. ophia in ico ia, a Ith ugh o nve rred ro mo que in Otto man time , have u rvived to bea r witne to what hr ni le h ve reco rded na mely the pagea ntry and wea lth of the Fren h ruler f ypru .

That two key figur l mo nument recording crucial mo ment towa rd the end o f the ru ade and the kingdom f the ruader on ypru sho uld urvive in the twin collection o f fin e a rr in the Fenway is an exa mple of what keep Bo to n an exciting city in the re-eva lu atio n of the world 's visua l pa t.

Cornelius C. Vermeule II I

36

From C. Enlart, Gothic Art and the Renaissance in

The Lusignan Kings of Cyprus

Cyprus, translated and edited by D. Hunt, London, 1987, 14.

Hugh VIII , ca ll ed Le Brun, Lord of Lusignan in Poitou died in Syriac. 11 65

I

""'....~路路路 "' I

Aimery = (2) Isabel, Queen of Jeru salem Lord o f Cyprus 1194 King 1197-1205

Hugh I 1205-121 8 born 1195 died 121 8

Henry 1 1218-1 253 Born 1217 died 1253

1180 Sibyl of Jeru salem

Alice of Champagne died 1246

( 1) 1229 Alice of Moncferrat died 1232/3 (2) 1237 Stephanie of Lam pron died 1249 (3) 1250 Plai sa nce of Antioch died 1261

Hugh II 1253-1267 born 1252/3 di ed 1267

Guy, King of Jerusalem Lord of Cyprus 1192-11 94 died 1194

Isa bel died 1264

Hu gh lll (the Great) 1267- 1284 died 1284

Isa bel of lbelin

john I 1284-1285 died 1285

Henry of Ant ioch died 1296

Henry II 1285- 1324 born 1271 died 1324

1317 Constance of Aragon 路Sicily

Isabel of lbehn died 1324

Guy Constable of Cyprus died c. 1300

Hugh IV 1324-1359 c. 1295 died 1359

Peter I 1358-1369 born 1329 died 1369

Peter II 1369-1382 born 1354 died 1382

=

Helo ise of Brunswick

""."" I"""' died 1398

Janus 1398-1432 born c. 1374 died 1432

1372 Valentina Visconti

john II 1432-1458 born 1414 died 145 8

Charlotte 1458-14 85 abdicated 1485 died 1487

(1) Mary of lbelin (2) 1318 Alice of lbelin

James I

(1) 1342 Esc hive of Montfo rt (2) 1353 Eleanor of Aragon died 1417

Eschive of lbelin

(1) 1400 Heloise Visconti

(2) 1409-1411 Charl otte of Bourbon

died 1422

(1) 1440 Medea of Montferrat di ed 1440 (2) 1442 Helena Pala eologi na died 1458 (by Marietta of Patra s) - -

James II

(1) 1456 john of Coimbra died 1457 (2) 1459 Loui s of Savoy di ed 1482

(o r James che Bastard)

1460-1473 born 1438/9 died 1473

1472 Catherin e Corn aro

born 1454 Queen 1474-1489 abdica ted 1489 died 1510

James lll 1473-1474 born 1473 died 1474

37

1 R. van N. H adley, Museums Discovered, The Isabella Stewart Gardner Museum, Ft. Lauderdale, Florida, 1981, 156-157. For the earlier literature in connection with the ensemble's position in Italian Renaissance sculpture and th e migration to Fenway Court, see C. C. Vermeule III, W Cahn, and R. van N. H adley, Sculpture in the Isabella Stewart Gardner Museum, Boston, 1977, 134-136, no. 167.

H elp an d advice have come from director _ H adley and from curator Kristin A. Mortimer.

2 Vermeule, Cahn, and H ad ley, 135.

3 Sir H arry Luke, Cyprus, A Portrait and an Appreciation, London, 1957, Nicosia, 1965 and 1973, 59-61.

4 Sir George Hill, A History of Cyprus, III, The Frankish Period, 1432-1571, Cambndge, England, 1948, 604, 642, 669- 670, 676, 1159 (Ca rlotta); 654-655, 726- 727 (removal from Cyprus); 507-609 (her death ). See also L. de Mas Latrie Histoire de L'fle de Chypre sous le regne de la Maison de Lusignan, III, Paris, 1855, 308, etc.

5 Director H adley reminded me th at a Venetian or Austrian painting (P25w41 ) in the Veronese Room at Fenway Court and dated 1550-1600 gives every likelihood of showing Caterin a Corn aro's birth and glorious future, the latter in allegorical fas hion. As Sir Philip Hendy wrote, to be future queen of Cyprus, Jerusalem and Armenia was to th e Venetians or the Hapsburgs a fa iry tale in itself. See P. Hendy, European and American Paintings in the Isabella Stewart Gardner Museum, Boston, 1974, 278-280.

6 The five reliefs (acc. nos. 6.171-175) are in the Department of European Decorative Arts and Sculpture. I first studied them wi th the late curator H anns Swa rzenski and, from the pomt of the material, with William J. Young, then head of the research laboratory. Thanks go also to the present curator Anne L. Poulet and to research fellow Nancy Netzer for permission to continue working on the monument. Also to Prof. Joan Breton P. Connelly of Bryn M_awr College and New York University for help_m identify ing the Lusignan style m freestanding, limestone statues from Cyprus. My Boston College colleague, Prof. John Rosser, who has collaborated with A.H. S. Megaw on the excavation of the great Crusader castle at

Paphos on Cyprus, has pointed me to Lusignan sculptures from th e religious structu res of that historic city.

7 Louis de Magnac, John Langstro th er (former Commander of Balsall in England ), and the estates of the Order of St. John : G. Jeffery, Cyprus M onuments, Historical an_d Architectural Buildings, n.s. no. 5, Kolossz .

Castle, N icosia, 1933, 2-3. The arms of Louis de Magnac appear hi gh up on th e castle wa ll, below th ose of Queen Charlotte and two of th e gra nd masters of the order on Rh odes. The reliefs in Boston probably fronted a mche with a plaque to the deceased and more coats of arms above.

8 See G. Jeffery, A D escription of the Historic Monum ents of Cyprus, Nicosia, 1918, Lo ndon, 1983, 375, 431-432, 444. Sir George Hill, A History of Cyprus, II, Th e Frankish Period, 1192-1432, Cambridge, England, 1948, 30, 38 13-14, and 22 . A.H. S. Megaw, who has be~n helping scholars and students of Latin Cyprus for over fifty years, suggested to me that the central scene on these reliefs could be the original donation of various lands, endowments and rights, including the grand commandery at Kolossi, to the Knights H ospitallers by the Lusignan king Hugh I in 1210. Either of the two events was stressed in retrospect in the late 1460's, with contemporary costumes and armor, because th e Knights of St. John fea red reduction of th eir rights on Cyprus as Venetian influence came to control the Lusignan court, 路 and this indeed did happen. The grand commander on Cyprus became an appo intee of the Venetian Captain-General or governor of the island.

9 The Latin sculptures of Rhodes were surveyed as they had survived the Ottoman Turkish control of the island immediately after the Italian occupation of the Dodekanese in 1912. See G. Gerola, "I Monumenti Medioevali delle Tredici Sporadi," in Annuario della Regia Scuola Archeologica di Atene e delle Missioni Italiane in Oriente, I, 1914, 169-356, esp. 231, fig. 27 (tower of the Virgin Mary); 201-203, figs. 4, 6 (reliefs with angels and the grand master (1476-1505], Pierre d'Aubusson's heraldic beasts) . Other para llels abound, but the tombs of the grand masters in the Byzantine-Latin cathedral of Saint Mary and most monuments from the palace of the grand 38

masters o n Rh odes have, o f co urse, lo ng since disappea red. The Knigh ts of St. Jo hn co ntrolled Rh o de fro m 1309 to 1522, when the Otto mans forced their removal to M alta. The grea t amo unt o f mo dern building th a t has taken place in a nd a round th e city of Rhode has brought to light mo numents of C ru ader sculpture not visible during the excava tio ns and restoratio ns o f the mo dern Ita lian era in th e Dodekanese, w hi ch la red until 1947. See in general K. Gallas, Rhodos, Cologne, 1985, esp. 99-114. On a survey made in Jul y 1986, there was a splendid relief of St. Michael on

di play in th e Archaeological Museum, a two-third lifesized ma rble pa nel with th e Archangel in co nventio nal Renaissa nce pose (unshea thi ng his swo rd while sta nding a bove th e d ragon), which mu t surely have ado rned a ga te of St. Michael at o ne time. Thi relief im medi ately brough t to mind the painted Archangel Michael attributed to Pellegrin o di Giovanni di Antonio, a Perugian acti ve aro und 1428; see A. R. Murphy, European Paintings in the Museum of Fine Arts, Boston, An Illustrated Sum mary Catalogue, Boston, 1985,

225.

39

1 Tintoretto, The Wedding Feast at Cana, ca. 1545-46, oi l on canvas, 72.5 x 94.3 cm., Inv. No. P28w16, Long Gallery, Isabella Stewart Gardner Museum.

The Wedding Fea tat Cana in the Isabella Stewart Gardner Museum

Tintoretto wa a little over twenty yea r age when a deci ive ev nt ha pp n d in hi li fe: hi meeting with Andrea hiav ne.

Born in Dalmatia, chi avo ne had reached Venice around 1535, to be ome a foll wer of Titian, and later of Parmigiani n , w ho e print and draw ing he opied for hi own enjoyment a nd education. Thi led him t the tyle of Manneri m and to play an important part in it diffu i n throughout the Venetian a rt world.

Through him the elega nt de ign and ophi ti ca ted po e of the maniera b came fami li ar to Tintor tto, who around 1542-43 abandoned hi ea rl y enth u ia m for Michelangelo' cu lprural m numentali m. The influence of chiavone i al o evident in hi choice f ma ll - ized panel uitable for the decoration of furnirure (particularly cassoni) a genre in which Schiavone excelled. In fact, the wellinformed Carlo Rido lfi recall in hi Maraviglie dell'arte 1 that the yo ung Tintoretto wa on very good term with some minor furniture painter who decorated cassoni in the Piazza an Marco, and learned their technique . But he e peci a ll y ad mired Schiavone, w ith whom he often coll aborated, even without reque ting paymen t.

A large part of Tintoretto' output in the early forties fa lls into thi category. According to Rodolfo Pallucchini the eries of cassoni with biblical theme now in the museums of Verona and Vienna may be dated 1542-44 "at the peak of Schiavo ne influence. " 2 They show a narrative attitude in the composition and a fluent linear style, with d azzling highlights at the edges of draperies, and a spirited swing in the poses. Anna Pallucchini had already also noted the presence of a narrati ve tendency which she connected to the Biblical prints of Giuseppe Salvia ti, another vehicle for the influence of maniera in Venice in the early forties. 3 Paola Rossi, in her critical catalogue of the artist, considers many

f the e pa inting by Tintoretto howing th e influence f chiavo ne to be dated 1543-1544. 4 f cour e the ea rl y literature attrib uted mo t f the e painting to chi avone him elf, and it i nly through the merit of m rem dern appreciation that they have now entered Tintoretto ' euvr .

The ea rl y indebtedne to hiavone remain point of departure for further devel pment to ard the middle of the decade, which may be een in ienna' Mucius cevola and la gow' Tutia. 5 M dern holar hip believe that only after 1544-45 did our painter develop a dire t intere tin the onception f pa e and volume mo ing away from the mere flu ncy of bru h troke of hi hiavone que pha e. (Thi may a l o be connected with iu ppe a lvia ti ' influence. ) painting like the Wise and Foolish Virgins at Rotterd am (fig. 2) may be u ed a an exam pl of thi period. 6 Tintoretto n w define hi form with a more exp re ive linear touch, and aim at th e ame time towa rd the mo t refined elegance. Hi tyle how a more direct intere t in the work of Parm igia nino, no longer mediated through the colori m of chiavone. Th e Contest Between the Muses and the Pierides in Verona a well a olomon and the Queen of heba at Greenvi lle (fig. 3) can well illu trate thi moment, which can be dated . 1545-46. 7 Another intere t-the use of architectural element -is shown at this time ; it derived from the Regale generali di architettura by Sebastiano Serlio, which had been published in Venice in 1537. The Prague and Rome paintings of Christ and the Adulteress (fig. 4 ) are good examples. 8 Now he describes his space and tells his storie in a mood that recasts the theatrical rule as expressed in Serlio: arcades, stairs, and squ ared floors mark the perspective. The narrative moment for Tintoretto is hereby

41

2 Tintoretto, The Wise and Foolish Virgins, ca. 1545-46, oil o n canvas, 70 x 88 cm., Museum Boymans-van Beuningen, Rotterda m.

3 Tintoretto, Solomon and the Queen of Sheba, ca.

1545-46, oil on canvas, 150 x 237.5 cm., Bob Jones University, Greenville, South Carolina.

42

4 Tinrorerro, hrist and the Adulteress, ca. 154 -46, 011 on canvas, 11 .5 16 cm., Palazzo Barberini, anonal Gallery, Rome.

announced a nd it gave new ub ta n e t the ma terpi ce of 1546-4 7: rhe n Marcuol a Last upper a nd rh e Washing of the Feet (fig. 5), form rl y a t ew a tleupon-Tyne. The e painting ma rk th fir t maturity of th e painter.

For many rea on deri ved from the above consideration , we believe that ur Wedding Feast at Cana (fig. 1) i of thi period with a date of ca. 1545-46.9 Fir t of all, th e size and proportions a re tho e of the cassone period, and the ryle i till linked with the Schiavone que narrative manner.

However, here the flu ency of the brush suggests a deeper involvement with Parmigianinesque elegance. In fact, many of the characters are similar to those of the Queen of Sheba, especia lly the feminine likenesses; the maids in the ba ckground of the Wedding Feast's table can well match those in the left side of the

rh r painting. nother connecti n may b made berwe n the figur of rhe rwo b a rded ld m n, one to th e right in the Queen of heba picture a nd the o ther in front of the table in rhe Gardner painting.

The both a re remini cent of alvia ri ' Biblica l print , and therefo re trengrhen the dating of the Gardner picture aro und 1545. Al o alviare que in appeara nce are the lim winging figure in the backgro und of the Wedding Feast, compared with the a me de ign in the Rotterdam painting with the Wise and Foolish Virgins.

Another impo rtant feature of the Gardner picture i the large part taken by a rchitecture. We can in fact retrace the idea of the tairs with those in a simila r po ition in the panel at Greenvi lle. At the sa me time the rabies at the mezzanine level in our painting and in the one at Ro tterdam seem linked to the sa me conception of the "scale 43

5 Tintoretto, The Washing of the Feet, ca. 1546-47, oil o n canvas, 215.5 x 533.3 cm. , Tyne and Wear Museums, Shipley Art Gallery, Gateshead. (Photo courtesy o f the Courtauld Institute of Art, London)

morte" in Serlio's design fo r the Scena tragica. The floor in the Wedding Feast at Cana is also designed with colored marble squares th at recall those in the Christ and the Adulteress at Rome: another linking element to the Tintorettos generally dated aro und 1546. Nor can it be doubted th at the fi gures in the background of the Adulteress closely resemble those of the Wedding Feast at Cana, and are painted with the sa me sparkling brush, with tiny to uches of light at the edges of the volumes.

W ith so many connections, no doubt remains about the position of the Wedding Feast at Cana in the period o f Tintoretto's production, between his early Schiavonesque infa tuation and the fu rther refinements due to Salvia ti, Parmigianino and Serlio. As fo r the attribution of the Gardner picture, we are fa irly certain of it, especially as no assistant or fo llower of Tin-

toretto could possibly have existed in those very earl y years of his life. One can only qualify this assessment by adm itti ng th at in the Gardn er panel there are parts that do not appea r highly fini hed with careful attention : most of the fi gures in the arcades look hastily de igned, delineated only in their essentia l elements; and the architectu re itself is somehow fl at and less structu ra l when compared to the Sheba or the Adulteress. Some loss of surface texture can also explain a few oddi ties in the Gardner painting, which has lost some color, especially in the shaded areas of the background . Still it seems inadvisa ble to doubt the authorship of th is picture, whose narrative fres hness and spirited touch clearly point to the hand of the master. 10 Terisio Pignatti

44

1 C. Rodolfi, Le maraviglie dell' arte, II, Venice, 1648, (Hadeln, ed., Berlin, 1914-1924), 15.

2 R. Pallucchini and P. Rossi, Tintoretto, le opere sacre e profane, Milan, 1982, 17, 20, 26.

3 A. Pallucchini, Tintoretto, II, Florence, 1969, 28 .

4 P. Rossi, "Catologo critico . . . ," in Pallucchini and Rossi, cat. nos. 36-61.

5 Ibid., cat. nos. 97, 98.

6 Ibid., cat. no. 106.

7 Ibid., cat. no. 105.

8 Ibid., cat. nos. 109, 114.

9 Ibid., cat. no. 99.

10 The painting was acquired at a sale at Boston ca. 1888 by Charles Eliot Norton, Professor of Fine Arts at Harvard College, who sold it to Mrs. Gardner on 1 April 1905.

The anribution to Tintoretto is suggested by Hendy (European and American Paintings in the Isabella Stewart Gardner Museum, Boston, 1931, 363 and 1974, 253 ), and accepted by Berenson (Italian Pictures of the Renaissance, Venetian School), London, 1957, 170), and Rossi, 147; it is doubted by Fredericksen and Zeri (Census . . ., Cambridge, Mass., 1972, 199) and refused by De Vecchi (L'opera completa del Tintoretto, Mi lan, 1970, 134). Rossi, 147 mentions a "fedele replica" (perhaps a copy) now in an unknown location.

The condition of the surface is not good, due to some thinning especially in the shaded areas and the background. Still this is no reason to doubt it as autograph, because of its obvious connection with the small paintings in the "cassoni" manner, widely anributed to Tintoretto in the period 1543-46 (see Pallucchini and Rossi, 17, 20, 26, and Rossi, 135-151 ).

45

an D k, The Rape of Europa (after Titian), ca.

1 0- 2, red and bla k pen-

al, wa h and body colour on paper, 4 40 cm., Inv. o.

P2 e 13, Titian Room, 1 abella te\ art Gardner lu eum.

A Provenance for the Van Dyck Drawing

Of all those who contributed to the formation of Mrs. Gardner's collection, one person of vital importance is seldom mentioned and that is Otto Gutekunst of P. & D. Colnaghi, the famous London art dealers. Born in 1866, he joined the firm in 1894 and soon became the managing director. It was the same year that Berenson published his first book, The Venetian Painters of the Renaissance, and reintroduced himself to Mrs. Gardner after a lapse in correspondence of five years.

When she decided, after wavering for six months, to buy the Botticelli he had offered her, it was the first of many paintings to come through the hands of Colnaghi.

In the next seven years over twenty more were sold by Berenson to Mrs. Gardner and came to form the heart of her collection. These included the three Rembrandts, the Titian and two Botticellis and the Cellini bust. Berenson's early debt to Gutekunst is acknowledged in a letter to Mrs. Gardner, in which he refers to the dealer as the ablest connoisseur, and there is no doubt that in 1894 Berenson still had much to learn.

It is therefore with some pleasure that we can establish the provenance of the Van Dyck drawing that sits on the table under The Rape of Europa as a gift from Gutekunst in his native Germany and sent to Berenson for transmission to Mrs. Gardner. Together they had sold her the Titian, which must have prompted Gutekunst to buy the small copy of it by Van Dyck. The only mention of prove-

nance is recorded in Gutekunst's letter of 18 December 1896 to Berenson in Florence: "I send also a curious find I made the other day, a drawing undo ubtedly by Van Dyck after the Europa that must have been done while he was in England and wi ll surely interest Mrs. Gardner." The question remains as to when Van Dyck would have seen the Titian, then in Spain.

A more likely suggestion is that the drawing is after the full -size copy by Rubens (now in the Prado), a painting that would have been in Rubens's studio and therefore available to the young Van Dyck.

Until the discovery of the 1896 letter 1 there was no knowledge of how the sketch came into the collection. It seems almost certain, therefore, that it was a gift from Berenson (and also, no doubt, from the silent partner Gutekunst) to Mrs. Gardner, after a year in which Mrs. Gardner had spent $200,000 in works of art with them. Most probably it was delivered when Berenson saw her at the Palazzo Barbaro the following summer. With this delightful gesture of gratitude, the connection between two great painters was coupled with that of two great connoisseurs.

Rollin van N. Hadley

1 The author expresses his appreciation to Donald Garstang and the courtesy of P. and D. Colnagh i for permission to quote from the Gutekunst lener in the firm 's archives.

47

raff members from Harvard' enter for on ervanon and Technical rudi examining the Portrait of

Tommaso /11glura1111 by Raphael ar the Gardner Mu eum.

The Portrait of Tommaso Inghirami: A Technical Examination

With the 500th birthday celebrations of Raphael in 1983 came numerous exhibitions and publications concerning the works of the master. In Italy paintings reappeared from conservation studios, having undergone in some cases longawaited cleaning and, where applicable, technical examinations. This was the case with the Portrait o f Tommaso Inghirami 1 at the Pitti Palace in Florence, which reappeared not only clean, but also reattributed to Raphael. Spurred on by this reemergence, the Isabella Stewart Gardner Museum in Boston decided to look more closely at their own Portrait of Tommaso Inghirami, which, quite apart from being an important picture in the Gardner collection, and one of only two portraits in America traditionally attributed to Raphael, was in fact the first painting generally accepted as by that artist to enter .t he country, purchased by Mrs. Gardner in 1898.

The three-quarter-length portrait depicts a rotund man in his early forties clad in a bright red habit. He is set in front of a desk covered with writing materials, pen poised. Shown momentarily in thought, his eyes are raised upwards as if about to commit important words to paper. Not only is this pose a reference to him as a man of letters in early sixteenth-century Rome, but it is also a clever device by the artist to exploit and disguise the Cardinal's infirmity, for he was wall-eyed. Tommaso Inghirami (1468- 1516) was born in Volterra. He was renowned at the Papal court for his eloquence and diplomacy, receiving many diplomatic and religious honors throughout his lifetime. He died, aged 48 , several months after falling from his mule (in Rome).2 There exist at least seven other versions of the portrait: six nineteenth-century copies and the reattributed painting at the Pitti Palace.3 The date of execution and authorship of both the Gardner and the Pitti

paintings are far from clear. No mention is made by Vasari 4 in his list of works by Raphael composed a mere thirty years after the master's death, and it is not until an Inghirami will of 1631 that word of it appears. The version now in the Pitti is first mentioned in a 1663 inventory of the collection of the Medici prince Leopold.

Subsequently this painting passed to the Uffizi and Pitti Palace, where it has stayed, save for a short period when removed by Napoleon to the Louvre (1799-1829), until today. 5 According to the 1984 exhibition catalogue Rafaello a Firenze, 6 various engravings record the Pitti painting, including one dated from the 1830's by Cesare Ferrare from a drawing after the painting by Garacugia. The engraving is flanked by a text composed by Francesco Inghirami, a descendant of the sitter. It states that there is in existence an identical painting - a "copia" -in his possession preserved from the distant past, in the house of the Inghirami of Volterra. It also explains that a portrait was commissioned from Raphael

by Pope Leo X, and that a version was given to the Inghirami family. Isabella Stewart Gardner obtained her painting directly from the Inghirami household, on the advice of Bernard Berenson, so it seems possible that the Gardner version is that mentioned in the text. Concerning the purchase there are two further points of interest. First, that Berenson managed to obtain the painting for the remarkably low price of $15,000-almost half that originally quoted.7 And second, that Mrs. Gardner as a condition of purchase was to finance a copy to be kept by the family. It transpired that this copy was unnecessary since the Inghirami already had another version in their possession. This version is thought to have been executed in 1857 and to be hanging in the Palazzo. 8 The Center for Conservation and Technical Studies at the Harvard University Art

49

breaking up the painr urfa e. The e era k appea r d rk and r e I n I e e a minati n an unu ua l gr y1 h underla er.

MAT

RIA!

up port

men .

There i exren ive a bra io n f the pa inr urface from ea rl y ha r h clea ning. The drapery ha lo t mu h f it red glaz leav ing o nl y remn ant tra pped in the gro ve o f the bru h tro ke . Thi . re ul ts in a ra ther fl at a ppea rance, reducing the ro na l va riation berween hadow a nd highlight . The hadow f the fl e h rone are al o wo rn and have been exten ively inpainted . The da rk green backgr und i thinl y painted and i now a braded, with a cracked , fri a ble a ppea rance. The flesh areas have a prono unced small craquelure,

Di tingui h ing f ature in lud a r und r d " ax ea ! a t the b tto m dge, the igni fi nee f w hich ha n t yet been determined .12

G round Layer The gro und a pplied over a ll the panel i ge o, a mixture of gy p um a nd a nima l glue a prepara tory laye r commo nl y u d

by Ita lian Rena i an e pa inter in o ntra t ro the mixture of cha lk a nd glue u ed by no rthern Europea n a rti t . Unusuall y, however, thi laye r conta in very fi n black pa rticle giving it an overall grey to na li ty.

N o typ ica lly large fragment of ha r oa l black, a pigment frequentl y used in under50

1 Raphael, Portrait of Tommaso Inghirami, 1513 (?),oil on poplar, 89. 7 x 62.2 cm., Inv. No. P16e4, Raphael Room, Isabella Stewart Gardner Museum.

2 Raphael, Portrait of Tommaso Inghirami, 1513 (?),oil on poplar, 89 .5 x 62.3 cm., Galleria Palatina, Palazzo Pitti, Florence.

drawing, were located. The particles appear more like lamp black or soot.

Paint Layers

The flesh tones consist mainly of lead white. Toward the top layer and on the surface are greater or lesser quantities of vermilion (an opaque red pigment), earth pigments (various tones of brown), and red lake (a transparent red pigment frequently used for glazing).

The red clothing is composed of a more complex series of layers: first the grey gesso, followed then by a lead white layer that is slightly yellowed-possibly due to a discolored oil medium. This is succeeded by an orange-brown layer, a mixture of lead white, earth pigments, and an occasional fragment of vermilion. These three layers extend throughout the jacket and cap, including the region underneath the pen. Partially embedded and above this layer are large black fragments similar to charcoal black which may be part of an underdrawing. Above this is a strong red layer, a mixture of coarse ground vermilion (typical of hand rather than machine grinding) and red lake, the proportions of which vary depending on the tone required, and finally a rich red glaze. In areas of dark shadow the vermilion and lake mixture has been omitted, the glaze having been applied directly to the orange-brown

underlayer. The brush-texture in the vermilion-based layer has been used fully, following folds of the cloth as it lies over the bulk of the human form.

The background has no obvious pictorial design although the direction of the brushstrokes would seem to suggest a curtain or drape behind the sitter. The layering is comprised of the grey gesso, the discolored lead white layer, and two dark brown nebulous layers. The first has indistinct dark particles surrounded by a brown medium, and in the upper layer there are localized areas of green. Analysis shows copper to be present and the somewhat indistinct nature of these areas is typical of partially dissolved copper green pigment. This has been mixed with terre-verte (a pale green pigment) and brown earth.

Whitish-green particles seen on the paint surface may have been exposed and blanched by cleaning.

The brown table top is a mixture of earth pigments and black. Similar green particles to those seen in the background are visible in the design along the desk edge.

Here a mismatched crude black paint has been applied at a later date to reinforce the pattern.

The yellow design on the bookstand is a natural yellow ochre mixed with lead white. In one sample an ochre of remarka-

51

ble purity, not unlike a mars yellow (a synthetic yellow earth introduced in the late eighteenth century) was detected. It seems likely that the design in this area was also reinforced at a later date.

There is extensive use of the red lake throughout the painting; for example, in Inghirami's scarlet robes, in the shadowed background beside the bookstand and over the pale body color rendering the pink background of the yellow design.

This is also the case with the copper green pigment, found mixed with black for the inkwell, and applied as a thick glaze for the darker shadowed side of the bookstand. In general the technique is characterized by a body color that is textured with brush strokes, the tone then being modified by surface glazing.

DISCUSSION

The results from the analysis of the painting materials and technique can be weighed both for and against an attribution to Raphael. In an effort to discuss the evidence objectively, conflicting interpretations of the data are presented.

The panel construction and materials of the Gardner portrait are typical of the early sixteenth century and correspond closely to other Raphael portraits. All the pigments identified were readily available at that time and have been located in known Raphael paintings, with the exception of the mars yellow, which is considered a later restoration. It should be noted that all the pigments are also available today, but with the advent of machine grinding and chemical precipitation in the late eighteenth century came a marked change in particulate character, producing very fine and impurity-free dry pigment.

The large particle size of the vermilion and the presence of impurities in the earth pigments are therefore indicative of an earlier period.

The one major anomaly is the presence of the grey ground. It is not at all clear whether this was a deliberate move on the part of the artist or whether it was simply an adulteration of the white gesso. The artist seems to have made little use of its tone. In fact, the application of a lead white layer directly on top of it, the thickness of the flesh painting, and the relatively complex layering of the clothing would suggest quite the opposite. One also wonders how grey the gesso layer was originally: has the heavy wax impregnation significantly increased its blueness and turbidity? In terms of known Raphael paintings, there is no published data illustrating such a grey layer. Furthermore, I have not been able to locate another similar example used by other artists at that time or later. Other grey grounds identified have been made up of a white gesso layer followed by a thin application of charcoal black (characterized by large jagged particles easily seen at low magnification), or gesso followed by an application of lead white mixed with carbon black. These have been more prevalent in the second half of the sixteenth century and the seventeenth century. The actual mixing of the black with the gesso and the very fine nature of the black particles appears to be very unusual.

The general buildup of the paint is typical of the early sixteenth century. The artist has clearly used a technique of body color with further glazing typical of the period.

With regard to the flesh painting, it is clear from the X-radiograph 13 that the application of lead white was fairly thick, the texture of the brush strokes being fully utilized to describe form. Typically one might expect the whiteness of the ground to be used in these areas, modelling being obtained by glazing directly onto this layer and only the lightest areas being accentuated where necessary. X-radiographs of works by Raphael show this method in many of his paintings, for example, St.

52

Derail of fig. 1.

that the orange-brown layer was itself a means of locating the design. In the flesh areas detection may be prevented by the thickness of the lead white paint application. The portrait of Julius II in London exhibits a similar lack of underdrawing.15 H ere, like the Gardner picture, the paint is thickly applied and the layering complex.

Two areas of design alteration were determined: the position of the hat and the forefinger of the proper left hand. Pentimenti are a frequent occurrence in many works by Raphael; although there are those that do not exhibit alterations. There is also an area to the left of the head, where the craquelure appears to be inpainted with a bright red paint. It is possible that this red paint extends under the green glaze, but two cross sections taken from the region showed no red layer. Whether or not the red is part of an earlier design has not yet been concluded.

Catherine of Alexandria (National Gallery, London); however, there are also examples where the paint has been applied thickly. The most significant of these is the Portrait of]ulius II (National Gallery, London); 14 here the thickness is due to major alterations by the artist. In the case of the Gardner portrait the thickness may have been exaggerated in an attempt, as previously mentioned, to cover the grey ground.

As to an underdrawing, it would be extremely unlikely for a painting of the period to have no preliminary sketch.

Most Raphael paintings that have been examined show this clearly, either by the evidence of a charcoal drawing, a painted sketch, or incised lines. In the case of this portrait, the presence of the orange-brown earth-based layer underneath the clothing would make it difficult to identify charcoal with infrared techniques. The large black particles observed in the cross section therefore could, as previously mentioned, be part of a charcoal line. It is also possible

COMPAR ISON OF THE PITT! AND GARDNER PORTRAITS

The published technical data for the Pitti portrait is limited and selective, 16 however, it is interesting to compare and contrast briefly that which is available with the results from the Gardner panel.

The paintings are remarkably similar.

From a purely visual standpoint the only obvious difference is in the treatment of the disfigured left eye. The deformity is more pronounced in the Pitti painting.

The state of preservation of the Pitti panel seems to be worse, major structural work having been undertaken during the recent restoration.

In terms of materials, both supports are poplar with nearly identical dimensions (within 2 mm). Each is comprised of two members tangentially cut, although the join of the Pitti panel is more central. In contrast to the Gardner painting, the Pitti portrait has the traditional plain white

53

Detail of fig. 1.

gesso ground, but in both cases the initial preparation is followed by a lead white imprimatura layer. In the background of the Pitti panel the now-discolored copper green glaze has been applied onto a body color of lead white and verdigris rather than directly onto the lead white. 17 This gives it a much richer tonality.

Examination of the Pitti painting with infrared has revealed extensive underdrawing in the flesh areas and clothing. 18 Although data concerning the pigments and paint strata in these areas has not been published, this would imply a different procedure from that of the Gardner portrait: possibly a thinner application of lead white in the flesh and the foregoing of the earth-based underlayer in the drapery.

We were fortunate to have an early Xradiograph of the Pitti panel in the Fogg X-ray collection. The differing exposure times and the presence of a lead-white based marble pattern on the reverse of the Pitti panel reduced definition, making comparison difficult. It did, however, enable the size of pictorial elements to be compared. The individual hands are almost identical, but their juxtaposition is different: the Pitti hands are rotated by approximately twenty degrees with respect to each

other. The face in the Gardner portrait is 2 cm. longer, as is the pen handle. The very dark areas on both the X-radiographsthe shadow of the cuff (proper left hand), the pen handle, and the shadow on the open page-are of interest. Here the technique in both versions has not been simply to glaze down a light body color but to leave an area uncovered, glazing directly onto the lead white underlayer or, in the case of the pen in the Gardner painting, onto the orange-brown underlayer.

Brush strokes can be seen to progress around the pen handle in both cases.

The Pitti painting has pentimenti around the ink well and the bookstand but not in the area of the cap. Both show a similar area of confusion around the forefinger of the proper left hand, identical brush strokes progressing around the finger tips and shadowing beneath the fingers. The X-radiographs illustrate an important point. The paintings are not simply a tracing of one from the other; they are not exactly the same, but are so remarkably close that one must surely have been painted in front of the other.

The information from the text on the Ferrare engraving, as mentioned earlier, would seem to give a plausible explana54

tion for the existence of the two portraits.

On stylistic grounds however, it can be argued that the date of execution is earlier than the generally published date of 1513.

The painting is more in keeping with Raphael 's work from aro und 1510 but this date would unfortunately prec~de the appointment of Pope Leo X in 1513.

CONCLUS IO N

The data th at has been published concerning th.e materials and technique of Raphael 1s limited. Most of the paintings examined have been of religious subjects. Such subject matter is likely to have been more influenced by traditional techniques than portraiture, which may have allowed more freedom and innovation on the part of the artist. As such, direct comparison of data

Acknowledgments I would like to thank the fo llowing people from The Center for Conservation and Technical Studies: Gene Farrell and Paul Whitmore of the analytical lab for all their help during the technical examination of the portrait, and Kate O livier, Teri Hensick and Martha Dav idson for their help in writing this paper.

1 Rafaello a Firenze: Dipinti e disegni delle collezioni fiorentine, Palazzo Pini, Florence, 1984, 134-143, 256-260.

2 R. va n N. Hadley, "Tommmaso Inghirami," Fenway Court, vol. 1, no . 6, M ay 1967, 41-47.

3 Rafaello a Firenze, 141; R. van N. H adley, ed., Th e Letters of Bernard Berenson and Isabella Stewart Gardner, 1887-1924 Boston ' ' 1987, 119.

4 G. Vasari, Le vite de' piu eccellenti pittori, scultori e architettori, III, ed. Blashfield and Hopkins, London, 1897.

other than that from portraiture may not be useful.

Technical exam ination alone could never categorically prove either portrait version to be by Raphael, and until further documentary evidence is fo und, viewpoints concerning authorship will continue to rely on considerations of style.

The examination of the Gardner portrait, however, has shown both materials and technique to be feasible for the early sixteenth century. It is hoped that this project will add to the pool of information available, a nd, as more research is undertaken allow further in-depth comparison with ' known works by Raphael.

Jacqueline R idge

9 ]. Ridge, A Technical Examination of the Portrait "Tommaso lnghirami" attributed to R aphael, Isabella Stewart Gardner Museum Boston (unpublished, Center fo r Conservati~n and Technical Studies, H arvard Universiry Art Museums), 1988.

10 Conservation record, Isabella Stewart Ga rdner Museum.

11 Conservation record, Isabella Stewart Ga rdner Museum.

12 P. Hendy, European and American Paintings in the Isabella Stewart Gardner Museum Boston, 1974. ' 13 X-radiographs executed by the Museum of Fine Arts, Boston, 1982.

14 C. Gould, Raphael's Portrait ofjulius II, The Re-emergence of the Original, London, 1970.

5 Rafaello a Firenze, 138.

15 J. Pl esters, Technical Aspects of Some Paintings by Raphael in the National Gallery, London, Raphael Symposium (Princeton, 1984), forthcom ing.

6 Ibid.

16 Rafaello a Firenze, 256-260.

7 H adley, Th e Letters of Bernard Berenson and Isabella Stewart Gardner, 119.

17 Ibid.

8 Ibid., 130.

18 Ibid.

55

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

Report of the President

During the year, Mason Hammond retired as a Trustee at the age of eightyfive. He has served on the Board fo r twenty-two years, and during that time has bro ught to the M useum the wit, wisdom and intellectu al integrity of an outstanding classical scholar; he has asked the questions the rest of us wished we had asked; he has given renewed life to the civilized habit of communicating with one another by letter; and the prospect of his company has made us anticipate our meetings with pleasure. Fortunately we won't lose him, since he has consented to become a Trustee Emeritus. Mason is still a young man and he will continue to endow our meetings with good ideas.

because we are taking a hard look at what will be needed for the futu re governance of the M useum. The great collection and its magnifice nt setting are unchanging and must be preserved indefinitely. Past reports already have described the new, behindthe-scenes, facilities that are so urgently needed fo r th e proper conservation of the collection and the efficient conduct of Museum operations. Under the leadership of the curator, Kristin Mortimer, and James Terry, a Trustee, a careful and detailed analysis has just been completed of the scope and costs of the conservation program we will need. A similar analysis of future plant maintenance requirements will soon be under way.

So far we have not filled the vacancy caused by M ason's retirement, mainly

Such studies are essential to getting a comprehensive picture of all the M useum's

Founder's Day dinner in the cloisters.

58

A view of the arly Itali an Room.

needs, and to setting priorities and budgeting in a systematic and businesslike way.

They have already given us a better defined view of the conservation costs we face beyond what we need for new facilities.

They also emphasize vivid ly what we were coming to realize before the studies were begun-th at the future welfare of the Museum w ill require a greatly increased level of participation in Museum affairs by Trustees and other advisors, both in terms of close connections with Museum operations and raising financial support. At present a Special Committee, composed of Trustees and members of the

Advisory Committee, is considering what kind of governing body can best serve the Museum 's needs, and w ill make recommendations for a revised arrangement.

The departure at the end of the year of Caroline Standley, our development director, left us with a vacancy that will be hard to fill. She made many friends in the Museum and for the Museum, and the Membership Program flourished under her skillful guidance.

Early in February 1988, Linda H ewitt, the assistant director, announced that she would like to leave at the end of August.

59

She has served the Mu eum since 1965, first as a docent, then as curatorial assistant, then assistant to the directo r, and , since 197 5, assistant director. Linda now want to try a new kind of work w hile she is till yo ung; this is understand able, but it certainly is not what anyone o n the raff, the Boa rd, or the Advi ory Com mittee would have wi hed . Everyone who ha worked with Linda knows how heavily the operation of the Museum ha depended o n her experienced, effecti ve, clea r-headed, but always gentle, management of its affa irs.

The publication during the yea r of The

Letters of Bernard Berenson and Isabella Stewart Gardner, edited by o ur directo r, Rollin H adley, was an impo rtant event not only for the Museum, but for the whole world of museums and art history

as well. It is not eno ugh to ca ll the book a prodigious work of schola r hip o n the part of the editor, which indeed it is; it is also a book to read for plea ure, becau e the letter trace th e drama ti c interplay between two exciting cha racter , with a upporting ca t of interesting and often fa milia r fi gures.

These are time of hea lthy ferment and cha llenge fo r a Museum that fo r decades was able to wing comfortab ly along on the inco me of it endowment. The staff, the Advi ory om mittee and the Tru tee a re co ming up with new idea , a nd it eem evident th at although the co llection is un changi ng, the organization i m no danger of tagnatio n.

Malcolm D. Perkins

The Annapol is Brass Quinter play ing ar rhe members' H oliday o ncert.

60

Report of the Director

The year just passed was of such diverse dimensions that a single descriptive adjective cannot be found. It began with an extravaganza that surprised many of our friends and made many new ones. WCVB Television (Channel 5 ) came for the evening of 2 February to broadcast live, for an hour and a half, the program Chronicle in celebration of its fifth anniversary. The program attracted a score of fa miliar names, including M ayor Flynn and Governor and Mrs. Dukakis. The staff, Trustees and Advisory Committee were represented and the director appeared on the program in a brief interview.

With less fan fa re but more national exposure, the Museum was opened fo r those attending the College Art Association Annual Meeting in February and the New England Museum Association meetings in October. In June, for the Association of

1

Art M useum Directors, a dinner was given in the cloisters, following a reception at Green H ill through the kindness of M r. and M rs. George P. Gardner, Jr. A high point for the Members' calendar is the celebration of Mrs. Gardner's birthday. This year, Eiji Oue, one of the country's p rominent young conductors now with the Buffalo Symphony, brought a special orchestra to Fenway Co urt with five soloists. At the M emorial Service held in the Chapel, Father Mead, Rector of the Church of the Advent, conducted the service and a small Advent choir, under the direction of Edith H o, sang the Latin M ass . In recent years, a modest breakfas t has been offered in the Dutch Room following the service and the director has led a to ur of the galleries.

In the regular schedule of 125 concerts the Museum audience was entertained and

The Museum's entry at the ew England Flower Show.

61

educated, and young musicians were given much-needed opportunities for perfo rmance. Among them were a series of winners and fin alists of the Na umburg International Competitions, a chamber orchestra of fo rty-five musicians playing Beethoven's Seventh Symphony, and a group of native American singers and dancers. As we now have two Steinway pianos that blend perfectly we began a series of programs of seldom-heard music, including some wonderful transcriptions of the Bach Brandenburg Concertos and Strauss's Till Eulenspiegel. To introduce the Dowd harpischord given last year by Dr. Robert Barstow, a new series was started allowing the harpsichord to be played in solo concert as well as with a variety of other instruments. The Museum also established an in-residence program and a group of musicians calling themselves O ngaku (the Japanese word fo r music) was engaged to present seven concerts of unusual music for clarinet, string quartet and piano. O ne program included a commissioned work by David Alpher for clarinet and piano.

A number of gifts large and small gave a boost to our aspirations and plans. Besides the great generosity of contributors to our capital program, noted elsewhere in the book, the greenhouses received desirable specimens from Mrs. Evelyn Bartlett, Mr. and M rs. Gordon Morrill and the estate of Mr. and Mrs. Stephen Wheatland.

Other gifts to the archives are recorded in the curator's report.

To our good fo rtune, the Museum was recognized by grants from the M assachusetts Council on the Arts and Humanities, the Boston Arts Lottery and the Institute of M useum Services. H onors were bestowed on the ga rdeners for their excellence in matters horticultural-most notably in the New England Flower Show where they received a first place and bronze medal with a cultural certificate

fo r the overall quality of the plants, as well as the John S. Ames Trophy fo r plants of outstanding horticultural interest. The greenhouse staff participated in the Boston-Fenway programs, particularly in the upkeep of the Evans Way Park and the summer p rogram in the Fens, while other staff members pitched in with the planting of daffodils beside the M uddy River where they will be seen this spring by visitors emerging from our fro nt door.

Within the Museum, a new computer system was installed, replacing two aging machines with six new work stations, a central printer and publishing capability.

This spelled the end of our flatbed press and hand-set type, but has p rovided greater flexibility. The security chief, with the help of an outside consultant, made plans for a modernized electronic system,

62

Guests being greeted on their arrival at Green Hill fo r the Association of Art Museum Directors' reception and cockta il pa rty.

Flamenco guitarist Sabicas.

led to believe. Leakage during construction caused disruption and some damage; as I write the final assessment has not yet been made.

In the life of any organization, certain staff members stand out in the minds and memories of those who have worked alongside them. Over a long stretch of time, Linda Hewitt has given a great deal of herself to the Museum in positions from curatorial assistant to assistant director. No single person has meant as much to so many colleagues in the decades just passed, and I join the rest of the staff in offering her every good wish for the years to come. Her title may go to someone else, but her position among us will remain unchanged as long as memory serves.

large enough to cover planned expansion.

With the appointment of a training officer, emphasis was placed on training in the guard ranks, and a VCR monitor was purchased in order to show training films.

A guard exchange program was carried out with the Hood Museum at Dartmouth with a view to providing wider experience.

More will be done along these lines next year.

The recurring problem of leaks in the Tapestry Room and Little Salon was addressed in July. In consultation with the architectural firm of Stopfel Associates and the contractor Walsh Brothers, work began on the Tapestry Room chimney in October, and, when that was completed, on re-roofing the Tapestry Room. Both projects were more complicated and more costly and hazardous than we had been

Michael Finnerty came to the Museum in 1952 and was the silent master of the tradesman's skills. He spent many years with a paintbrush in his hand, often in obscure corners and in difficult positions.

Hardly a wall did not receive his loving care, and his energy and dedication were a great asset that will be hard to replace.

At year end Caroline Standley resigned. In her short association with the Museum she was a very popular addition to the staff and contributed to a number of our projects, particularly raising membership activity to new heights. She will be greatly missed.

The year started with the anticipation of a broad search to find new sources of capital, and ended with a very thoughtful re-appraisal of our goals. Efforts by Trustees and staff and the good will exhibited during this year are to be greatly admired. Believing that the Museum deserves the best, we eagerly look forward to the results of work begun in 1987.

Rollin van N . Hadley

Staff Changes

Resignations were accepted from Jill Abatemarco, Museum Shop assistant, Ann Billings, gardener, Eliza beth Brill, Museum Shop manager, Lois McKitchen Conroy, cafe and catering supervisor, Marie L. Diamond, docent, M ichael Finnerty, shop technician, Randall Gay, assistant chef, Suzanne LaRocca, cafe supervisor, Rebecca M acwhinnie, assistant cafe supervisor, Yvonne Mercer, maintenance, David M oss, security fo reman, Sylvia Yount, administrative assistant, Mary Alice Caroll, Brett Shuster, music assistants, Loren Bouchard, Liza Del Gatto, James H artman, John O'Shaugnessey, Geoffrey Rockwell, Scott Walt, watch, Lorraine Cillo, Deborah A. Field, Timothy Gosnell, Paul Goss, Alfred H azoury, Allison Jean Line, Anthony Lobosco, Lawrence Shertzer, Denis Sullivan, Hilary Taub, guards, Elizabeth Busky, Susan Gehle, Emily Moll, Despina Papoulidis, cafe.

H enderson, gardener, John Hughes, maintenance, Colleen Jesaitis, assistant cook, Anna T. McCain, secretary to the director, Susmita Parij a, hostess, Richard Wehler, head cook, Robert Weise, security supervisor, Trudi van Slyck, music assistant, Phyllis Wentworth , Museum Shop assistant, Phillip Gillis, Mary Hughes, Peter Kearin, M ary Jo Kenny, John O 'Donoghue, watch.

Employed on restricted schedules were M artine Bernard, Jeremiah Crowley, Joseph H odnick, Stuart Krusee, Tracy M acM ath, Scott Melchionda, Pasquale M orano, Suzanne Najarian, Julie Picard, Kathryn Roberson, guards, M ichael Conroy, Deborah Davidovits, Joseph Dellea, Katherine Finneran, Jennie Laitala, Christopher Pouilot, Allison Tsoi, and Joseph White, cafe.

Engaged fo r regular duties were Marc Bruner, Museum Shop manager, Susan Buck, project coordinator, environmental survey, Nancy Buschini, assistant, objects, Paul Cheverie, maintenance, Kathleen M .

Davis, education coordinator, Patricia H anley, cafe supervisor, N ina Salem64

Report of the Curator

The past year must be noted principally fo r concerted efforts to ensure the longterm well-being of M rs. Gardner's legacy.

The entire collection care staff has been involved in seeking to achieve comprehensive assessments of the condition of the collection, of the structure of Fen way Court itself, and of the Museum 's environment. Surveys and studies undertaken in 1987 were intended to address these maJOr concerns.

Prof. Philipp Fehl studying x-rays o f the R ubens portra it with the curator.

First, though, other more specific accomplishments during th e year in the labs,

the archives, the galleries, and the M useum Shop may be noted. In addition to the ongoing program of treating, rematting and reframing works of art on paper, the conservator readied several origin al watercolor renderings by the M useum 's architect, W illard T. Sears, for the autumn special exhibition; obtained a grant from the Massachusetts Council on the Arts and Hu manities fo r the manufacture of protective storage boxes fo r M rs. Gardner's travel and guest books; and oversaw the installation of new window shades in the Macknight and Tapestry Rooms as

cc

well as the trial placement of solar window film in two other locations.

In the textile workroom, five major tapestries either received continuing attention or were prepared for conservation pending available space, and several upholstered and embroidered pieces were treated. Other projects included exam ining and documenting all upholstered furniture during the SPNEA survey (see below); supervising the replacement of faded damask wall panels in the Titian Room (services kindly donated by Soft Walls Associates); reinstalling two Italian copes (T27w29 and T27w30) in the Long Galle_ry; and stabilizing the fragile velvet hangings (T16n2-s and T16n9-s) in the Raphael Room.

The objects conservator and her assistant treated a variety of three-dimensional pieces, some examples being two eighteenth-century leather armchairs from the Dutch Room, the fragment of a sarcophagus relief with Achilles Taking Leave of Deidam eia from Green Hill (now mounted in the special exhibition corridor), the Roman mosaic and Egyptian Horus Hawk in the Court, the Bordeaux portal in the east cloister and a ' number of small metal obj ects {n the Long Gallery.

Visitors to the arch ives and requests for permission to examine or publish material kept the archivist as busy as ever; the correspondence, photographs, di aries, manuscripts and books continue to aid in historical and art-historical research and to yield new and useful informatio n.

Welcome additions to this repository were photocopies of letters in the Special Collections, H arvard Law School Library, from Mrs. Gardner to Oliver Wendell Holmes, Jr., and of two H olmes letters in which she is mentioned. A noteworthy gift was that of documents connected with Sargent's sale of El ]aleo to Thomas Jeffer.son Coolidge, who later gave the painting to Mrs. Gardner. It was Coolidge's great-granddaughter, Dr. Catherine Lastavica, who very kindly donated the papers to the Museum.

The third. Boston University Symposium on the History of Art was held in the Tapestry Room in March; once more it proved to be a lively forum for graduate students in all fields of interest. Special exhibitions in 1987 were: Selected Drawings from the Collection, which featured this small but distinguished group ; Bos-

Finally, several paintings were treated or analytically examined in 1987. The major event was Alain Goldrach 's conservation of Paris Bordone's Christ Among the Doctors, a highly complex task that he brought to successful completion. Botticelli's Tragedy of Lucretia and Giovanni di Paolo's Christ Among the Doctors were consolidated ; Rembrandt's Christ in the Storm on the Sea of Galilee was revarnished, Rubens's Earl of Arundel and Giotto's Presentation in the Temple were x-rayed; and the portrait of Count Tommaso Inghirami underwent a wood identification and pigment analysis (see article on page49 ).

Stagi ng fo r repairs to the roof and chimney of the Tapestry Room.

66

Paris Bordone's Christ Among the Doctors being re-hung following conservation.

ton's Mrs. Gardner; and Fenway CourtEvolution and Change: A History of the Building from 1898 to 1987, which included proposed plans for expa nded conservation, office, and other supporting spaces. For two exceptional occasions, works were loaned from the ga lleries.

Raphael's Papal Procession (Short Gallery, l.l.r.12) went to the Morgan Library for the exhibition of drawings by that artist and his circle, and Rembrandt's Christ in the Storm on the Sea of Galilee went to the Museum of Fine Arts for a symposium on the artist's ea rly period. These loans and associated pursuits were of significance in keeping abreast of scholarly opinions on the collection.

The Museum Shop lost one able manager, Elizabeth Brill, but gained another in Marc Bruner, who joined the staff in November. Three posters, including a new view of the Court, were added, as were four slide packets, a publications brochure, and a revised Guide to the Collection. Two awards of merit, for Tex tiles/Isabella Stewart Gardner Museum and for Fenway Court 1985, were received from the AAM Museum Publications Competition.

Interns and volunteers for the year helped in all areas: Martha Bernholz, Susan Buck, Nancy Buschini and Ingrid Neuman (conservation): Carol Losos (administration and collection care); and Susan Spaulding (archives). Our heartfelt thanks to them.

The level of staff attendance and participation in professional conferences relating to care of the collection was especially high, but the focus must return to the steps taken toward long-range planning mentioned at the outset. Three of these steps comprised detailed condition surveys - of furniture, of obj ects in genera l, and of paintings. Although monitoring for changes in condition is a normal part of the conservation staff's routine, in the case of objects the sheer number and the variations in size, location and media have made this routine difficult. Thus condition reports on all sculpture, decorative arts, and architectural elements were initiated, and the results are being entered into a computer database. All paintings were surveyed with the advice of Alain Goldrach, and the Museum staff began a monthly monitoring program for them, an important precaution until such time

67

as studio space for an in-ho use paintings conservator can be added. Robert M ussey and Elizabeth Lahikainen, furniture and upholstery conservators of SPNEA, perfor med a similar service for the Museum 's 465 pieces of furniture, a significant part of the collection neglected in the past in comparison to paintings, sculpture and textiles and now approaching the need fo r concentrated attention.

th ro ughout the galleries, from hygrothermographs to blue-wool textile fading cards to pin inserts for calcu lati ng wood movement in selected objects. Of the outside consultants ca lled in for their specific knowledge, specia l mention should be made of Dr. Nathan Stolow, who helped develop the strategy and who will be involved with fin al analysis of the data.

The fourth step, closely related to and partly overlapping w ith the condition surveys, was the launching on 1 October of the yea r-long, IMS-supported environmental study. Meant to measure th e impact of the climate within the Museum on the longevity of the collection, it has been designed to ascertain the effects of: changes in temperature and relative humidity ; light levels, both visible and ultraviolet; water movement in the courtyard ; visitor wear and tear; maintenance practices; air pollution ; and insects and pests. The Museum 's conservation staff, with help from security, has begun monitoring these factors by a combination of recording equipment and procedures

These overviews should prove instrumental in determining furth er steps that can be taken toward clim ate control; in setting priorities for treatment of works of art and for building repairs such as those described in the Report of the Director for 1987; and in allocating financial resources.

In this last regard, the conserva tion cost analysis noted in the Report of the President has been most timely, and will no doubt provide a model for maintaining the highest quality of care fo r the collection , and a balance in weighing increasing needs of the Museum as a whole.

Kristin A . Mortimer

68

Pro;ect Explore parricipants with their Black Achiever sponsor and the Museum's education coordinaror.

Report on Education

" For the education and enjoyment of the public forever." With these words, Mrs. Gardner committed her museum to a purpo e that it has ta ken up with renewed vigor.

Although tours with docents have always been popular with both children and adu lts, efforts to serve the school popul ation better, especially in Bosto n, have met with only limited success until recently.

Now, building on severa l years of careful program planning with the part-time education advisor, the Mu seum has taken another important step by hiring the first full-tim e education coordinator in its history. Kathleen M. Davis joined the staff in July. She now organizes the Museum's education progra m with the advice and assistance of the education advi or.

In 198 7, the Museum bega n its second year of Friday Mornings at the Gardner Museum. This progra m, offered without charge to sixth graders in the Boston Public Schools, focuse on both academics and aesthetics. It corresponds to the

tudents' social studie in the areas of lassica l Myths, the Middle Ages and th e Renaissance, a nd has strong support from thei r vi ual arts program. The Museum staff trains teachers and supplies them with materia ls to prepare th e children before they come. During each visit of one and a half hours, the children visit the ga lleries with a docent, a nd then sit aroun d the Court to draw. On thirty Friday mornings, the Museum welcomed 1,193 student from twelve Boston Middle School .

A key to our education program is the en thusiasm of the teachers. We have had severa l wo rkshops for them both in the Museum and at th eir schools and the March meeting of th e Museum Educator's Roundta ble was held at the Gardner. As word of this progra m spread, we received many reque ts from schoo l y terns outside of Boston . Afternoons at the Gardner i now offered to these schools and to non-academic groups for a modest fee .

The other major program for yo ung people sponsored by the Museum is Project Explore, in collaboration with th e Black Achiever Program at the Boston Y.M. C.A. Black professionals volunteer their time to make three visits to the Gardner w ith the same group of fi ve to seven students who have been chosen by their schools. During these trips they learn about the collection and meet the staff while going behind the scenes in the conservation laboratories, the greenhouses, and the photography studio.

This has been a year of consolidation and of planning for the future. We have received much encouragement from students and teachers, as well as generous grants from the Boston Arts Lottery and the Barstow Fund. Our intention is to build a few well-focused programs of high quality that will serve a broad constituency.

69

Membership Program

Since its inception in 1979, our Membership has been a cornerstone for the Museum, and in 1987 the program continued to offer a wide range of activities. Growth this year continued at a steady pace, especially with new members at the higher levels. Enthusiasm for programming was reflected in greater attendance at almost all membership events. And corporate support nearly doubled!

The 198 7 Annual Appea l, for gifts over and above mem bership contributions, focused on special conservation needs, and the response was particularly heartening. Additional support came this summer when the Museum was na med a beneficiary of the estate of Gladys F. MacDonald. Finally, the Museum is most grateful for contributions made to the Capital Program in 1987; we hope this is only the beginning.

The entire Advisory Committee, under the chairmanship of Mrs. Gordon F. Kingsley, deserves special thanks for its support and advice. Mrs. Kingsley and the Committee helped to introduce many new members and continued to build stronger ties with some familiar friends.

Uncommon Europe, a tour of rwo weeks developed and led by Peter La uritzen, introduced three important centers of the Holy Roman Empire, the cities of Prague, Dresden and East Berlin. The history and art of the three distinct principalities, as they became, were well worth the rigor of travel in central Europe and the weather and accommodations proved felicito us.

The trip was a joint undertaking with the Princeton University Art Museum and everyone agreed that the arrangement was so satisfactory that we look forward to doing it again in anoth er part of the world .

Closer to home, a nd in addition to the lecture series, highlights of 198 7 included a tour of Mt. Auburn Cemetery and our two big musical events. In Apri l, condu ctor Eiji Oue for med an orchestra ;:o perform at the annual Founder's Day Concert and in December, the Annapolis Brass Quintet played at our H oliday concert.

The director of develop ment/membership, Caroline D. Standley, left at year's end to pursue other interests. Caroline's energetic efforts on behalf of this department and the Museum as a whole will be sorely missed.

Calendar of Events 1987 On a tour planned by the Museum staff and offered exclusively to our members, sixteen persons accompanied the director and curator to southern Cali forn ia in January for ten days of unusual sightseeing. Besides seeing the museums of Los Angeles and Santa Barbara, the group visited three private collections and spent a weekend in Palm Springs.

70

Sir Jo hn Pope- Hennessy next to Christ Among the Doctors

by Giova nni di Paolo.

M ay 9 Greenhouse ale f r member .

M ay 16 pring Tour of Mt. Auburn u a n incla ir, archi vi t.

emetery

eptember 7-21 Uncommon Europe: tour for member .

A member o f the Ki cking Woman Singer fro m Browning, Mo nta na performing a Blackfoot India n dance in the Tape try Roo m.

Jan uary 9-18 Members' Tour o f Los Angeles February 18 "A Piling of Pelion on O ssa ": The renville L. Winthrop Collection at Harvard Edgar Peter Bowron, director, H a rvard University Art Museum .

February 28 Members ' Gallery Talk on the pecial exhibition of elected drawing from the collectio n .

Karen E. H aas, assistant curator.

March 25 Giovanni di Paolo of Siena Sir John Pope-H ennessy, art historia n.

March 30 New Members' Welcome, o ur twice-yearly introduction to the collection and the greenhouses.

Ap ril 9 Founder's Day Concert and Reception Eiji Oue, conductor.

April 14 Memorial Service April23 From Bloomsbury to Boston: Recent Garden Designs Sir Peter Shepheard, landscape architect.

eptember 23 Mary, Queen of cots, and the American onstitution: a Tudor lllum inated Manuscript at Fenway ourt Da vid ta rkey, lecturer in Hi to ry at the Lo ndo n h ol o f cono mi .

Octo ber 14 The Medici as ollectors of Dutch Paintings M a rco hia rini , directo r, Gall eri a Palarina, th e Pitti Palace, Florence.

Octo ber 24 and December 2 Members' Gallery Talk o n the pecial exhibition on the hi tory of Fen way ourt.

Ka ren E. H aa , a i rant curator.

October 26 Benefactors ' Evening Cocktai l in the Cloister , dinner in the Dutch Room, and the piano playing of Lucinda Ellert.

November4 N ew Members' Welcome and reception.

November 18 Imitation as a Source of Inspiration: Titian, Rubens and the Antique Philipp Feh l, professor, University of Illinois at Urbana-Champaign.

December 7 Holiday Concert and Reception for Members Annapolis Brass Quintet.

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Membership

Benefactor Judith and Joseph Auerbach Dr. Robert Ba rstow Bruce A. and Enid L. Beal Mrs. Richa rd M. Bennen Dr. and Mr . Leo L. Beranek William H. Binnie Ro bert F. Birch Mr. and Mr . amuel W. Bodm an Mrs. Ralph Bradley Mr. and Mrs. Rona ld Brown Mr. and Mr . Eustace Buchanan William G. Bullock Mr. and Mr . Stan fo rd a lderwood June a rpenter Mr. and Mrs. amuel Coco, Jr. Mr. Bertram ohen Mr. and tr . l. W o lburn Mr. and Mr . j o hn L. ooper Mr. and Ir . Willi am G . oughl in Mr . Frederick B. Dekna rel Mr. Paul Doguerea u Simo n D. Eccles Mrs. Willia m Rodman Fay Prof. and Mrs. Elliot Forbes Mr. and Mr . George P. Gardner, Jr. Mr. a nd Mr . Jo hn L. Ga rdner M aynard Go ldm an Mr. and Mrs. Graham Gund Mr. and Mr . Ja mes H ammond Prof. and Mrs. M a o n Hammond Mr. and Mrs. Franci W. Hatch , Jr. Ca rliss Baldwin and Randolph Hawtho rne Mr. a nd Mr . Arnold Hian Mr. a nd Mrs. Willia m White Howells Dr. and Mrs. Eric H. Johnson Mr. and Mrs. Gordon F. Kingsley Miss Christel McR ae Noe Laine Mrs. Linda oe Laine Mr. and Mrs.James Lawrence Dr. and Mrs. Henry Mankin Mrs. Louville Nile Mr. and Mrs. harles A. Pappas Mr. and Mrs. Malcolm D. Perkin Sam Plimpton and Wendy Shanuck Mr. and Mrs. William Poorvu Mr. and Mrs. Albert Pratt Mr. James E. Robinson Ill

Mrs. Benjamin Rowla nd Mr. and Mr .Francis P. ea rs Ja ne ibley Mrs. Donald B. incla ir Vi vian and Lionel Spiro Jea nne and Don Stanto n Mr. a nd Mrs. Ray rara Mr. and Mr . Ezra revens Mr. and Mr . James L. Terry Na ncy B. T ieken Mr. a nd Mrs. Roge r Wellington Mr. a nd Mr . Arthur 0 .

Wellman Ano nymo u (2)

Patron Mr. and Mr . Cha rles F. Adam Mr. and Mr . Etha n lien Peter J. Ba ll arin , Jr. El va Berna t Wa lter J. a nd Pa tty o nn olly, Jr. Charles J. o ulrer and M a rga ret Loga n Ir . Ga rdner Cox War o n B. Dickerma n Mr . harle Do ul ron Mr. and Mr . DeCoursey Fales, Jr. Ro nald Lee Fleming Mr. and lrs. Ri chard M . Fra er Ro berta C o llo n Mr. and Mrs. Ja me H. Grew Mr. and Mr . ha rl e W Ha re icola Johnson Virginia L. Ka hn M arye! a nd Laurence Locke Mr. a nd Mrs. j o hn F. M agee Mr. and Mrs. Paul Monti e Mrs. Hollis Plimpron Mr. and Mrs. Henry B. Ro berts A. Herbert andwen Dona ld L. Sa unders Mr. and Mr . Roger A. Sa unders Elinor D. Shea Mr. a nd Mrs. Robert A. incl a ir Dr. and Mrs. Willi am D. Sohier,Jr. Dr. and Mrs. Arthur K. o lo mon Miss Elizabeth P. rorer Dr. and Mrs. Irvin Taube George and Lea Vera Mr. and Mrs. Arthur Ver hbow Mr. and Mrs. harles G. K. Warner Mrs. Robert Lee Wolff Anonymous (1)

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Corporate Benefactor ($5,000 a nd a bove) ha rle . Dick inson Tru t ha e M anha ttan Ba nk hri ti an cience M oni ro r Eliza beth Arden, Inc. Gillen e o mpany Jo hn Hancock o mpany Little, Brown a nd o mpa ny M a r h a nd M cLenna n o mpani e

Corporate Patron ($ 1,000 to 4,999 ) Raymo nd and Whitcomb ompa ny Thermo Electron o rporano n

W VB-TV

orporate D onor ($ 100 ro 999) Ca mbridge Tru r o mpa ny Dyna mi cs Re ea rch o rpo rario n Execurour , Inc. Frank B. Ha ll and o mpany of M a achuserts, Inc. General inema o rpo ra tio n Ho ughto n Mifflin o mpa ny M a m treet Ga ll ery, a ntucker Property apica l Trust

Foundation/Trust Bosto n Glo be Foundatio n, Inc. Ga rdner ha ritabl e Trust The Paine ha rirable Trust

Contributor Dr. and Mr . ile L. Albright Mr. and Mrs. James B. Ame Mrs. E. R. Anderson Timothy Anderson Andrew a nd Elino r Anderson-Bell Mr. a nd Mr . Arthur . Anton Prof. Lilian Armstro ng Mrs. Francis Reed Austin Henry Ogden Barbour Mr. and Mrs. H. Devereux Barker Molly and John Beard Ann M. Beh a and Robert Radloff Mr. and Mrs. Paul Bernat M s. Gigi Bird Caroline Thayer Bland Dr. and Mrs. Arthur Boland

a rolyn Bren David Al a n Brown Mi Dorothy A. Brown Robert M. Brown Dr. and Mr . Jo hn Bruner Mr. a nd Mrs. George B. Bullock, Jr. Kenner F. Burnes Ka re and Pa ul Bunenwieser Pa uline Ho Bynum Dr. a nd Mr . Edmund B. abot Mr. a nd Mr . Lewis P. Cabot R bert K. a arr Mr. a nd Mrs. ha rles W hatfield Dr. and Mrs. F. argent Cheever Mr. and Mr . Daniel S. Cheever a rita Choate Frederi c . hurch,Jr. Mr. and Mrs. J hn W. Cobb Willia m A. oles ancy R. Coolidge Ir . a rl F. o ri Dr. Ramzi and Ker tin Corran Dr. and Mr . J. Holland otter Ir . Fra ncis H . Cummings Mr. and Mr . David Dalton Cha rles Deknarel j o hn Dekna rel and Ca ro l . Taylor Mr . F. canto n Deland a tha niel T. De rer Dr. and Mrs. Cha rles Dickinson Mr. a nd lrs. Thomas G. Digna n,Jr. Ir. a nd Mrs. Bradford M. Endicott Mr. Jo eph R. Falcone and M . Kerri L. Kaiser Mr. P. Fergusson Mr. a nd Mrs. Spencer Field Lisa A. Finston lr. and Mrs. Edwin l.

Fire tone Mr. a nd Mr . Richard Floor F. Murray Forbes, J r.

Mr. Wa lter . Fox, Jr. Mr. and Mrs. Jo eph S. Freeman Mr. and Mr . John T. Ga lvin Walter and Anne Gamble Ain lie Gardner ynthia Garrett Dr. and Mrs. A. Gi les Mrs. Lee D. Gillesp ie Mrs. Step hen Gi lman Mrs. Robert Go ldhammer Ly le and Dorothea Grind le Mr. and M rs.John H .J. Guth Ernest J. and El izabeth L. H aas

Prof. M arco Chi arini and paintings conserva tor Alain Goldrach discussing the po rtrait of Count Tommaso Inghi ram i w ith the director.

Mrs. John S. Hamlen George B. H andran Fred and Judith E. H anhisalo Prof. and Mrs. Do nald R. F. Harleman Charlotte H arrington Mr. and Mrs. H arry W. Healey, Jr. The Rev. A. L. Hemenway Lucy G. Henderson Linda Hewitt Mrs. Howard B. Hodgson Mr. and Mrs. George C. Homans Dr. and Mrs. Freddy Homburger Patrick]. H onan Drew and Kathy Horga n Samuel Horowitz Thom as M . Hout Mrs. F. 0 . Hunnewell Mrs. ]. Peter Hunsaker Mr. and Mrs. Roger B. Hunt Priscilla S. Hunt Carmine and Teresa Iannuzzi Mr. and Mrs. Dav id B. Ingra m Rachel J acoff Mr. and Mrs. Mich ael Jolliffe Mr. and Mrs. Roland J. Joyce Ernest D. and Vi rginia C. Klema

Mr. and Mrs. Carl Koch Mr. and Mrs. George W. Kuehn Stephen T. Kunian Dr. George Kury and Dr. L. H edda Rev-Kury Miss Rosam und Lamb Maurice Lazarus Mr. and Mrs. David S. Lee Mr. and Mrs. Henry Lee Mr. and Mrs. Herbert C. Lee Mr. and Mrs. Carlisle Levine Mr. and Mrs. H enry R. Lewis Mr. and Mrs. Norman C. Loga n Mr. and Mrs. Caleb Loring, Jr. Mr. and Mrs. Charles P. Lyman Mr. Mark R. MacConnell and M s. Lo uise Dolan Mr. and Mrs. James Alden Marsh Mr. and Mrs. Jeffrey E. M arshall Duane Matthiesen Mr. and Mrs. Thomas T. McCain Priscilla Jo hnson McMillan Mr. and Mrs. Louis A. M cMillen Judith and Ro bert M . Melzer Mr. and Mrs. Edward W. M errill Michael A. and Anne L. Milicia Mr. and Mrs. John E. Miller

Mr. and Mrs. Jea n Montagu Jo hn Rempel Morison Mr. and Mrs. Ro bert].

Mortimer Mr. and Mrs. Michael Scott M orton Allen Moulton Marry F. M yers Anna Nath anson Mr. and Mrs. H . Gi lman N ichols Mr. and Mrs. Al bert L. Nickerson Jo hn]. O'Donnell, Jr. Janet C. O'Hanley M eriam C. and R. Wayne Oler Dr. and Mrs. Pier F. Paci Mr. and Mrs. Stephen D. Paine Rich ard S. Perkins, Jr. Mr. and Mrs. E. Lee Perry Mr. and Mrs. Daniel Pierce Mr. and Mrs. Robert S. Pirie Kath arine Plimpton and John Plimpton EllenM. Poss Mr. and Mrs. John W. Pratt Bernard H. Pucker Mr. and Mrs. Irving W. Rabb Mr. and Mrs. Perry T. Rathbone Doris A. Rifenburgh

7.1

Mrs. Chandler Ro bbins II Mr. and Mrs John Ex Rodgers Kathleen Rogers and Richard Teller Alford P. Rudnick M rs. Ralph P. Rudnick Mr. and Mrs. Daniel Russell Mr. and Mrs. John Rutherford, J r.

Joseph M. Saba Drs. Daniel and Joan Sax Dr. and Mrs. L. Robert Schissler Dr. and Mrs. Ro b Schlesinger Benjami n Schore and Kira Fournier Mr. and Mrs. Marvin Schorr Mrs. Mason Scudder Mr. and Mrs. George C. Seybolt S. Donald Slater Dr. Sidney B. Smith David I. Solo Mr. and Mrs. G. Ro bert Stange Mr. and Mrs. Edward Starr Mr. and Mrs. Burton Stern Mrs. Ro bert G. Stone Mr. and Mrs. John R. Stopfel Dr. and Mrs. Somers H. Sturgis Mrs. Cynthi a H . Sunderla nd Bill and Joyce Tager

Karen Tenney Mr. and Mr . W N icho las Tho rndike Stephen Til ton Mrs. John W. Valentine Mrs. Diggory Venn Mr. a nd Mr . Co rnelius Vermeule Dorothy Wallace Mr. and Mrs. Jo nathon Wa rburg M a rga ret P. Watson Neale Wheeler Watson Mrs. E. G. Weyerhaeuser Thomas Wirth Mr. and Mrs. Oliver Wolcott, Jr. M arshall and Katha rine Wo lf Mr. and Mrs. F. L. Wo rcester Mr. and Mrs. Michael Xenelis Mrs. Bernard R. Yokom Dr. C. Chester d'Autremont Dr. and Mrs. Francis de Ma rneffe Ano nymous (2)

Family/Dual The AUen Fa mily Mr. and Mrs. Frederick L. Ames Mrs. Frederick A. Archibald, Jr. Mr. a nd Mrs. John]. Arena Craig a nd Teressa Armstro ng Mr. and Mrs. Rodney Armstrong Mr. and Mrs. Peter R. Ashjian A. Smoki Bacon and Richa rd F. Conca nnon Mr. and Mrs. Donald Baird Teresa Bartelle Mr. and Mrs. G. d'Andelot Belin B. Benacerra f Mr. a nd Mrs. Richard A. Berenson Joa n Berkowitz Mr. and Mrs. George T. Berna rd Mrs. J. L. Bethune N ath aniel Bissell Emilio Bizzi and Jane Shaw Mr. and Mrs. john A. Bl anchard Mrs. Henry M . Bliss Mr. and Mrs. Constantin Boden Mr. and Mrs. M . W Bo uwensch Dr. and Mrs. John H. Brandt Mr. and Mrs. George WW Brewster Mr. and Mrs. Karl L. Briel Mr. and Mrs. F. Gorham Brigham, Jr. Mr. and Mrs. W S. Brines Dr. and Mrs. Henry Brown

Mr. and Mrs. Jacob F. Brown Marianne and Timothy Brown Mr. a nd Mrs. Kingsbury Browne Louise a nd Philip Burnham Louis W Ca bot Dr. J. Linco ln Cain a nd Rosemary C. Ca in Mr. and Mrs. Edwin D. Ca mpbeU Adele Ca rey and Louis Sinclair Dr. and Mrs. Ellio t Ca rl on Dr. J. P. Casey Alfred Ca vileer, Jr. and Robert P. Cav ileer Mr. and Mrs. Joseph T. Cefa lo, Jr. Mr. a nd Mr . Juris Celms Mr. a nd Mrs. Alfred Chandler Mr. and Mrs. Laurence M. Channing Mr. and Mr . Ansel B. Chaplin Dolores H. Cifrino Vincent and Angelina Cioffa ri Jo Ann Citron and Cordelia Sherman Mr. and Mrs. R. Mo rton Claflin Addison W. Closson, Jr. Dr. and Mrs. George H . A. Clowes, Jr. Mr. a nd Mrs. Sidney H . Cohen Ms. M ary P. Colleran and Mrs. Katherine T. Cro nin Dr. a nd Mrs. John]. Collins, Jr. Dr. a nd Mrs. John D. Consta ble Frank Conti J. Linzee Coolidge Lawrence Coolidge Mr. and Mrs. Henry Coolidge Mr. and Mrs. H amilton Coo lidge Mr. and Mrs. john Coolidge Michael A. Cooper a nd Ca roline Cowie Clare and Helen Cotton William P. Coues Mr. a nd Mrs. Jesse X. Cousins Arthur Curley Paul Curtis and Wes York P. C. Dankens Prof. and Mrs. Paul Deane Mr. and Mrs.John P. Denninger Mr. and Mrs. Samuel S. Dennis Parker J. Dexter Dr. and Mrs. Verdi J. DiSesa Douglas and Astrid Dodds Dr. and Mrs. Leslie Paris Do rnfeld Janet L. Drake and Thomas G. Hall

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Mr. a nd Mrs. Edga r J . Driscoll , Jr. Ja mes H . Duza k and Sand ra Saltzer-Duza k Suza nne R. Dwo rsky Mr. and Mrs. Willi am S. Edgerl y Leon and Ca rol a Eisenberg Sa lly Elliot a nd Willia m M o ra n Mrs. Alexander Ellis, Jr. Emmanuel College Library Kathleen Emrich and Ro bert Sherwood Mrs. Do ris E. Epstein Ka therine Era klis Mr. and Mrs. Do nald J. Evans Mr. a nd Mrs. Do uglas Ewers Shaoul and Suzanne Ezekiel Kenneth Fain a nd Lisa G im Falmouth Publi c Library Jea n Fuller Fa rrington Miri am A. Feinberg Mr. and Mrs. M a rti n Feldstein George and Susan Fes us Dr. and Mrs. E.G. Fischer Mr. and Mrs. Willi am Flavin Prof. a nd Mrs. S. J. Freedberg Dr. and Mrs. Pa ul FremontSmith Mr. and Mrs. M arc Friedlaender Friendsffaunton Public Libra ry Jea nnette and Kenneth Fullerto n Mr. a nd Mrs. No rbert L. Fullingto n Frances M. Ga bron Edwa rd B. Galligan Dr. Paul William Ga rber Frieda Garcia and Byron Rushing Mr. and Mrs. Vincent Gardner Geo rge and Eliza beth Gaw Kenneth and Barbara Gee Dale and La urie Gienapp Dr. and Mrs. Michael A. Gimbro ne, Jr. Milton and Renee Glass Dr. and Mrs. Philip L. Go ldsmith Adele and Arnold Godlstein Robert C. Goldszer and Madalyn L. Mann Mary Jane Go rton Lionel J. Goulet lII Edgar A. Grabhorn David Granger Mr. and Mrs. Edwa rd Greaves Mrs. Henry M. Greenleaf Mr. and Mrs. H. P. Greenspa n Prof. and Mrs. Stephen A. Greyser

Mr. a nd Mrs. Gerald Gross Mrs. S. Eliot Guild Edga r and Ca rol Haber Geo ffrey a nd Katy Hall The Rev. a nd Mrs. Lyle G. Hall Mr. a nd Mrs. Robert T. Hamlin Dr. and Mrs. Richard Hammer Mr. a nd Mrs. Joseph W. Ha mmer Suza nne and Easley Ha mmer Cecelia H a rd M a ry Singleton H arney Arthur L. Harper Donald P. and M a ry R. H a rrington Mr. a nd Mrs. John W Haverty Mrs. Vincent H. Hazard Mrs. Clyde J. Heath Rev. and Mrs. Wendell Henkenmeier Mr. and Mrs. William W Hennig Sue Ellen Herley Dr. and Mrs. Howard Hiatt Berna rd T. and Elisa beth Higonnet Mr. and Mrs.Joseph Hinkle Mr. and Mrs. Sturtevant Hobbs Charles and Molly Hoffman Joel S. Hoffman Esther L. Ho lmes Mr. and Mrs. William F. Holst Miss Emily C. Hood Mr. and Mrs James R. Hooper Peter and Natasha Hopkinson Mr. and Mrs. Robert Horowitz Henry S. Howe Mr. and Mrs. Gerard H. Howkins, Jr. Mr. and Mrs. Charles A. Hubbard Mr. and Mrs. F. Donald Hudson Mr. and Mrs. Lawrence Hughes Mr. and Mrs. Fritz R. Huntsinger Mr. and Mrs. Christopher W Hurd John K. and Judith B. Hurley Mr. and Mrs. Benjamin D. Hyde Dr. and Mrs. James H. Jackson KatherineJaffe VivianJakabahzy and Daughters Friends/Jamaica Plain Library Carol R. Johnson Mr. and Mrs. Edward C. Johnson, lII Mr. and Mrs. Richard I. Johnson Mr. and Mrs. Marius Johnston, Jr.

Edgar Peters Bowro n.

Mr. and Mrs. Miguel C. Junger Dr. and Mrs. Ernest Kahn Prof. & Mrs. Manfred Karnovsky Elizabeth Kasevich Mr. and Mrs. Andrew D. Katz Martha Ellen Katz and David E. Krebs Mr. and Mrs. Christopher P. Kauders Mr. and Mrs. Richard Kaye Dr. and Mrs. Frank Keffersran Mr. and Mrs. Daniel W Kennedy Mr. and Mrs. Richard Kent John and Constance Kerrigan Mr. and Mrs. Marshall T. Keys Mrs. Mary A. T. King Dr. and Mrs. Richard A. Kingsbury Dr. and Mrs. E.T. Kirkpatrick Dr. and Mrs. Robert C. Knapp Bernard M. a nd Barbara M. Kramer Mr. Charles A. Kury and Ms. Maria Borot Mr. and Mrs. John Lastavica Edward P. Lawrence Mr. and Mrs. Peter Lawrence Ms. Linda M. LeCain Todd and Felicia Clark Lee Mr. and Mrs. R. Willis Leith, Jr. J. Joseph Leonard, Esq. Benjamin and Fay Linden Dr. and Mrs. Don R. Lipsitt Cynthia Livingston J. Antony and Marilyn Swartz Lloyd Mr. and Mrs. Boardman Lloyd Dr. and Mrs. Eric Logigian AnnS. Lowell Bernard Lown, M.D. and Louis C. Lown Dr. and Mrs. Bernard Lown

Vi ctor a nd Ha rriet Lutnicki Mr. and Mrs. Henry Lyman Ernest and Carl a Lynto n Mr. a nd Mrs. Do nald M acKay Mr. a nd Mrs. No rma n E. MacNeil Mr. a nd Mrs. George M aco mber Mildred Mancusi M yron a nd Barba ra M arkell Mr. and Mrs Joseph M ayba nk llI Richard and M ary McAdoo Joseph L. McDonald Mr. and Mrs. Thomas Metca lf, Jr. Mr. and Mrs. W. Ro bert Mill Mr. and Mrs. Albert Minevitz Mr. and Mrs. Robert Moncreiff Christopher Monigan Dr. and Mrs. Adam G. N. Moore Mr. and Mrs. John R. M oor Mr. and Mrs. Daniel Morley Mrs. Alan R. Morse John J. Murphy Donova n and Victoria Nak Sharon L. and Bino Nanni Mrs. Robert B. Newman Suzanne R. Newton Paula and Joel Noe Northeastern University Publications Mr. and Mrs. Willi am B. Osgood Mr. and Mrs.John Pa ppenheimer Elizabeth M. Pappius and Marc P. Lefebvre Mr. a nd Mrs. G. l(jnnear Pash Dr. and Mrs. Oglesby Paul Mr. and Mrs. Thomas Payne Dr. Penelope Penland and Dr. Robert Hutton Richard M . Penta

John a nd Do lo res Perkins Mr. and Mrs R. Forbes Perkins Mrs. A. Per chonok Vincent, F. Petronell a and Mary Melvin Petronella Dr. and Mrs. Arthur S. Pier Ro nald and Joyce Plotkin Bill and Judy Plott Mr. and Mrs. Jerome H . Pe rron Dr. and Mrs. Cha rles M . Poser Dr. and Mrs. Stephan H. Powell Dennie Pratt a nd Midge Stafford Mr. a nd Mrs. Herbert W. Pratt Mr. and Mrs. Joseph 0. Procter Dr. Curtis Prout and Diane Neal Emmons Nancy Winship Rathborne Lincoln and Deborah Rarhna m John and Alene Reed Emery a nd Joyce Rice Mr. and Mrs. James V. Righter Mr. and Mrs. Sidney Ro bbins Mr. and Mrs. H anson L. Robbins Mr. a nd Mrs. Laurance Roberts Mr. and Mrs. Dwight Robinson Mr. and Mrs. Clem Roegge Erika and Jerry Rogoff Marilyn and Michael Rogosin

75

Ma rcy a nd H . James Rosenberg Mr. a nd Mrs. Ma rk E. Rubenstein Mr. and Mrs. Samuel Rubinovirz Dr. a nd Mrs. Paul S. Russell Dr. and Mrs. Kenneth]. Ryan Adel and Leticia Sarofi m Timo thy Scarlett and Shannon Taylor-Scarlett John Schn app a nd Rebecca Boxrer Ba rry and Jane Schulman Dr. and Mrs. John B. Sea rs Dr. Ruth E. Setterberg Mr. and Mrs. Cha rles N. Shane Sumner and Dolores Shore Mr. and Mrs. J . P. Shorr Mr. and Mrs. Ronald Shulman Mr. and Mrs. William A. Shurcliff Kay Sibary a nd Vincent Antonelli Dr. and Mrs. Richard L. Sidman Lauren E. Sinclair Dr. and Mrs. Thomas W Smith Mr. and Mrs. David Smoyer Patricia and Gerhard Sellner Shelley and Jack Solomon Mr. and Mrs. Ralph Sorenson

Museum members and group leader Peter Lauritzen at the Zwinger Pa lace in Dresden.

Conrad Squires Mr. and Mrs. Burgess P. Standley Dr. and Mrs. George W. B. Starkey Ms. Pau la M. Stento Dr. Thomas D. Stewart Dr. and Mrs. Albert Stone, Jr. Jim and Cath leen Stone Mr. a nd Mrs. Sidney Stoneman Mr. a nd Mrs. J ames M. Storey Lise and Myles Striar Deena and Marshall Strome Mr. and Mrs . Rudolf Talbot Juan M. Tapia Mr. and Mrs . John F. Taplin Dr. and Mrs. Daniel Tassel Helen T. Taylor Mr. and Mrs. Davis Taylo r Arthur and Virginia Thompson Mrs. Richard H . Tho mpson Dr. and Mrs. George W. Thorn Constantine Tsaousis and Carroll Wa les Hugo Uyterhoeven Dr. Leroy and Regi na Vandam Mr. and Mrs. W. E. Vander Velde Alex and Edie Vanderburgh Mary Crawford Volk William A. and Sybi l J . Waldon James and Margaret Wall Dr. and Mrs. D. F. H. Wallach Dr. Richard Warren Mr. a nd Mrs. Walter Watson, II Mr. and Mrs. Francis C. Welch Mr. and Mrs. Christopher Minot Weld Mr. and Mrs. Frederick H. West Wheelock College Library

Jerry Wheelock and M arion Scott Mr. and Mrs.John W. White Robert and Prisci ll a Whitehead Prof. John C. and Stepha nie Whitney Mr. and Mrs. Peter Wick Catherine Wiersema Mary A. and Thomas B. Wi ll iams, Jr. Mr. a nd Mrs. Andrew F. Willis Elaine and Ro bert Willoughby Mr. John Willoughby and Family Mr. and Mrs. W. W. Windle William and Fabia Windle Mr. Frank E. Winn and Mrs. Nancy W. Winn Mrs. Katherine B. Winter Mr. a nd Mrs. Nathan W. Withington Emily and Albert Wo lfe Mr. and Mrs. Richard Wolfe Mr. and Mrs. H arvey W. Wood Mr. and Mrs. Rawson L. Wood Ro bert and Estah Yens Drs. Dorothy and Norman Z in berg Rya W. and Hi ller B. Zobel Dr. and Mrs. C. Russel de Bu rlo, Jr. Prof. Rich ard de Neufville and Ms. Virginia D. Lyons Anonymous (1)

Individual Mrs. Will iam M . Abbott Lyn C. Abissi

76

Andrea Ackerman Mrs. Weston W. Adams Rich ard R. Adams, M.D. Mark L. Agnew Mrs. Rebecca M. Ahern Mrs. H erbert K. Allard Michael J. Allen Rosam und W. Allen Chester A. Al per Elizabeth S. Anderson Sarah Anderson Mrs. Patricia Taylor Antonelli Mrs. C. A. Apffel Sylvia R. Appleton William S. Appleto n Ms. Renee M. Arb Lois Ascher H elen M. Attridge Dr. Aina M. Auskaps Diana Gerrans Avril Mrs. Raymo nd F. Baddour Rev. John J . Bagley Duff Bailey Anne Beauchemin Leo M. Beckwith Karin Begg James J. Bender W. Bentinck-Smith Isabel Besecker Edgar M. Bingham, Jr. Stephen E. Bl atz Mrs. Carolyn C. Bloomfield M artha Blour Ho llis A. Bodman Mrs. Eva M. Bonis Judith Borit, M .D. J. Kent Bowker Edgar Peters Bowron Jo hn A. Boyd H elen M. Boyer Mrs. Ro bert F. Bradford Nancy R. Bradford Cecily Bradshaw G. Richard Braen William Brennan Mrs. Edward S. Brewer Mrs. K. P. Brewster M axi ne Bridger Mr. H. Day Brigha m, Jr. Alexander M. Brofos Deidre Brophy Arny S. Brown Mrs. Katherine F. Bruner Mrs.John W. Bryant Mrs. George P. Buell Mrs. Sylvia K. Burack Dr. Parris R. Burd Mrs. Dunn Burnett Elizabeth Anne Burnha m

Kath erine S. Burrage Karl S. Bynoe Mrs. Helene Ca hners Ms. Barbara Ca in Acheson H . Ca Llagha n Leo X. Ca llahan Miss H elen E. Callahan Ca rl]. Camelo, Jr. Richa rd Ca nale Katherine Ca nfield Mrs. Charles E. Cannon Annmarie Cappiello Marie Ca rgill Muriel P. Ca rlson Mrs.John M. Ca rroll Peggie L. Ca rroll Marion H. Carter Alice F. Casey P. B. Catchings Lila Channing Cla re K. Chapman Dr. Lia na Cheney Ho irn a Forbes Cherau Jane Chisholm Margaret W. Churchill Dr. Harvey S. Coco Miss Caroline S. Coco Joa nna Cohen Paul A. Cohen Selma L. Cohen Ka therine Co lema n Annalee Collins Jill A. Colpak Miss Mary B. Comstock Mrs. John P. Condakes P.A. Conlin Thomas F. Connolly Susan Conway Pamela L. Cook Daniel]. Coolidge Helen R. Cooper Susan Cooper Marie T. Cotter Marga ret R. Courtney M o rna E. C rawford Mrs. John F. Crernens Mrs. Robert G. Crocker Mrs. U. H askell Crocker Dr. Ward Cromer Judy Cronin Mrs . Ja mes Currans Jeanette Curuby Mrs. G. M. Cushing Mrs. Myer L. Cutler Mrs. Robert L. Dancy Mrs. Nelson J. Darling, Jr. Susan S. Davis Mrs. Freeman I. Davison, Jr. R. H. Davison

The director, ns,isranr dire ror, and member' drinking slivovirz in Prague during rhe fall rrip ro ea. rern Europe.

Laurie L. Da y Berrha Ann Deleon Diane DeMarco Mr . Edwin P. Dean Gabriella Della Corte Mrs. Dana Denaulr Anrhony M. Denre Simon P. Devine, D.M.D. Grace M. Dews Prof. B. Di Bartolo Levo Di Bona Mrs. Perer A. Diamond Sally F. Diamond Anne K. Diaz Ann Young Doak Dr. James E. Doan William P. Docken Miss Sally Dodge Nevarr Dohani an Anne Donovan Mrs. Alfred F. Donovan . D. Downs Mrs. Alberr C. Doyle Marc D. Draisen Ms. Janie Driscoll Mrs. Willi am R. Driver, Jr. Joseph M. Dubin Edna A. Duncan Georganne Dunn Dr. Richard W Dwight Christine M. Dwyer Anne H. Dyrud Mrs. Earl H. Eacker Eleanor Earle Harriet Eckstein Carrie Edwa rds Mrs. Joseph Edwards Mrs. Philip Eiseman Mrs. H. Bigelow Emerson Elizabeth C. English john D. Eubanks Mrs. Harris Fahnestock Dr. Josephine Riss Fang Linda A. Feeney

Helaine Alli on Fe1vel on Ms. harlorre Fellman Mr . . onway Felton Elizabeth . Fergu on Margor G. Finley Amy Fish Mary A. Flanagan Mr . o rwin Fleming Ann tam ki Flenrje Florence E. Flynn Jo eph M. Flynn Dr. Philip . Foisie M.jean Foley Marc Fosrer Stella Frabotta Murray Frank Mr. avage . Frieze, Jr. Mrs. David L. Frothingham Su an Fur t Con tance Fu illo Robert j. Galvin Susan Lee Gannon Selma . Ganz Rebecca . Garland Mary Ga man Alexander F. M. J. van Geen Irene S. Gerber Donald L. Gillespie adia Gillett Frederi ck F. Gi lli an Elizabeth H. Gilligan Sheil a Gilmore Barbara Gla nder Kath ry n Gold Joan Goldfarb Mrs. Laurence R. Golding Mrs. Milton Gordon Mrs. W Phillips Graves, Jr. Mrs. Edwin T. Green Ms. Joen Greenwood Jonath an D. Griswold Koh ar Gumusyan Yvonne M. Gunderson Sarah M. Gutting

Ir . Kenneth W uymont Eleanor Hadley Mr . Richard W. Hale ynrhia Hallowell Reverend Allan Happe Mary M. Harrington Herbert]. Hams, M.D. Mr. Allan I. Hatfield Deborah Hau er Helen Hawkin Barbara L. Haye Lee Heinmer Mrs. Hu gh Hencken Gregory Hender on Virginia D. Henkel Rodman R. Henry Verna Herbert Lebelle R. Hicks Rev. Paul Higgi ns Elizabeth Hodde r Mrs. Gerald Hoeffel Harley Peirce Holden Gordon Holme Karen Holtzma n Helen A. Holzwa er j ohn Homsy Mrs. Mylo Housen Sandra Jenkin Howa rd Shirley B. Howa rd Wilham Morris Hunt Andrew A. Hunter Louis C. Hunter Kenneth L. Isaacs Mrs. Mary Lee Johansen Annette Johansson- Los Dr. Richard Allen Johnson Mr . Mildred W Johnston Gertrude Kap rein Mr. Roberrj. Kaufman n Marana Kern Daniel W. Ketelaar Laurine Kohler Lisa Brog Kondo Ms. Heidi Kost-Gross

77

Ro emary A. Koury Mr . Loui Kronenberger Ann . Kruckemeyer Ir. orby Kummer Virginia Ladd Rurh I abella Gardner Lamere Peggy Lam on Jane Langton athenne M. Larkin Bob Lee Mr. Henry B. Leonard Ruth Leonard Dr. Roberr V. Lewi Larry Lew i Eleanor Linmer john D. . Little Bob Londergan William T. Loomi Mi usan G. Loring Mr . Thoma B. Loring Mr . Franci B. Lothrop WE. Lourrit, Ill Joan Luden ky Mrs. Richard Lyman Claire . Lyons Edmund]. Lyon Marrha MacAndrew Frederick A. MacArrhur Marie D. Maclnryre William J. Madonia Peter R. Magg , M.D. Marth a L. Magnuson Joan Magnus on Dr. Jame H. Maguire Mrs. William Malamud Charles Markham French Cultu ral Attache Dorothy D. Martin Louis A. Mascelli Rebecca G. Mattison Mrs. D. H. May Michele Love Mayerson Janet W. McArrhur, M.D. Elizabeth McCurdy

Randy Weston, jazz pianist.

Ellen M. McDermott R. David McGilvray Michael McKinnel Mrs. Maurice E. Mcloughlin Susan McNab Lynda ]. McNally George F. McWhinnie Helen Meagher Mrs. Albion E. Metcalf Margaret Ann Miles Ms. Anne B. Milton Michael S. Mittell, M.D. Dr.Joseph H. Monane Edith M. Money Barbara W Moore Mrs. Beatrice M. Morin Mrs. Rudolph M. Morris E. Morrison Cecily 0. Morse Paul C. Mortel Lanning S. Mosher Harold N. Murphy Msgr. William Murphy Kunko Naka mura An ne Marie Nawawi Lorraine T. Nazzaro Helen Keating Neal Mrs. Henry Hall Newell Rebecca Newser Northeastern University Press Anne E. Northrop Robert A. Novelline, M.D. Mrs. Daniel F. Nugent, Jr. Adrienne E. O'Donnell Edward O'Neil, M.D. Mr. Jerry P. O'Sullivan Sara Oaklander Jun Ohama Mrs. Gordon Osborne Junko Oshima C. Ott Carol S. Ott

Ca rlos E. Paige Mrs. Esther G. Parker Francis Parkman Franklin Patterson Kay Patterson, M.D. Chester A. Pearlman Polly Penney Guido R. Perera Faelton C. Perkins, Jr. Mary Ann Perkins Robert Perki ns Lissa Person Angela M. Piergrossi Mrs. Virginia M. Pinches Irene E. Pipes Judith A. Pirani William W Plummer AnneH.Polk Peter Jona than Po rmey Ms. Isabelle Pound Frances L. Preston Diana Marie Prift Mrs. Robert W Proctor Mrs. Brooks Prout Marguerite J. Queneau Katherine R. Quick D. Samuel Quigley Mary Quirk O liver Radford J. W Rafferty Luciana Rava Dr. Christine B. Redford Mrs. C. C. Reed Constance Rhind Timothy Richards Scott Alan Ridlo n Mrs. William M. Riegel Miss Mary K. Riley Mrs. Christopher M. Riley Ana M. Rivera Mrs. Peter G. Robbins Matthew Roberts

78

Mrs. Isadore Rosenberg Mrs. Jerome Rosenfeld Barbara Rosenkrantz Shelley Rosenstein Barbara Ross Karen A. Rossi Marilyn Rossi Eleanor Rozomofsky Dr. Jordan S. Ru boy Michael]. Ruggiero Laura B. Ryan Carol Gannon Salguero Anthony Mitchell Sammarco Lauren Santello-Corbett D. Sarachik Prof. Dr. Annemarie Schimmel Frances Schwab Peter L. Scully Hon. John W. Sears Janet L. Seaton Mrs. W Ellery Sedgwick Jo Seibel Mrs. Mayo A. Shattuck Pam Shaw Mrs. George B. Sherman Lawrence Siff Mrs. T. E. Singer Anne Blake Smith Gloria R. Sm ith Jane C. Smith Mrs. Christopher Smith Richard E. Smith Mindy Smollen Barbara L. Solow Julie Sophas Edythe E. Soule Miss Regina Soule Mrs. Horace H . Soule Joseph Peter Spang Mark Emerson Spangler Susan Spaulding Carolyn G. Spodick

John Steczynski Jacquie Stepanian Mrs. Alice W Stewart Mrs. Austin T. Stickells Mrs. Robert W. Stoddard Christopher E. Strangio Evelyn D. Strawn Mrs. Priscilla R. Sykes Judy Sze Marga ret W Taft Tamar S. H arrison Marva West Tan Melody Tarbox Ms. Priscilla M. Tatro Mrs. Lucius E. Thayer Susan Duncan Thomas Mrs. Ralph E. Thompson, Jr. Ms. Gloria Tho mpson William A. Truslow Paul W Tyler-Mendez Margaret Ullman Alison Ulrich Robert A. Vogt Mrs. Margaret W Walker Mrs. B. G. Wallace William K. Walters Cherie Walther Dwayne A. Warren Carol S. Watson Mrs. Pearl Wechsler Dr. Gail S. Weinberg Ruth A. Wetherby Alexa M. Wheeler Mrs. Walter Muir Whitehill Grace R. Whitta ker Anne M. Whittredge Katherine T. Whitty Ms. Berne[ Williamson Josephine H. Wolbach Mrs. Leonard Wolsky Elizabeth V. Wood Richard F. Worn

\lrs. h.1rlc F. \\) 7.ln,1..1,Jr. George \\ '.111.i~ Young, I '4· Robert Z1 l..of l..1 L)dt.1F . d .1e 11'.1

at1011al , !rs. !\ l.irthJ L. Barr Jane Ferree B"d \lar ta . Boraa' Burton B xc:nhom George and BeC\\ Brambkll \lrs. D.1\ld Brm n amamh.i Duff Broun Myron arl1,1 jam A. a rrurher' R. dward hapman \!rs. Ben1amm . om" all Pamoa De anahl Kath) ann Dirr Richard E. o rd Franz Fnedn h Tom Fukura A. L. Fullerton, Jr. G. Z. las oe Mrs. Mamn , I. Gia~ er Jeanne M . lea n Dr. and Mr . Andre" u r john Davi Har h Mr .Jane F. Hawkin Dr. Dale Higbee John Jones Emily K1ekhofer Janee Kirkland reve Lewi Dr. and Mrs. John . Lukens Karen Metca lf Mrs. orman Paul Meyn Carol Mullen Armando Parces- nnquez Andrea L. Perry Luzanne B. Pierce Virginia A. Prall Lawrence . Pucc1arell1 S. B. Purd y Eltzabeth D. Reed Stephen Franc1 Samolyk Julian B. Schorr, M.D. Alan Sidman Mr. and Mr . Paul H . tnger Sarah tender, M.D. Margaret j. t1assn1 Sandra L. Swinburne Gerald Tarannno Mrs. R. Amory Thorndike Mr. Lawrence Trabuls1 Jan Vi com1 Theodore . Voss Mr . James Alexander White ff!

Mrs. Libby K. White

Ho11 orur,• l.1(et1111t•

Ben •(actor

\I r. H.1m 1111' DKbun

011tnb11tors to tlw ,1p1t,1/ Progr 1111 I ltl.lbeth \ rdcn, Inc \I f\. R.1lph Br.1dlq \Ir. .1nd \If\ . 1.mford .1ldcmooJ john .1nd Ann obb \I r Jnd IC\. I \\ ( olbum II\ IJ on\tJblc \If\ . Frcdcrt<.k Dekn.ircl \IC\.\\ 1ll1am Rodm.m I .11 \I r and \I r . 1 lltot I orlx' \Ir and ,\ If\ \l a-.on H mmond \Ir Jnd .\Ir, \\ 1l11.1m \\"hue Ho"dh The I lughc' F.im1h 1n h nor of Ro\C and I .Jrr} Hughe \Ir. and \Ir, . \! JI olm Pcrk1m \Ir. Jnd \I f\ \\ 1ll1am Poor\ u Ir and \I r, R.i1 t.ic.1 \Ir. .ind \If\. bra 1c1cm \Ir. ;md \lf\ . jamc' er!) "'-anq 1ekcn .\non1 mou' ( I)

ontnbutors to the Ann11al ppea l 19 ton dam, rher D. nderson Timothy nder on Anne Beauchemin Bo ton Beer Ann Beha and Robert Rad loff . Bennn k- m1th amuel Bodman arolme Bland rephen Blatz Mr. and Mr . M . . Bou ensch Roberr Birch Mrs. Ralph Bradley Mr. and Mr . F. orham Brigham, Jr. Mr. and Mr . Ronald Brown Marc Bruner Mr. and Mr . George Bullock Mr. and Mrs. tanford alderwood ambndge Trust ompany June arpemer Laurence hanning Liana heney

\\ 1l11.1m ( olc, Dr .ind .\ Ir John Comt.iblc \Ir .ind \Ir, John L ( 0<.tp.cr \Ir..tnd \Ir \\ 11lt.1m ( oujlhltn ,\ lum.1 ( r .I\\ ford ( orc1 rontn C, ,\. ru" lei I ngtnct"rtng. Inc Ir . (., .\I ( u,htn~ I cllo" c [ .n ., \Ir..md \Ir- . !>.ma l n.iuh \IC\ . ,\llrcJ L l onm .tn I e\o l 1 Bonn \llnon B. h"'man Dun' ~ P'tetn ( h.irlnllc fdlm.1n I inc \rt, l pre ' I 1,her tenufa o. l ,nltc \. Hinn .\Ir nd \Ir . Richard lloor \Ir .ind \Ir . [ llmt I orbc-. \\alter . fo \Ir tnd \If\. ,\l.1rc I rtcdl.1cnder u Jn l·ur't GJrdncr ( h.int.1blc ru't .\Ir. John L. GJrdner Golden up offcc .\Ir . . l !tot Guild HBB 1-oundJnon E:mc-r .ind f ltnbe1h H.i.1' J... .ircn HJ.I\ Ldg.ir .ind rot H.ibcr Rollin \an HJdle1 \ l.1\0n HJmmond · frcd Jnd Judi Hanh1,.llo \Ir . lvdc J Hc.ich Lu Hender n Linda He,,m l\lr. Jnd \I n. c-orgc HomJm ~I . Emil) Hood Enc J hn n l1chael J unger 1rg1n1a L. Kahn crrrud J...apr rem Ir. and ~ I r\. R1ch.:1rd Kaye Mr. and 1rs. . T. 1rkp~rn k Mr. and Mr . Ernest Klema Bo" man Krea tsoula Inc. James Lawrence Rosa mond Lamb Ruth I. . Lamere Larry Lewis Mr. and Mrs. orman Logan Barbara and Boardma n Lloyd Barbara Mangum Anna T. Mc atn Mr. and Mrs. Lout Mc l1llen Menden- nnehour Pre Mr. and Mr . W Roberr Mill

k.r1'ttn \ lorumcr Ruben \l orttmcr \nnJ .1rh.1n-.on \Ir I ou111lc ·,1c \Ir .inJ \Ir,.\\ 1llt.im ,good Dr .ind .\Ir . glc-b1 PJul Thum.I\ .1nd r lien P.i1 I .Int Dr nd ,\Ir . \rthur l,tcr \Ir Holl" Plimpton \.Ir and .\Ir' amucl Plimpton \\ ilium Plummer ,\Ir. Jnd Ir . John \\'. Pr .in The l'rtnt I lou-.c R1 . Rc:1 . .ind \.IC\ . Gwrgc R.uh \Ir C h.1ndler Robbin, . Ir. and Ir Henn Robert, jJck Robtn"'n Dr. Jordan . Rubo1 J°"'ph I. abJ Dorelle .ira h1k Don.ild .iundcr Dr. Jnd \Ir John B. .1r \Ir . .\1.1 Iner \IC\ I ibd ~hmuck u'Jn 1n l.i1r 1dnc1 B. mnh ~J,chc ulc \ I\ tJn .ind l tond ptru ..trolinc I t.indlc1 Don .1nd Jc.tnnc t.Jnton \I C\ Robert(, tone \I f\ RKhJrd Thomp\On Dr. and \If'. C.C'Or c \\ Thorn EltJJbcth Thomd1k Thoma' \'alen1ucla Dr. and \Ir-. Don.:1ld \\ 'JllaLh \\ al .. h Bro,, Inc . \\ 11l1am J.... \\al ref\ harll!'> . J.... \\ 'amcr ~Ir . E. . \\e)erhau-er ~Ir.. 1-.arhenne \\ 1nrer ~Ir. ,\lar hall \X'olf Anonymou I

Publications

New Publication The Letters of Bernard Berenson and Isabella Stewart Gardner: 1887-1924 edited by 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 $65 .00; Postage and packing $3.50 (domestic) $5.50 (international).

secular costumes, 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).

~a6e!lac;:

ca @!Jtewad

c3f;ptdnei

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

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

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 collection: furniture covers, vestments and

80

The Gardner Museum Cafe Cookbook Lois McKitchen Conroy, 1985 A sampling of the author's favorite soup, quiche and luncheon pie recipes accompanied by reproductions of drawings, photographs and obj ects from the M useum 's collecti on; 149 pp., 30 black and white illustrations; second printing.

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

The Gardner Museum Cafe ~COOKBOOK~

A Guide to the Collection An illustrated handbook including a floor plan, a description of each gallery and biographical info rm ation about the fo under; 116 pp., illustrated. Paperbound $3.00; Postage and packing $1.80 (domestic) $3.30 (international).

LOIS McKITCHEN CONROY

Sculpture in the Isabella Stewart Gardner Museum Cornelius C. Vermeule III, Walter Cahn, and Rollin van N. Hadley, 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).

81

01\IENTAL

and ISLAMIC ART

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

Isabella Stewart Gardner and Fenway Court M orris Carter, 1925 A biography of Isabella Stewart Gardner and a history of the formation of her collection by the first director of the Museum; foreword by G. Peabody Gardner; 265 pp., illustrated; fourth edition.

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

Mrs. jack I A Biography of Isabella Stewart Gardner Louise Hall Tharp, 1965 A lively account of the founder with illustrations of Mrs. Gardner, her family and friends, and her museum with its remarkable collection; reprinted exclusively for the Museum; 365 pp., illustrated. Paperbound $12.9 5; Postage and packing $2.50 (domestic) $4.50 (international).

Oriental and Islamic Art in the Isabella Stewart Gardner Musuem Yasuko Horioka, 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).

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).

Drawings I Isabella Stewart Gardner Museum edited by Rollin van N. Hadley, 1968 A small group of notable drawings ranging in date from the late fifteenth 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).

82

Posters of the following are available: Jan Vermeer, The Concert, $12.95; John Singer Sargent, El ]aleo, $12.95; Ca rlo Crivelli, St. George and the Dragon, $12.9 5; the Museum courtyard, $9 .9 5 before July 1, 1988, $12.95 thereafter; Postage and packing $3.60 (domestic) $5 .60 (international).

ISABELLA STEWART GARDNER MUSEUM

Slide packets (six in each) of the following subjects are now available: Room Views, Italian Paintings, Dutch and Flemish Paintings, and Modern Paintings, $6.95 each; Postage and packing $1.80 (domestic) $2.90 (international).

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

Fenway Court A publication issued annually with illustrated articles 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, and 1985 are available for $3.50. Paperbound; Postage and packing $1.80 (domestic) $3.30 (international).

Libraries and other educational institutions are offered a 40 % discount on most items.

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

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

83

Report of the Treasurer Isabella Stewart Gardner Museum

Statements of Net Assets as of December 31, 1987 and 1986 1987

1986

Net Assets Investments: Bon ds, at market (cost $9,592,45 3 in 1987 and $7,870,584 in 1986) Stocks, at market (cost $9,685,751i n1987 and $8,925,655 in 1986) Stocks and bonds, at market All owa nce for unrea lized apprecia ti on Stocks and bonds, at cost Short-term investments, at cost which approximates market Total investmen ts, at cost Cash Federal Excise Tax Reba te (Note 1) Interest Receivable from Internal Revenue Service Accrued Federal Excise Tax Prepaid interest and other assets Museum Property : Contents of Museum building Green house and underl ying land M useum buildi ng and underl ying land Other Museum property (net of accum ulated depreciatio n) Cafe (net of accumulated depreciation) Tota l Net Assets

$10,046, 711 $ 8,18 7,971 12,919,503 14,385,920 $22,966,214 $22,573,891 (3,688,010 ) (5,777,652) $ 19,278,204 $ 16, 796,239 502,679 1,351,700 $ 19,780,883 $ 18,147,939 $ 239,705 $ 225,048 215,201 45, 702 (67,023 ) 57,341 30,011 $ 557,949 $ 188,036 $ 4,015,000 560,507 366,400 21,644 17,947 $ 4,981,498 $25,320,330

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

$23,086,100 1,390,825 396,314 447,091 $25,320,330

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

Fund Balances Genera l Maintenance and Depreciation (Notes 1and3 ) Operating (Note 3) Capital Campaign (No te 4) Total fund balances

The accompanying notes are an integral part of th ese financial statements.

84

19 7

Opera rin g Re e1pr ln ve rm enr 1n

me:

1986

mre re~r

820,64 1 560, 63

d1 1dcn d lnrere r on federal e. 1 era x re bare T ral operating receipt Operating Di bur ement 1a mtenan e and e unry a re f olle ti n Admi111 trati n a rdenmg and ground Mui Profe 1 nal erv1 e In urance Pen i n and deferred c mpen a t1 n ( otc 2) Mi cell aneou Unemployment ex pen e atalogue expense Federa l exci e rax ( ote I) Total o pera ring di bur ement er Opera rin g Re e1pt (D1 bur ement )

1,38 1, 04 69,681 23 ,,..,09 302,6 I 133,04 131,91 ,..,0,0 4 63, 7 5 4,426 2,97 29, 26, 99

ono perarin g Rece ipt Vi iror 'contributi on Member hip Grant Other rece ipt Sales de k (net) Cafe (ner) To ra I nonoperaring receipt onoperaring Disbur emenr Member hip Gen eral building ca re Total nonopera ting disbur emen r er Nonoperaring Rece ipts (Di bur emenrs) et Cash Receipt before Extrao rdina ry Irem Extraordinary item: federal exci e rax reba te 1982- 1986 Net Cash Receipts before the Ca pital a mpaign Capita l ampaign receipts Capi tal Campaign disbur emenr Net Capita l Campaign dis bur emenrs Net Cash Receipts before tran fers ro th e Capital ampaign Tra nsfer to th e Capita l Campaign Net Cash Receipts Net of Transfer

$

109,43 7 ,9 4 18 ,409 419 ,289 91,414 215,20 1 306,6 15 214,103 510,313 (296,210) 10,405

$

10,405

$ $

The accom panying notes are an integral part of these financial statements, 85

5, 09

45 ' 82 218 ,160

$ $ $ $

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

ai n (Lo 19 6 1 ,764,422 l ,99 1,214 1,7 3,208 (35,464)

fr m ale of 111\ e rmenr Id Realized gain Ta, on reali1ed gain er rea Ii zed gain n in ve rm en r nrealized ppre 1anon: Beginning of) ear nd f year In rea e (de rease ) 1n unreal11ed appre 1an n er realiied and unreali1ed gain (los ) n 1m esrmenr

44

19 6

er a er were u ed for: peranng d1 bur emenr noperanng d1 bur emenrs ap1ral ampa 1gn d1 bur emenr Total 1ncrea e in net a er The 1n rea e 111 net a er ' a repre enred by hange in: lnve rmenr Federal rax receivable and intere r ( re l )

2,00 1,216

a h

Prepa id 111rere rand other a er Accrued income ra e Mu cum pr perry Tora! increa e in net a er

2,009,020

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

86

(6 1,346) (18,455) ( ,4 9) (5,2 16) 1,907, 20

Statement of Change in Fund Bal a nce for the Year Ended December 31 198 7 and 1986

Balan ce, December 31, 1985 Ner ca h receipt (di bur emenr ) er reali zed ga in on inve rment ( o re I ) Maintena nce and depreciati on (Nores 1 and 3) Transfer ro apira l Campaign ( ore 4 ) Balance, December 31, 198 6 Ner ca h receipt (di bur ement ) Extraordinary irem : rax rebate ( o re 1) Ner realized gain on invesrmenr ( o re 1) Maintenance and depreciatio n (Nore 1 and 3) Transfer ro apiral Campaign (Nore4 ) Balance, December 31, 198 7

peraring 2 10,696

enera l 19 49,741

M ain tenance a nd Dep rec1an n 1,568, 68

21 , I 0

apica l ampaign $274,785 (48, 184)

1,7r,744

38,089 21,08 ,4 5

1,56 , 6

264,690 (2 6,210 )

91,414 215,20 1

23 ,311 ,3 10 (204,796 ) 215,201 1,99 ,615

1,99 , (7 ,974 )

73,974

(103,569)

(375,04 2) 396,314

169,976 1,737,744

(3 ,0 $390,767

Tora I $21,403,590

23 ,086,100

1,390,825

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

87

478 611 44 ,091

25,320,330

Notes to Financial Statements December 31, 1987 1 Summary of Accounting Policies The Isa bell a Stewart Gardner Museum , Incorpo rated (Museum Corporation), the sole rrusree under the will of Isabell a Stewart Gardner, is the owner of the property whi ch is located at 2 Palace Road, Boston, M assachusetts, and Mrs. Ga rdner's a rt collection contained therein. The more significa nt accounting policies of the Museum Corporation include the fo llow ing: A Basis of Presentatio n- The Museum Corporation prepares its fin ancial statements on a modifi ed cash basis of accounting. Under this method, income and expenses are recogn ized when cash is received and pai d rather th an when earned or incurred, except fo r federa l income taxes which a re recogni zed when in curred.

B Investments - The Museum Corporatio n ca rries in vestments at quoted market price, less an allowa nce fo r unrealized appreciation. No change in unrealized appreciatio n is recognized fo r fi nancial statemenr purposes. However, this infor mation has been included fo r purposes of additional analysis and is not a required part of the basic fina ncial statements. Ga ins and losses fro m sales of investments a re ca lculated o n the fi rst-in, firsr-out basis.

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

Additio ns made subsequently a re stated at cost. The Museum Corporation has consistently fo llowed the practice of charging renovations to expense ra ther than providing for depreciation of Museum property, except for the cafe and piano, which a re being depreciated over their useful lives. Allocatio ns to the M aintenance and Depreciatio n Fund are credited thereto when authorized by the Trustees. During 1987, the Financial Accounting Standards Boa rd issued a requirement that not-for-pro fit companies recognize depreciation expense o n majo r categories of fixed assets, excluding historica l treasures. If adopted by the Museum Corporatio n, the standard would be retroactively applied no later th an fiscal yea r 1989.

The Museum would be required to capitalize renovati ons and other significa nt additions and depreciate them over their useful lives. The new standard wo uld result in a significant increase to income and Museum property.

D Federal Excise Taxes-Until 1987, the Museum Corporation was classified as a private operating fo undation under the Internal Revenue Code and, accordingly, is required to pay a tax of2 % on net " investmenr income," as defined. The Museum had received a fa vora ble determination letter from the Internal Revenue Service regarding its request to change fro m private found ation to public foundatio n if certain conditions were met over the five-year period

ending December 31, 1986. A public fo undation is exempt from the 2 % tax; however the Museum has elected to continue to pay the tax du ring the fi ve-yea r period. O n August 20, 1987 the Internal Revenue Service determined th at the Museum Corpo ration wo uld be treated as a public cha rity under Sectio n 509(a)( l ) & 170 (b)( l )(A) (vi) of the Intern al Revenue Code effective January 1, 1982. Effective August 20, 1987 the Museum ceased to accrue the 2% Federa l Excise Tax o n net investment income. The Museum Co rporation fil ed rebate claims fo r $215 ,201 in taxes paid over the fi ve-yea r determinatio n period plus interest ea rned on those payments.

E Transfers to Capital Ca mpaign Fund- Amo unts segregated by vote of the Trustees fo r improvements to the Museum building (See Note 4) a re shown in the accompanying statements of cash receipts and disbursements as reductions in tota l cash receipts in excess of disbursements, net of transfer.

F Certain 1986 balances have been reclassified fo r consistency with the 1987 presentatio n.

G During 1985 the Fina ncial Accounting Stand ards Boa rd issued new standards concerning accounting and disclosure of pension costs by employers. If adopted by the Museum Corporation th ese sta nda rds must be applied o n a prospecti ve basis no la ter th an fi scal yea r 1989 . Based o n a preliminary rev iew, the Museum expects th at th e new standa rds would no t have a materi al effect on either its fin ancial position o r results of opera tions.

2 Employee Benefit Plans The Museum Co rpo ration has a pension pla n, which covers substantiall y all full -time employees who meet certain age and employ ment requirements. The Museum Corpo ratio n's po licy is to fund pension costs accrued. The pensio n expense includes a mo rtization of past service costs over 10 yea rs. Pensio n expense was $21,379 in 1987 and $22,405 in 1986.

Ja nuary 1 1987 Acru ari al present va lue of accumulated plan benefits Vested Employees $ 459,604 Non-Vested Employees 21,571 $ 481,175 Net assets available fo r pl an benefits $1,049,259

1986

$400,457 8,65 4 $ 409,111 $879,766

The weighted average assumed rate of return used in determining the actuarial present value of accumulated plan benefits was 6.5% for 1987 and 1986.

88

The Museum Corporation also has a deferred co mpensation plan fo r Museum employees and makes supplementa ry a nnuity payments to former employees not included in the above pensio n plan.

Costs charged to operations in 1987 and 1986 for these items were $36,202 and $32,021, respectivel y, and are included in " Pension-Deferred Compensation " in the accompanying Statement of Receipts and Disbursements.

3 Restriction on Operating Surplus The Trustees a re directed under the wi ll of Isabella Stewart Gardner to pay to certain designated hospitals any surplus income which, in the opin ion of the Director and Trustees, wi ll not be needed for the proper and reasonable maintenance of the Museum .

These amounts, if any, a re payable at the end of successive five-yea r periods, the nex t of which ends December 31, 1989.

4 Capital Cam paign Fund Balance Museum members are asked to donate fund s to the Annual Appea l in additio n to their annual membership fees. In 1987 and 19 86, $0 and $38,089 were transferred to the Capital Ca mpaign by Trustee vote.

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 Massachusetts corporatio n, nonprofit), Trustee Under the Will of Isabell a Stewart Gardner as of December 31, 1987 and 1986, and the related statements of cash receipts and disbu rsements, changes in fund balances a nd cha nges in net assets for the years then ended. Our examin ations were made in accord ance with genera lly accepted a uditing standards and, accordingl y, included such tests of the accounting records a nd such o ther auditing procedures as we considered necessary in the circumstances, including confirm ation of securities owned at December 31 1987 and 1986 by correspondence with the custodi~n.

As indicated in Note 1, the accompanying fi nancial statements have been prepared on the modified cash basis of acco unting. Under this method, income and expenses a re recognized when received o r paid rather than when ea rned o r incurred, except for federa l income taxes which a re recognized when incurred. Accordingly, the accompanying fin a ncial statements are not intended to present the finan cial positio n, results of operations and changes in net assets in conformity with generally accepted accounting principles.

In o ur opinion, the fin ancial statements referred to above present fairly the net assets of The Isabella Stewart Gard ner Museum, Incorporated, Trustee Under the Will of Isa bella Stewart Gardner as of December 31, 198 7 and 1986, and the cash receipts and disbursements, the changes in fund bala nces and changes in net assets for th e yea rs then ended, on the modified cash basis, applied on a consistent basis.

Arthur Andersen & Co. Boston, Massachusetts, January 27, 1988 .

R9

Mu seum Office 2 Palace Road Boston, M assachusetts

02115