Art_treasures_of_turkey_the_metropolitan_museum_of_art_bulletin_v_26_no_5_january_1968.pdf

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in thisBulletinwerechosenfrom the Thewortsof artpresented thoseshownin to parallelor complement Museum'scollections of Turkey.Thematerialisgrouped theexhibitionArt Treasures in two sections:theJirstis derotedto objectsmadeby people wholivedin whatwe call Turkey,thoughtheymayharetnown it as Lydiaor Byzantiumor the OttomanEmpire.Thesecond sectionis derotedto Westernworts that depictthe Turts or imitatetheirart.

From thepointof viewof simplelogisticsit is infinitelymoreefEcientto transport 300-oddworksof artfrom,say,Turkeyto New Yorkthanto moveseveralhundred thousand NewYorkersto a dozensitesin AsiaMinor.Thisis theobviousjustification for travelingshows,andthe immediate reasonfor the openingat the Metropolitan, laterthismonth,of an exhibition of masterpieces fromTurkishmuseums. Thereareotherreasons, lesspragmatic andmoreinteresting. Worksof art,likehumanbeings,havea wayof gettingstuckin the amberof their surroundings. Theirgeneralfateis to be placedin caseA of galleryB on floorC, and thereto staylikeprecious remains, oftenseenbutunnoticed, embedded in theoverall configuration of thegallery.Humanbeingsperiodically shakethemselves looseby "gettingaway."It maynotbetoofarfetched to suggestthatthepsychology of thevacation as,not vacuousfun,butrefreshment andrenewal, appliesaswellto objectsof art.At the momentGallery43 on the secondflooris takenup by seventeenlandmarks of modernart-paintingsandsculptureby Leger,Delaunay,Picasso,Kandinsky, Arp, andGiacometti, borrowed fromtheGuggenheim, thelikesof whichcannotordinarily be seenin the Metropolitan. At the Guggenheim they areat home;heretheyhave an addedvitalityin theirproximityto ourManets,Seurats,Gauguins. The travelingloanshow,big or small,whenit is imaginatively conceivedandorganized,is a tellingexperience. It bringsaboutan alchemyin the viewer'sresponse. Thisis perhaps leastdifficultto accomplish whenthematerial is unknown orunfamiliar or exoticand,mostimportant, first-rate, but it is nevereasy.One canimaginethe worldof artasa kaleidoscope, allof whosebitsandpiecesremainconstant,butalign themselves in countless successions of patterns, interrelations, analogies, insightful juxtapositions. Everyloanshowshouldshakethat kaleidoscope intoa newstatementabout manor, if not new,a freshlyretoldstatement. Somedo andsomefranklydon't. Ourtouchstone, always,is excellence.Excellence of the kindseenin thisart from Turkey,andto be seenin Marchin a surprising showof the fabledviceregalsilver fromPeru. Themostexotic(intheword'soriginal, literalsense)exhibition of themallmayprove to beHarlemon My Mznd,because solittleis reallyknownaboutthatremarkable community.Afterit opensherenextfallwe intendto sendit throughout the nation. Todaytheveryideaof whatconstitutes anexhibition is beingchallenged andbroadened,as is the wholestructure of museums andtheirrelevance to contemporary life. I believe,forexample,thatwe aregoingto seeanunprecedented movementtowarda worldcommunity of museums andinstitutions. I canforeseethepossibility of the joint purchase (andownership) of singlegreatworksof artby twoor moremuseums. There will be a looseningup of the "national treasures" concept,a willingness to shareand exchange. It willno longerbe important whoownswhatwhere.Theimportant thing will be that the world'sartgetsseen- by meansof extendedloans,includingthe exchangeof curators andscholars. We areon the way to implementing the ideathat the world'sart has,indeed,no .

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I In thethirdmillennium B.C. therewereseveral peoples and culturesin Anatolia.One of theseculturesof the EarlyBronze,orEarlyAnatolian, periodwascenteredin thenorthcentralareaaroundAlacaHuyuk.It extended northto the BlackSea,southto Cilicia,andpossiblyas farwest as the SakaryaRiver.Somescholarsconnect thisculturewith a peoplecalledin the Hittiterecords theHatti. Thisewerreputedlycamefroma site nearAmasya, southofSamsun ontheBlackSea.Theshapewasachieved by raising,beatingthegoldovera form,andthedecorationwasapparently madeby repousse andchasing.This eweris verymuchlikeoneexcavated byTurkisharchaeologistsat Mahmatlar, alsonearAmasya.Similargold ewersandalsoothersin silverandterracotta werefound in someof the well-known gravesat AlacaHuyuk;the dateforall theseewersandtherichmaterial foundwith themis thelatethirdmillennium B.C., andtheMuseum's eweris datedon the basisof its resemblance to those foundat thesesites.Themouthof the ewerwasapparentlycutoffwhenit wasfoundbypeasants, perhaps inan

attemptto seeif thevesselwassolidgoldorgoldplated. LateIII millennium B.C. Height7 inches.HarrisBrisbane Dtst Fund,57.67

' THE METROPOLITAN VOLUME

XXVI,

MUSEUM

NUMBER

5

OF ART JANUARY

Bulletin I

968

Published monthlyfromOctoberto Juneandquarterlyfrom Julyto September. Copyright(¢ I968by The Metropolitan Museumof Art,FifthAvenueand82ndStreet,New York, N. Y. Io028.Secondclasspostagepaidat New York,N. Y. Subscriptions $s.ooa year.Singlecopiesfiftycents.Sentfree to Museummembers. Fourweeks'noticerequired forchange of address. Backissuesavailable on microfilm fromUniversity Microfilms, 3I3 N. FirstStreet,AnnArbor,Michigan. AssociateEditorin Chargeof Publications: LeonWilson.Editorin-chiefof the Bulletin:KatharineH. B. Stoddert;Editors of the Bulletin:SuzanneBoorsch,JoanK. Foley,andAnne Preuss;Designer:PeterOldenburg.

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2 This standard,alongwith other objectsincluding the sistrum(4), wassaidto have beenfoundin a large earthenware vesselat a site calledNallihan,southwest of Bolu and just northof the SakaryaRiver. Some Turkishscholars, however,suggestit mayactuallyhave comefromHoroztepe,farthereast. Similarbullsare knownfromHoroztepeandAlacaHuyuk,severalalso on pedestals.Comparison with these bullsand other bronzesfoundat the sitessuggestsan EarlyBronze,or EarlyAnatolian, datefor thisstandard. The standard is castin severalpieces.The long,thin stylizedbullsweremadeseparately andareheldto the diskby elongatedouterlegs,whicharepulledthrough andbentback.A rodsecuredby pinsjoinsthe animals at theirnecks.The diskis casttogetherwitha pierced tang,whichwasplacedin a socket,perhaps of a different material. Thestandard probably serveda religious function, sincebullsare often shownin representations of religiousceremonies as platforms uponwhichthe gods communicated to theirworshipers. Late III millenniumB.C. Copperor bronze.Height634 inches.Purchase, JosephPulitzerBequest,55. I37.5

3 Heavychariots,thosewithfourwheels,wereknown in Mesopotamia as earlyas the thirdmillennium B.C. Theyarementioned in textsandrepresented in art,the best-known representations beingthoseon theStandard of Ur,nowin TheBritishMuseum. Evenactualchariots havebeenpreserved, aswellasmodelsmadeof terracotta orcopper.Thesignificance of themodelsis elusive.They mayhavebeenmadeforchildren orforwarriors, orperhapstheywereusedin religious rites.Thismodelcould depicta contemporary militarychariot,a vehiclefor front-line attackthatusuallycarriedtwomen,a warrior anda driver. It is alsopossiblethat the modelis of a vehiclethat carrieda deity,sinceit is drawnby a pairof bulls.Asses

oronagers aremoreusuallyseendrawing chariots, butin Anatoliabullsareshowncarryingdeitieson theirbacks or pullingthemin chariots. The deitymighthavebeen the sunor a weathergod, represented as a statuetteof humanformor by anothersymbol.At leasta dozen modelchariotspulledby bullsandof the sametype as the Museum's areknownto exist,andaresaidto have comefromsouthcentralAnatolia.Unfortunately, none wasscientifically excavated, so thecontextin whichthey werefound,whichwouldperhapshave clarifiedtheir function,is lost. III or earlyII millennium B.C. Copper or bronze,height 35S6inches.EdithPerryChapmanFund,66.If

4 Thissistrumis in the formof a handleandtwo uprightprongs,whicharedecorated withprojectingbulls' hornsandcappedwithstylizedplants.A crossbar at the top is adornedwith a standingbird,possiblya hawk, whosewingsare outstretched. The fork,crossbar, and ornaments appeartobecasttogether,butthethreewires, eachholdingloosedisks,wereplacedwithintheprongs. Bothhawksandthehornsof bullsplayeda symbolicrole in thereligions of Anatolian peoplesforseveralmillennia. It is therefore possiblethatthissistrumwasemployedby pr1ests 1na rel1g1ous ceremony, accompanying singingor dancingin honorof theirgods. Sistradecorated withanimals in theroundarefoundat Horoztepe, andfragments occurat AlacaHuyuk.They areof slightlydifferentshapethanthisone, beingless elongated. Sistrawerealsousedasmusicalinstruments in Egyptduringthe thirdmillennium andin the second millennium of the Minoanperiodin the Aegean.Perhapsthemostfamousexample in artis therepresentation on the sixteenth-century steatiteHarvestervasefrom HagiaTriadaon Crete:the manleadingthe procession of singingharvesters is shakinga sistrum,verysimilarto theMuseum's. .

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Late 1ll millenniumB.C. Bronze,heights3 inches.Purchase,JosephPulitzerBequest,55.z 37.z

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gold-dust whichis washeddownfromtherangeof Tmofromthe lus."Thementionof golddustin thispassage us that it was the GreekhistorianHerodotusreminds Lydianswhoinventedcoinedmoney.Somesaythatthe firstcoinswereissuedasearlyasthereignof KingGyges centuryB.C.; butwhetherornot this in themid-seventh Alyatis thecase,by thetimeof Gyges'sgreat-grandson tes,andAlyattes'ssonCroesus,coinagewaswellestablished. eachbearingthedevice Thirtygoldstatersof Croesus, of a lionanda bullfacingoneanother, of the foreparts jar.They werefoundhiddenin thisinsignificant-looking shortlybeforethe wereprobablyburiedforsafekeeping Persianconquestof Sardisin 547B.C.

5 Sardisin antiquitywasoneof thegreatcitiesof Asia locatedin western Minor.AscapitalofLydia(akingdom Turkey,inlandfrommodernIzmir),sheachievedfame before underherlastking,Croesus, andwealthespecially in themid-sixth cenconquest succumbing to thePersian travelers firstvisitedtheruinsof Sardis turyB.C. Western in the fifteenthcentury,but realscientificexploration did not beginuntilthiscentury,whenPrincetonUnianexcavation fromI9IO to I9I4, and versityconducted Heightof thejar 4%inches.Giftof theAmericanSociety werediagainin I922. The findsfromthisexcavation of Sardis,26.59.2-5(thecoins),26.59.6 for theExca?vation Museumin Istanbul videdbetweenthe Archaeological (the jar) Museum.Beginningin I958, a and the Metropolitan by Harvardand new Americanexcavation,sponsored has continuedto revealthe vast Cornelluniversities, extentof the ancientcapital. "Lydia,unlikemostothercountries,scarcelyoffers any wondersfor the historianto describe,exceptthe

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6 Lydianwaswrittenin lettersthatareakinto Greek itselfis quitedifferent,andto letters,but the language Thismarblestele thisday it hasnot beendeciphered. wasfoundat Sardisin I9II. witha Lydianinscription of a few Recently,on the basisof the understanding RobertoGusmaniof the Universityof words,Professor maybea juridthattheinscription hassuggested Messina of a icaldocumenthavingto do with the confirmation namedMlimnasto of goodsfroman individual transfer of Artemisat Sardis. thesanctuary Height5 feet, 4 inches.Gift of the SmericanSocietyfor the Excavationof Sardis,26.59.7

shapedjarsshownbelowwereprob7 Thefourcuriously ablyusedto containbaccaris,a perfumeforwhichSardis wasnotedin antiquity.It is possiblethattheshapewasa for the perfume.Jarslike these convenienttrade-mark at Sardis,andbecause havebeenfoundin greatnumbers they seemto havebeena specialtyof Lydia,modern scholarshave calledthem Iydions.These,datingfrom at Sardis;but the sixthcenturyB.C., wereall excavated sitesin the MediIydionshavebeenfoundat numerous world,goodevidencethattheircontentswere terranean widelyexported. Heightof thetallestjar 4N inches.Gift of theAmerican Societyfor theExcavationof Sardis,26.Z64.27,26.sg9.64, s6.75.I6-I7

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8 Duringthe firstAmerican excavations, hundredsof ancienttombswereopenedin the cemeteries of Sardis, andthisgroupis thepartialcontentsof oneof thetombs. It canbe datedto shortlyafterthe middleof the sixth centuryB.C. by thepresence of importsfromAthensand Sparta,theAtticoinochoe andLaconian kylix,ordrinkingcup,bothin theleft foreground. The restof the potteryis Lydian,andcanbe recogni7PS

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trictnortheast of Sardis,cametheinspiration forthe jug with the oversizedspoutandfor the pitcherwith the bulbousbody.The small,darkjug in the rightbackgroundmaybe a descendant of an olderHittiteshape. Whyso manyparallels withothercultures? Probably becauseSardiswassituatedon oneof thegreathighways of antiquity,whichranfromthe Aegeancoast,across westernAsiaMinor,andintoPersia.Travelers andcara-

01h ik; !ll;taP L of cation. W JtWone Early W XiLportant _have ed tofbay Sidamara The Smale the Christian originated cophagi, oflate sons of figure an them, seated arcade. type Roman ofwith (Asta of Constantine in after found author-philosopher style between columnated It Asia .7\4znor), belongs the in of Minor the earliest Sidamara, the arcades, Great, columns to about and sculpture, a known group type, and postEze believed at within most 11 of Ambardressed as middle -i*sarthe the im| to y_w |

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0 Theimperial diademidentifies thissculpture as the headof a Romanemperor. It is a portrait _ siblyConstans. The identification is basedon a certainsimilarity of thisheadto representations of the youthfulemperor foundon coins;lackof r' authentic,unidealized portraits of Constans and his brothers doesnot allowforpositiveidentifisoftenedby influencesfromthe Near East, is characteristic of thenewlyrisingByzantinestyle andsuitswellthe datingof the piece.It is said Xbozxt340 A .D Marble, hezghtl oM2inahes. RogersFund,67.I07

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ThesetzZoplates,withscenesfromthestoryof David,arepartofa treasure foundnearKyrenia, onCyprus. Thesilverstampson the undersides of the platesareof thereignofEmperor Heraclius (6I3-629/630). Although the platesmaynot be by the samehandandnot all of thefivesilverstampson oneplateareexactlythe same asthoseon theother,thetechnique of theworkmanship is thesame.Thepresence of thefiveimperial stamps,as wellas the highqualityof the designandof the execution,pointsto a workshop in the capitalof Byzantium, Constantinople. Constantinoplc, vll century.DiameterssoM, 5H inches. Giftof J. PierpontMorgan,Z7.sg0.3g7,394

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2 This cup, possiblya chalice,is decoratedwith representationsof fourfemalefigures.Thesearesymbolicpersonificationsof imperialcities and metropolitansees of Byzantium,whichderivefromthe pagancity goddesses, Tyches.The inscriptionin Greekunderthe rimidentifies themas the citiesof Constantinople,Cyprus,Rome,and Alexandria.Therewasno "city of Cyprus"- the capital of the island then being Constantia(earliercalled Salamis)-and it has been suggestedthat the presenceof Cypruson thiscup maysupplya clueforits dating.After the Councilof Ephesusin 43I, the MetropolitanSee of Cyprusdeclaredits independencefrom the city of Antioch, and the nameof Cypruswas probablyused here to emphasizeits importance.It also suggeststhat the cup was made on Cyprus,and before647, when the Arabs invaded the islandand destroyedConstantia.The cup was found with several other gold and silver objects nearDurazzo,Albania. About43Z-647.Gold,height6S inches.Giftof J. Pierpont Morgan,Z7.I90.I7so

3 The consuls,at the time of their investiturewith this importantand highly honorablerank, were to arrange,at theirown expense,gamesandspectaclesfor the people,and to distributelargessesandgifts. Amongthese were ivory diptychs.The two ivory plaquesshownhere are the leaves of such a consulardiptych, which is inscribedwith the nameof [Flavius]PetrusSabbatiusJustinianus,and dates from 52I, the first consulshipof the futureemperorJustinian(527-565). Becauseof the high cost of consulshipto the consuland the gradualdeteriorationof its importance,the oEce of ConsulOrdinarius was abolishedafter 54I, the emperoraddingthe title of Consulto that of Emperor. Diptychswereusuallymadeto be employedaswriting

tablets- the depressionon the backwas filled with wax and a stylus used to write upon this surface- but consulardiptychs were testimonialgifts and not meant to serveany other purpose. Constantinople. Heightss3H inches.Gift of J. Pierpont Morgan,s7.sg0.52,53

4 This representationof the Mother of God of the Hodegetriatype derivesits compositionand namefrom the greatly veneratedimagekept, up to the thirteenth century,in the churchof the Most Holy Motherof God, Hodegetria(in translation,"She who points the way"), locatednear the ImperialPalacein Constantinople.Severe majesty and quietude are combinedin this ivory carving. XI century. Height9H inches.GiftofJ. Pierpont Morgan, I7.Igo.Io3

5 These medallionswere originallypart of a groupof twelve from the frameof the silver repousseicon of the ArchangelGabriel,formerlyin the monasteryof Djumati, Georgia (in the Caucasus).They form a Deesis group: the Mother of God and St. John the Baptist intercedingbeforeChristfor humanityat the Last Judgment. The techniqueof cloisonneenamelon gold used for these medallionsconsistsof outliningthe design by cloisons,thin metal strips secured to the gold plaque, formingcells for the enamels.This techniquewas preferred in Byzantium but it was known earlier,and is also related to the stone and glass inlay decorationof the Barbarians. Eithermadein Constantinople for Georgiaor, possibly, madein Georgiaby a mastertrainedin Byzantium,lateXI century.Diametersabout3H inches.Gift ofJ. Pierpont Morgan,s7.sg0.675, 678 677 203

! _ THE OTTOMAN EMPIRE Ottoman Turkishpotteryof the fifteenthand sixteenth centuriesbelongsto the finestthe Muslimworldhasproduced.Its influencewasfelt both in the NtiddleEastand in Europe, where a variety of imitationswere made, hich, however,never got anywherenearthe brilliance of glazeand color that distinguishesIsnikpottery. Isnik is nowgenerallyconsideredto have beenthe maincenter of production,as it was the seat of the royalworkshops and producedmost, if not all, of the tiles for the decoration of the Ottoman mosquesof sixteenth-and seventeenth-centuryIstanbul.The Museum'scollectionconselectionof all typesof Isnikwares, tainsa representative and of severalvarietiesit has some of the best pieces. 16

in Mus6 Theblueandwhitefashion,longtraditional in Turhada momentof greatflowering lim ceramics, inspired keyduringthefifteenthandsixteenthcenturies, of Ming blueandwhiteporcelain by the contemporary China.This tazzabelongsto a groupof OttomanceramicsthatfollowtheirFarEasternmodelsparticularly closely,in thechoiceof thedeepbluecolorandthetype of the decoration. andorganization DiameterI4

inches.HarrisBrisbaneDict Fund,66.4.2

of thisplate,anotherexampleof the 7 Thedecoration with theoriginality demonstrates blueandwhitefashion, whichTurkishpottershandledtheirChinesemodels. Even thoughthe floralmotifson the rim,bothinside paintingon andoutside,arecloselyrelatedto decorative therearea greatmanytypicallyIslamic Mingporcelain, of thealloverdesign,especially elementsin thehandling of thecenterof theplate,whichis based in thedecoration pattern. of theinfinitegeometric on theIslamictradition DiameterI5

inches.Bequestof BenjaminAltman,

I 4 .40.727

weremadein Turdecoration 8 Tilesforarchitectural keyfromthetwelfthcenturyonanda widevarietyhave butalthoughmanyareof greatbeauty, beenpreserved, the supremeachievement Ottomantileworkconstitutes everythingelseof the kind of thisartform,outshining thathasbeencreatedin otherpartsof theMuslimworld. Thistile belongsto the traditionof blueandwhitecewhichalsohadan impacton the tile ramicdecoration, painters.In fact,someof the finestworkeverdonein of Isnikwasin theblueandwhitetiletheroyalfactories svorkmadeduringthesixteenthcenturyfortheentrance Room)andthe wallof the SunnetOdasi(Circumcision Baghdadkioskin the sultan'spalacein Istanbul,the fatilemusthavebeen mousTopkapiSarayi.Thisparticular theSunnetOdasi,butnot madeforthe roompreceding to someof the used;it is identicalin sizeanddecoration tilesthere. 40.I8I.II WidthII inches.Gift of HoraceHa?vemeyer,

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This bowl-one of a smallgroup-datesfromthe of the exteearlysixteenthcentury,but the decoration varietyofhatayi("China") riorstillreflectstheparticular patternadoptedin Turkeyin themiddleof thefifteenth century,probablyafter the courtmovedto recently in I454. Someof the design Constantinople conquered of the interiorinto elements,notablythe organization motifs,are totally panelsand the use of cypress-tree Islamicin tradition,addingto the trulyoriginal,nonof thesewares. Chinesecharacter Diameterso inches.RogersFund,32.34

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20 Amongtheblueandwhitewaresof Ottomanpotteryonetypestandsout.It doesnotfollowthegenerally acceptedChineserepertoryof decorativeflowers,but substitutes thin,linearspiralsbesetwithtinysdelicately paintedleavesand rosettes.Thisware-forsometime associated witha presumed factoryat the GoldenHorn - is oftencalledGoldenHornware,eventhoughscholars nowthinkit wasmadein the royalworkshops of Isnik. About s530-Z535.Height91X6 inches.HarrisBrisbane Dict Fund,66.4.3

2I Turkishdesignsat almostallperiods,butespecially in the Ottoman,includeda greatmanyfloralformsof relativelyrealistic detail.Ottomanpotteryandtilework areparticularly notedfor theiruseof a widevarietyof flowerrepresentations: roses,carnations, tulips,hyacinths,

andmanyothers.Thisplateis notonlya fineexampleof the kind,but it is alsoof specialinterestbecauseof its rareuseof animalfigures - two birds-within the floral design.Therimis decorated withtheso-called rockand wavepattern,derivedfromChinesemodels,whichappearson mostIsnikplates. Mosquelampsmadeof potteryand decoratedwith bothcalligraphic and,as in the caseof the lampat the right, floralpolychromedesignson a brilliantwhite groundarewellknownthroughout theOttomanperiod, eventhoughpiecesof thistypeandqualityarequiterare. The lampswerealmostcertainlypurelydecorativeobjectsgivenascommemorative tokensto mosquesby the sultanor highofficials of thecourt,since,beingmadeof pottery,theycouldnotwellserveanypractical purpose. DiameterZZX inches,heightZZS inches.GiftofJamesJ. Rorimer, 59.69.s, Bequestof BenjaminAltman,I4.40.73I

23 TheTurksweregreatsailors;theirfleetwasoneof by the patterns employed 22 Thevarietyof decorative theirmainassetsin the conquestand,lateron, in the sincethe is remarkable, especially Isnikceramicpainters defenseof theirempire.Shipsalsoplayedan important the sixteenthandsevendominantfashionthroughout Sailsalwayswere rolein dailylife on the Bosphorus. floralstyle.Even teenthcenturieswasthe polychrome depictedflowersforman im(and,happily,stillare)partof the city'sskyline.Sailthoughquiterealistically boatsof all varieties,fromthesultan'spleasureboatto portantpartof the patternon thisplate,a numberof becamea majormoof hisarmada, theuseof a deepbluebackground, the big"battleships" elements areunusual: tif in Ottomanpainting.Thosethatdominatethedecothe organization of the floralmotifinto an almostabrationof thisbeautifuljugcanbe foundin innumerable of therimwitha design stractpattern,andthedecoration onvasesandplates,ewersandbowls,throughvariations derivedfromOttomanfloralforms.Piecessuchas this werefora timebelievedto havebeenmadeat Damascus, out the Ottomanperiod. Firsthayof the XlZII century.Height8h8inches.Rogers in Syria,butnowthereis no doubtthattheyareworks Fund,Ig.67 of the sameIsnikpotterswhocreatedthe moretypical floralplates(21) andtilework. DiameterZZ% inches.Bequestof BenjaminAltman, s4.40.732

208

onsurarchitecture hasalwaysconcentrated 24 Islamic have become many buildings In fact, facedecoration. splendorof theirtilework, famousfor the unparalleled whichoftencoversboththeinteriorandtheexteriorof the entirebuilding.In OttomanTurkey,however,althoughtileworkwaswidelyusedin bothsecularand in interiors it occursprincipally religiousarchitecture, parts.In mosques, and,even there,only in particular tileworkis usedfor richlydecorated, usuallyespecially themiArab(prayerniche)and,at times,theentireqibla

wall (the one thatfacesMecca),the lowerpartof the Magnificent centralroom,andthewallsof thegalleries. floraltilessimilarto theoneshown panelsof polychrome Tilesare greatmosques. manyof Istanbul's heredecorate smalltymalmostneverusedon theoutsideof buildings, panelsabovedoorsand windowsbeing panum-shaped of OttomantileThefinestassembly theonlyexception. workis to be foundin the sultan'spalacein Istanbul. Secondhalf of the XVI century.47 x 48 inches.Gift of J. PierpontMorgan,Z7.s90.2083

theknottedpile carpetTurksverylikely"invented" formsof Islamicart- long oneof themostcharacteristic beforethey enteredthe Muslimworldand even long beforeIslam.Theybroughtit to WesternAsia,andfurnishedeveryonefromCentralAsiato Spainwithits basic anddesign.In theheydayof Ottomanculture technique in thesixteenthcentury,bothrugsandtextilesweredesignedwith an exquisitetastefor formand color,and followedthe trendtowardrealisticfloralmotifs(which, a changeto almosttotalabstrachowever,underwent worktionas soonas theyenteredthe textiledesigners' age-oldtradishop).TheOttomanrug,in partfollowing ideasdevelopedin the late tions,in partparaphrasing Timuridperiodandin SafavidPersia,is oneof themost artformsof the Muslimworld. fascinating

kept the Ottomans 25 Politicalandreligiousquarrels of Persiathroughin constantconflictwiththeSafavids out thesixteenthcentury.Tabriz,the Safavidcapitalin Iran,wastakenby theOttomanarmysevnorthwestern eraltimesduringthe firsthalfof that century,which contactwithSabroughtthe Ottomansintoimmediate centerof rugweaving favidart.Tabrizwasanimportant at that time.In contrastto the abstractalloverfloral patternshadbeendemotifsof Turkishrugs,medallion velopedin Persia,andit musthavebeenthroughcontact withSafavidrugsthatTurkishweaversbeganto experimentwith thesenewideas.The stardesignof thisrug, with the city of Ushakin centralAnatolia, associated patterns. by Safavidmedallion inspired wasundoubtedly rugsof thistypethepatternis of monuWhilein Persian appliedtheirown taste mentalscale,Turkishdesigners to themodelsandcameup withsmaller,highlyoriginal forms.Thestardesignsof suchUshakrugsareamongthe of thesebasicallyun-Turkish variations mostsuccessful patternideas. Endof theXVI century.s4feet 7 inchesx / Jeet7 inches. GiJtof JosephV. McMullan,58.63

26 The patternof this rug-even thoughof the late Ottomanperiod-represents oneof the oldestformsof Turkishrugdesign.The "classical" periodof thistype of geometricpatternseemsto havebeenthe fifteenth century.Not a singleexample fromthatperiodhascome downto us, but rugsof thisand closelyrelatedtypes appearin innumerable Timuridminiatures and Italian andFlemishpaintings of thefifteenthcentury;theyare, indeed,knownas "Holbein"carpetsbecausethey are depictedso oftenin that painter's works.Thisrugis of particular beautyin design,andprobablyuniquein its magnificent useof lightblueforthesecondary arabesque cartouche motif. XVI century.so feet x 4 feet 3 inches.Gift of JosephV. McMullan,6z.65

27 The fascination of Turkishrugsfor the Westand the specialappreciation of thisartformin Italyis well demonstrated by the fact thatmanynobleItalianfamilieshadrugsmadefor theirpalacesandchurches. The Centurione andDoriafamiliesof Genoamusthaveorderedthis one (whichhasa few companion piecesin Europeancollections) as it bearstheircoatof armsin its upperleft-handcorner.Eventuallyit shouldbe possibleto datetheserugsquiteaccurately, sincetheappearanceof thecoatofarmsof bothfamilies indicates a special occasion, probably a marriage betweentwomembers of thesefamousGenoeseclans,but so farit hasnot been possibleto finda traceof anysucheventin theannalsof theirfamilyhistory.The Genoese,one shouldbearin mind,wereamongthe firstto settlepermanently in Istanbul,makingPera(onthe European sideof the city, eastof theGoldenHorn)theirheadquarters. Thetower of Perais still standingas living testimonyto their presence. 7 feet 8S inchesx 4 feet 8S inches.Gift of JosephV. McMullan,62.23I

28 Prayerrugshave alwaysplayedan importantfunctionin Islam.They symbolizethe "cleanplace"a Muslimhas to use for prayer.In theirmost elaborateform- suchas this example of the so-calledOttoman court-manufactured rugs (possibly made in Egypt, which in I5IO becamepart of the Ottoman Empire,ratherthan in Anatolia)-they incorporatedin their designsarchitecturalelementsrepresenting, in an abstractfashion, the mihrab.In this rug, the usuallysimplenichehas been developedinto a triple arch surmountedby crenelationand miniaturecupolas,indicatingthe place of prayeritself, the mosque. (Ottoman mosquesdeveloped a specificdesign, of whichcupolasforma vital part.) The rug is not only of great beautyin designand color,but is alsoof the highesttechnicalquality,achievingin its exceedingly dense knotting the effect of a smooth, brilliantvelvet. About1600. 5 feet 8 inchesx 4 feet 2 inches.Giftof JamesF. Ballard,22.soo.sI 29 Amongthe greatvarietyof designsthat the carpetweavers of Anatoliaproducedduring the sixteenth and seventeenth centuries,a specialgroupis formedby those with an abstract floralpatternresemblingbirds(hencethe name "birdcarpet" commonlygiven to theserugs),usuallyin brightredand blue, on a white ground.The choiceof white for the backgroundof both the field and the borderis without parallelin any other type of Islamiccarpet.The peculiarambiguitythat led to the almostcertainlyerroneousinterpretationof the floralformsas birdsis equallyuniquein Turkishrugdesigns,whichgenerally are clearlyfloral-abstract and, in contrastto Persiancarpets, neverincludeany humanor animalforms. XboutZ600. s4feet 7 inchesx 7feet 7 inches.Giftof JosephV. McMullan,63.207 30 Whereasmany laterIslamicrugsare judgedaccordingto whetheror not they attainedstandardsdevelopedin the sixteenth and seventeenthcenturies,the classicalperiod of rug making, this rug is to be judged apart from its prototypes, whichare variedand elusive.The centrallyorganizedscheme probablyderivesfrom Persiansources,while other motifs are specificallyTurkish.For instance,the rectilinearsubdivisions with floralforms inside the medallionsare akin to motifs of eighteenth-and nineteenth-centuryGhiordesprayerrugs,and the angularshapesof the medallions,suggestingniches,are related to shapeson seventeenth-and eighteenth-centuryBergamarugs.The Museumowns many fine nineteenth-century Turkishrugs that are, as in this case,not debasedversionsof earlierformsbut inventivecombinationsand reinterpretations of those forms.At times,indeed, their geometricalconfigurations refer to the earliesttraditionof rug design,antedating the classicalperiod,and are thereforeof particularinterest. LateXVIII-XIX century.6 feet 2 inchesx 4 feet 5 inches.Gift of JamesF. Ballard,22.I 00.25

Ottomanpaintingis unmistakable. Originalin style,colorsensitivity, and iconography, it formsoneof the mostinteresting chapters in the complex historyof Islamicpainting.Littleis knownaboutits earliestphase,during the fourteenth andfifteenthcenturies,but we canfollowits development throughout the sixteenth,seventeenth, andeighteenthcenturies. Turkishpaintinghaslittleto do withanyotherIslamicpainting.It developeda style that is thoroughlyand uniquelyTurkish,combiningan unparalleled senseof realitywithan equallyunparalleled senseof abstract designbothin composition andcolor.It alsodevelopedan originaliconography,basedon manycontemporary historicaleventsand texts,andhas hardlyanyinterestin lyrical,poeticalaspectsof life.In thisit differsfundamentallyfromPersianpainting.It is bold,austere,and of extraordinary power,oftenlargein scale,andof the highesttechnical andaestheticquality. It is stillunfamiliar outsideTurkey,asalmostnothingaboutit hasbeen published in the West,andveryfewpaintingshaveeverreachedWestern collections.

ShahNameh, illustrated Firdausi's 31 Ottomanpainters history,asif it a famous epicdealingwithancientPersian noticetookplacein theirowntime.Thisis particularly (archenemies ablein thispainting,wheretheTuranians are represented as OttomanTurksin of the Iranians) - a remarkasweapons theirtypicaldress,usingfirearms Theuseof the entiresurableinstanceof anachronism. faceavailableto the painterson both pages,and the spaceas a unit composition thattreatsthe double-page of the Ottomanstyle.The realismof arecharacteristics butalsoinindiin costumeandweapons detail,especially of thefierceness andtherendering vidualphysiognomy, andareagaintypical andcrueltyof battleareremarkable of Ottomanpainting. Secondhalf of the XVI century.Eachpage I7 X JosephPulttzerBequest,s2.20.ga,b inches.Purchase,

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32 A Turkisharmyenteringa city is shownin this painting,whichdecoratesa poemin praiseof Sultan one of his andprobablyrepresents Murad(I574-I595) of thewayin which militaryexploits.Thisis anexample an Ottomanpainterwill avoid,wheneverpossible,the on reality, andconcentrate realmof the lyrical-poetical of the eventsof histime.Theliveliness on thehistorical the imaginative useof the limitedspace representation, of a massiveparade,and the to createthe impression delicatebutfirmuseof thebrushmakethisa particularly during typicalproductof thestylein fashionin Istanbul political Murad's rule.Muradwasnot onlyanimposing figure,butalsooneof thegreatpatronsof thearts. al-Bati (Z526Pagefrom a Diwan of MahmudAMbd Bequestof GeorgeD. Pratt,45.z 74.5 I0 X 6 inches.

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an episodein the life of 33 Thispainting,illustrating b. Muhamthe famousShaykhof Islam-Abu'l-Su'ud at the Ottoman madal-Amidi-whoheldhis position amongthe most courtfor thirtyyearsandis numbered yet anotheraspectof brilliantmenof histime,presents period.Even Ottomancourtpaintingof SultanMurad's historyandprethoughit focusesagainoncontemporary sentsa pictureof the lifeat the Ottomancourt,it is of an intimateratherthanofficialnature.The shaykhis butit seemsto clearlyengagedin somekindof business on a garden.The private house, opening takeplacein his decoration in delicategoldpaintadds elaborate marginal effect. to thenonhieratic TheShaykhof IslamHoldinga DisputationwithMembersof theReligiousCouncil.Pagefrom a Diwan of MahmudAbdal-Bati. soMx 6 inches.Giftof GeorgeD. Pratt, 25.83.9

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34 The Ottomancourtschoolin Istanbulshareswith the Mughalschoolin Indiathe distinction of initiating portraiture in Islamicart.Althoughit neverwentas far as Indianpainting,whichcreatedlikenesses thatcanbe compared (andin fact owe a greatdeal)to European painting,it stillproduced seriesof sultans'portraits that in manyinstances comecloseto portraiture in theWestern sense.It wasvery likelyhis particular feelingfor abstraction that kept the Turkishpainterfromlosing sightof thefundamental overtheparticular. Theresults areportraitssuchas this one, probablyof SultanAhmet I (I 603-I 6I 7), the builderof the "BlueMosque" in Istanbul. s3h x 8S inches.RogersFund,44.30

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35 Religiousiconography is a greatrarityin Islamic art, but, contraryto the beliefthat the figureof the Prophetcouldnotberepresented, therearemanypaintingsthatillustratevariousaspectsof the Prophet'slife. Almostall weredoneeitherin Turkeyor in areasthat the Turksdominated. The treatmentof the Prophet's entirelifein painting - asopposedto thesinglingout of the mirajscene(the Prophet'sjourneyto heaven)by otherIslamicartists-hassurvivedonlyfromthe Ottomanperiod.Thissmallpainting,showingthe Prophet seatednextto the mihrabin a mosque,withhisson-inlawAliandAli'ssonsHassan andHusaynonhisleft,and surrounded bymembers of theearlyMuslimcommunity, is a perfectmid-sixteenth-century exampleof Muslim religious iconography. Treatedin an almosttotallyundramatic, if not to sayunemotional, fashion,it testifies againto theTurks'straightforward senseof history.The Prophetis veiledand a flaminghalo encompasses his head;a similarhaloencirclesthe groupof Ali with his sons.Exceptfor thesesymbolicelements,the painting isfullyrealistic andplacesthescenesquarely insixteenthcentury Turkey. 71M6 X 6X6

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36 Calligraphyand designgo hand in handin Islamicart, and the Ottoman periodwas no exception.Rather,it createda numberof remarkablecalligraphicdesigns,both in monumentalscale for the decorationof buildings(Ulu Cami,Bursa)and in actualcalligraphy, such as the tughraof Sulaymanthe Magnificent(I520-I566) shown here. Each imperialedict (firman) was headedby the officialsignature of the rulingsultan.It wasthis signature,or tughra,executednot by the sultanhimselfbut by a specialofficerin chargeof this function, that made the documentofficial.While the tughra'sparticularform changedwith each sultan, its basic shape remainedvirtually unchangedthroughoutthe periodof Ottomanrule.Sulayman'stughras areamongthe most elaborateand monumental.In theirmagnificent movementof line anddelicacyof floralpattern,they unite the power and finesseof Ottomandesign.There is nothing comparableto the Ottomantughrain other partsof the Aluslimworld:it is one of the most typicaland originalcreationsof Ottomanart. 20

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37 In someinstancesthe calligraphicelementthat wasat all timesan importantfactorin TurkishIslamicart became of primeimportancefor painting.In fact, Ottomanartistshad inheriteda schoolof decorativepainting- or drawing - froma long traditionpossiblyharkingbackto the fourteenthcenturyand to CentralAsia (Samarkand, Herat).This schoolfound ardentsupportersin Istanbul.There is evidencethat many of these drawingswere made as modelsfor tile and pottery painters,textile weavers,leatherworkers, wood carvers,and other craftsmen,since many designsin their objectsseem immediatelyderivedfrom some of these studies.But a good number-among them this drawing of a dragonboldly prancingthrougha twistedbranchof agitatedfoliage- wereundoubtedlymadein theirown right, to be appreciatedas magnificentcalligraphicdesigns.The drawingis attributedin the cartoucheabove to Shah Qali, an artistwho had come fromTabrizto Istanbulto workfor the Ottomancourt in the sixteenthcentury. 6 1M6 X I01X6 inches.Bequestof CoraTimkenBurnett,57.5I.26 38 Scribes,painters,poets,courtoicials, and everyonewho couldaffordit kept writingtoolsin special,small,often nicelydecoratedwoodenboxescalledqalamdar.Mostweredecoratedwith lacquerpainting,but fromthe earlyperiods, only thosemadeof metalsurvive.Leatherboxessuchas this- with an elaboratestampedand gildeddesign- are very rare.Very unusual,also,is the size of this box-almost fifteenincheslong: most measurednot more than six to eight inches.Thereis little questionthat this pen box, whichdatesfromabout I600, wasusedin the royalhousehold,if not by the sultanhimself.ManyMuslimrulersweregreatbibliophilesandoften amongthe best calligraphers of theirtime. Lengths4h inches.RogersFund,33.72

In a warlikenation,weapons area man'smost preciouspossessions, andin Turkeythiswas expressed not only by the greatcarewith whichblades andgunbarrels wereforgedfrom the famous"watered" steel-producedby a complicated methodof heating,hammering, andquenching-butperhapseven moreby the decoration lavishedon themin gold,silver,andprecious stones.

39 Domedlikethecupolaof a mosqueand covered withpiousinscriptions, thisfifteenthcenturyhelmetderivesitsstriking effectfrom thecontrast of itssilverinlayagainstthedark steelbackground. It is surprisingly large,becauseit wasmadetobewornovera turban; the draped foldsof theturban apparently inspired thedecorative flutingtypicalof thesehelmets. Heights3h inches.Anonymous gift,50.87

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40 Originallyterrible,armor-shatteringvveapons,maces became symbols of rankbecause of theirverypower.This one musthavebeenmadefor an exaltedpersonwho

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thesteelof decorates inlaysetwithturquoises 41Gold purpractical The shield. battle seventeenth-century this to was front the on of the fourdecorativebosses pose still shield The of the handgrips. the fastenings secure of redvelvetrichlyembroidered lining original its retains goldthread. with 36.25.597

throughDuof Janina,knownto Westerners Pasha Ali Countof MonteCristo. mas's 62H and

Lengths DateofJ!intloctXVII-XVIII century. 36.2s.22Ig, and Stone, C. George inches.Bequestof 67 WilliamSloane, of Mrs. WilliamE. S. Griswold,Mrs. Gift JohnSloane,43.82.4 and

inches.Bequestof GeorgeC.Stone, Diameter2s

a finedamascene 42Althoughthe gunat the top has importedfrom probably latter (the andflintlock barrel and diamonds, - sapphires, itsdaintydecoration France), parade a of seedpearls- indicatesthatit was thousands of the palaceguard.The perhapsof a commander arm, miquelet below,however,withits typicalTurkish adds gun that is decoratedwith boldsilverapplique lock, with its deadlypurpose.It withoutinterfering luxury haveseenactionin theGreekWarofIndependence: must by thefamous is datedI8I4/I5, andit wasonceowned it

wastheweaponof thefabledTurkish 43Thescimitar on foot,suchasthe celebrated butwarriors cavalrymen, with a favoredthe yataghan-along knife Janissaries, form blade.The characteristic of double-curved wicked times,whenthe hiltis carriedoverfromprehistoric the shinbone.This a of wasmadefromthe upperpart grip with coral. studded by contrast,is of heavysilver one, A.H. I238, date the on thebladeincludes inscription The to ourA.D. I822/23. equivalent 36.25. C. Stone, Length29S inches.Bequestof George s6Z7

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mainlyproducedon 44 It is in velvetsand brocades, theroyalloomsof Bursa(thelastOttomancapitalbefore conthatthe peculiar, the conquestof Constantinople), and abstractdesignthat trastingtastefor naturalistic so muchof TurkishIslamicart findsits characterizes deThe large"fan-shaped mostimmediateexpression. vices,"as the mainmotifof the fabricat the upperleft hasbeencalled,are,of course,nothingbutmonumentalseenflattenedout, in profileas blossoms izedcarnation rowsagainsta deep staggered it were,set in alternating redground.Theuseof redforthegroundandsilverbroratherthanviceversaisanadditional cadefortheflowers in thisdesign,whichis principally elementof abstraction of an accuraterepresentation basedon an astonishingly flower. existing,recognizable EarlyxvIs sentury.RogersFund,s 7.29.ZZ Velvetbrocade.

45 The designersemployedin the palaceateliersin of the vastroyalworkIstanbulworkedforall branches It is forthisreasonthatbookbindings, shoporganization. tiles,woodcarvin manuscripts, illuminations marginal andtextilesareoftendecorated ings,metalornaments, with almostidenticalpatterns.Even thoughnonehas survived,theremusthavebeenpatternbooksproduced fromwhichall otherartistsworked. by the designers Thedesignof the textileat theupperright- of extramovementsuggested appealin its powerfully ordinary tile panels,andis a is repeatedon manymonumental the long,narrowborder favoritedevicefor decorating pattern.Noteworthy tilesthatframepanelsofa different useof naturalisis the curiousbut highlycharacteristic and flowers,especiallythe carnation ticallyrepresented withinthe stylizedpalmettes tulip,as fillerornaments and leavesattachedto the heavy,undulating"stems' thatprovidethe mainmotifof the pattern. JosephPulitzerBeSilt brocade.XVI sentury.Purchase, quest,52.20.2I

liketheoneat thelowerleft,with 46 Turkishbrocades floralpatternsin brightcrimson,blue, theirlarge-scale for the European fascination andgold,hada particular Piecesof thistypewerebrought travelerandmerchant. andGenoese. in greatquantityto Italyby theVenetians Fromthefifteenthcenturyon,theirimpactonEuropean andmanyof the decorativedesignwasextraordinary, (andvelvets)woveninItalyin thelatefifteenth brocades andsixteenthcenturiesfollowtheirTurkishmodelsso closelythatat timesit is not easyto recognizethemas work. European Thispieceis of unusualinterestbecauseof its dense andpowerfuldesign.The contrastbetweenpatternand ground,usuallyan importantfeatureof Ottomantexforthesumptuous abandoned tiles,is almostcompletely effectof nearlysolidlydecoratedsurface.Equallyreof the floralforms, is the extremeabstraction markable motifs. whichagainprovidethe basicdecorative Silkbrocade. quest,52.20.I8 XltI

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47 Thepanelat thelowerrightisyet anotherexample of the Ottomantextiledesigners'love of sumptuous motifs,and effect,abstractpatternbasedon naturalistic greattechnicalskill.Almostall the favoriteflowersof into the designareincorporated Ottomandecoration therose,andthehyacinth.The the tulip,thecarnation, of useof a "fieldandframe'devicefortheorganization thesurfaceis quitecommonin lateOttomantextiles.It patto applydifferent theopportunity givesthedesigner doesnot sincehegenerally ternsto the textile,especially treateithertheframeorfieldasa single,uniformentity, with continuous but as repeatedareasto be decorated designs.Thisis shownin the waythe patternis carried beyondthe edgeaboveand below,continuingon into a greaterdesignfromwhichthispiecehasbeencut to oneof rugpatternsformthepresentunitthatreminds withwhichit, however,hasnothingin common. Velretbrocade.Beginningof the XVII sentury.Rogers Fund og.gg

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threeinstruments of the lute family(two tanbours and a smallersaz)characterized by long,thin necks.It has beenpointedout tha the shapeof the tanbour,like that of otherlong-necked lutesof the NearEast,has beeninheritedfromt at of the ancientlutesof Egypt

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50 This Florentine cassonepanel representsthe conquest of Trebizond,the Greek Black Sea port, in I46I by Sultan MuhammadII. During the first half of the fifteenthcentury, the OttomanTurkshad swept victoriouslyacrossthe Near East, Egypt, and partof Europe, taking Constantinoplein I453. Trebizondwas the last Christianstrongholdin the East to fall. All of Italy, particularlyVenice,fearedthe Turkswould try to conquer them next, so it is not surprisingthat an Italianartist wouldbe interestedin thisdramaticbattle.The panelwas paintedin the workshopof Apolloniodi Giovanniand Marcodel Buono,whichflourishedat leastuntil I465 and probablylonger.NVhilethe generalcompositionis purely imaginary,manydetailsof settingand costumearequite accurate.The topographical layout is probablybasedon a Turkishmap of the Black Sea area:Constantinopleis shownat the left, with majorlandmarkssuch as Hagia Sophia,the emperor'spalace,and the obeliskof Theodosiuscarefullydepicted.Trebizondappearsat the right with Turkishtents just outsideits walls.The Greekwarriorswearhigh capsand the Turkswear turbans.Both armiescarryscimitars,double-curvedbows,lances,and

shields.Theartist'sfantasyis apparent ashefreelyplaces episodes nextto oneanotherin a decorative surfacepattern.Thepanelis verymuchin thetradition of Pesellino andthe International stylein Italy. Italian(Florence).Tempera on wood,I5 X 49 inches, probablysoon after I46I. John StewartKennedyFund, I4 .39 225

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of withtheconquest 51 Liningandbackingthecassone (50) ispaperpaintedwiththefamous"pomeTrebizond pattern.Thispattern,basedonanancientmotif granate" that appearsvariouslyas a cone,lotuspalmette,artiof the choke,or thistlein the art of manycivilizations NearandFarEast,wasdevelopedin earlyRenaissance silkandmetalvelvets; forhermagnificent Italyespecially wasappliedto thisItalianverthename"pomegranate" to Turkappealing times.Particularly sionin Victorian on a seriesof splendidOttoman ish taste,it alsoappears silksandvelvetsof the latefifteenthandsixteenthcenthe cassonewith thispattern,the turies.In decorating eithermade imitatingtherichfabrics, artistwasprobably at theperiod. fromTurkey,popular in Italyorimported andgilded,length6 feet5 inches. polychromed Fruttwood, JohnStewartKennedyFund,I4.39

aroundwarpsof canvasor othercoarsefiber,tyingin a knot,andcuttingtheendsto forma pile. Ghiordes-type Becausethe effectwasthat of the morehighlyprized importedrugs,Turkeyworkwaspopularandplentiful. at the In England,a petitionpresentedto Parliament manthe to promote century the seventeenth of end producannual an mentions ufactureof woolengoods chairs.Colonial dozenTurkey-work tionof fivethousand householdinventoriesof the sameperiodlist Turkeyandchairs. cloths,cushions, cupboard worktablecarpets, inventhese in mentioned type of the probably A chair, Cromwellian called Sometimes here. pictured is tories, becausetheirdesignwasin voguein Englandduring time,thesechairswerefoundin considerable Cromwell's hallsandparlors,and numbersin seventeenth-century yet veryfewexisttoday. Mapleandoat, marshNewEngland,aboutI675-I7IO. of Mrs.J. Insley Bequest inches. 40M height grassstuJJing, Blazr,52.77.50

is made 52 The cope,possiblyrecutfroma chasuble, on textile:redvelvetandsilverbrocade of a sumptuous medallions of a greenvelvetground.Thepatternconsists foliate withstylizedfloralmotifsplacedwithinbrocaded texof a group to belongs velvet Thisbrocaded wreaths. Asia in woven Turkish, tiles sometimesdesignatedas Minorfor the Europeanmarket,or, morefrequently, as Venetian,underTurkishinfluence.The Republicof withtheTurks,andtextiles oncommerce Venicecarried wovenin theOttoman sometimes were use forVenetian to suit Italiantaste; cheaper, was labor Empire,where Venetian. is probably however, piece, thisparticular About I500. 3 feet 3 inchesx 8 feet 4M inches.The Collection,63.I53 Clozsters

portraitsprovideus American 53 Eighteenth-century deemedimwithanexcellentpictureof the furnishings Onesuchaccessory portantfor the colonialhousehold. porplacein manyfashionab]e that tooka prominent displayed carpet," traitswastheTurkishrugor"Turkey as a tablecoveror on the floor.The Englishhadbeen importingthesecarpetsfromthe sixteenthcenturyon, and by the late seventeenthcenturythey werebeing broughtby wayof Englandinto theColonies. that did not possessa realOrientalrug Households frequentlyusedTurkeyworkas a substitute.It wasa homeproductin directimitationof Orientalrugsand coloredyarns wasmadein the sameway,by wrapping

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54 BeforePieterCoeckevanAelst'stripto Constantinoplein I533, whenhe unsuccessfully attemptedto interestthe sultan,Sulayman, in the purchase of Brussels tapestries of hisowndesign,theTurkishNearEasthad beenrevealed onlyirregularly to theWestthroughtraded goods,souvenirs, andgreatlyamplifiedreportsof peculiarcustomsandactsof cruelty.WhileCoeckevanAelst wasnot the firstWesternartistto visit thisexoticland -GentileBellinihadbeenthereto painta portraitof Muhammad II- hisseriesof sevenviewsdepicting Turkishlifeandcostumein theirnaturalsettingsbecamean invaluable sourceof information for artists,costumebookdesigners, andhistorians. Theset,whichwaspublished aftertheartist'sdeathby hiswidow,is arranged, as someEuropeantapestries, in 228

afrieze,whichCoeckevanAelstseparated by caryatids inTurkishcostume.The seventhsceneis a compressed andfairlyaccurateviewof Constantinople whenit was studdedwith the mutilatedremainsof antiquityand teeming with the peoplesandplunderamassedthrough conquest. In the foreground the sultanpasseswith a smallportionof his retinue,whichon someoccasions numbered thousands. He is precededby hackbuteers, or archers, andaccompanying himonfootaretwochatush, bodyguards, whoclearthewaywithclubs.Twochamberlains followonhorseback, attendingthesultanashegoes aboutthe townseeingandbeingseen. PieterCoecteranSelst(Iso2-Isso),Netherlandish. Woodcut(fragment)from CesMoeursetFachonsdeFairedeTurcz, I3SXZ7S inches,s553.HarrisBrisbaneDictFund28.85.7a

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57 The mostenticingof Turkishcustomswasthe harem,andalmosteveryWesterntravelerseemsto have felt obligedto digresson thisjealouslyguardedinstitution whosedelightshe had neverenjoyed.Aubryde La Motraye,whosesketchesof his journeyto Turkey to his travels, illustrations werethe basisfor Hogarth's wasso inquisitivethat he dared,at perilof losinghis to gain assistant head,to poseasa Frenchwatchmaker's sights harem.He sawsuchdazzling accessto theimperial that while confessinghis inabilityto recallthem, he did not hesitateto describethemin print nevertheless andcommentary. The womenof the imperialharemwere,with the exceptionof a few Turkishmaidenssoldby ambitious acquiredthrough fathers,slavesof variousnationalities TheKoranperby purchase. andoccasionally conquest, mittedfourwives,the restof the womenbeingconcuCompetibines,or in the imperialharem"odalisques." tionforthefavorof thesultanor masterwaskeen,and harmony matronshadthe specificduty of maintaining numerous amongthe jealouswomen.Latticedcarriages, eunuchs,andan elaboratesecuritysystemassuredthe haremfromtheglanceof other of theimperial protection werea temptationto curious men. Such precautions peeringin thewindowabove. roguessuchastheintruder British.A TurtishHaWilliamHogarth(I697-I764), rem, or the Mannerof Li?vingWithinDoors of the Rich

from Turts with their Wivesand Concubines.Engraring Aubryde La Motraye'sTrarelsthroughEurope,Asia and into Partof Africa. . . (London,s723), so x s33Sinches. HarrisBrisbaneDict Fund,Z7.3.2838

ende Ferriol'sbookof onehundred 58 CountCharles gravingsentitledLes DiferentesNationsdu Lerant,first in Parisin I7I4, wasthe sourcefora seriesof published modeledin the I740S. Two Meissenporcelainfigurines seem of these,figuresof a Turkishladyandgentleman, appealin England,fortheywere to havehada particular Bow,Derby,andLongcopiednotonlyin theexpensive of butalsoin thehumblermaterials tonHallporcelains, pottery,such as the threein the upper Staffordshire and earthenware, corner-oneof lead-glazed right-hand stoneware. a pairof salt-glazed Left: AboutI760. Height7H inches.Gift of Mrs.RusRight:Probablyby WilliamLittler, sellS. Carter,45.I2.85. Heights7S inches.Gift of R. Thornton aboutI755-I760. Wilsonin memoryof FlorenceEllsworthWilson,43.I 00.5, 6

of Turks, 59 A seriesof twenty-twogouachepaintings by JacopoLigozzi(betterknown doneaboutI585-I590 in Florenceduring asananimalpainter),waspreserved

the eighteenthcenturyin the famousGaddicollection of booksandmanuscripts. AboutI740 theseillustrations werecopiedforthedecoration of a setof porcelain plates madeat theDocciafactoryin Florence.Theoneshown belowdepictsa pageto the sultan.Pagesbelongedto a corpsof slaveboys(manyof non-Islamic extraction) who werefavoritesof the sultan.Broughtup in the harem, theyweretrainedto assumethe highestpositions in the civiladministration of the OttomanEmpirewhenthey reached adulthood. Thefigureinfrontof theplatewasmadeaboutI750 in theCapodi MontefactorynearNaples.Thecostumeis thatof a Muhammadan fromsomewhere in the Europeanpartof the OttomanEmpireas it existedin the eighteenth century.Knownas"Turkeyin Europe,"the areaincludedwhatis nowGreeceandAlbania. Theyellowshoesindicatethe manwasa Believer. Plate:Hard-paste porcelain;theporcelainpaintingis attributedto Carl WendelinAnreiter.Widths2H inches. RogersFund,o6.372a.Figure:SofPpaste porcelain.Height 4H inches.Lentby R. ThorntonWilson,L.s8.7g

60 The idle courtiersof the eighteenthcenturyfound diversionin appropriatingthe luxuriesof the Ottoman Empire.In I700 the Duke of Chartresgave a Turkish masqueradeat Marly completewith dancinggirls and menagerie.The visit of MuhammadEffendi,ambassador of SultanAhmet III, to the court of LouisXV in I720 fanned the flamesof curiosity,and the tantalizingdescriptionsin the popularThousandandOneNightswhetted the imaginationof a society wearywith the tedium of etiquette.In I748 the FrenchAcademyin Romepresented a lavish masque with a Turkish motif, where painted costumesimitating rich, embroideredTurkish fabricswere recordedin the prints and drawingsof a student participant,Joseph-MarieVien (left, above). Among the glittering costumesat the masked ball at Versaillescelebratingthe marriageof the Dauphin(left, of Turkish below)wereseveralgrotesqueinterpretations dresswith huge headsand turbanspercheddirectly on the wearer'sshoulders.It is claimedthat on this occasion a famousgestureby LouisXV markedthe beginningof his liaisonwith Madamed'Etioles,soon to becomeMais thrown,"the damede Pompadour."Thehandkerchief courtcried,alludingto the allegedcustomof the sultan in selectinghis favorite. French.Himan Vien(I7I6-I809), Aftore:Joseph-Mclrie de la GrandeMosquee,studyfor the costumeof Monszeur Clement for the Fete at the FrenchScademyat Romein with whzze,on bluepaper, I748. Blact chal&,heightened Fund,6I.I39. Below:Charles2I%6 X I613/6 inches.Rogers French.Detail,DecoraNicolasCochinPere(I688-I754), tiondu Bal Masque. . . dansla grandeGalleriedu Chateau du mariagede Louis Dauphznde de Versailles 2 I'occc/sion . . . MDCCXLTT. Therese Infanted'Espagne Francea?vecMarie from ChalcograCochznFils, restrzke 24fterCharles-Nicolas inches.HarrisBrisbane 34, I 8 X 30 phzedu Lourre,?vol. DlCt

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61 Like chinoiserie,turqueriesthrived on their exotic associations.By the mid-eighteenthcentury, Turkish motifs had been domesticatedin Europe for quite a while. Turkishslaves appearedas decorativeincidents in Italian art after the naval victory at the Battle of Lepantoin I57I, while Turkishcostumeswere worn at masquerades at the court of LouisXIV. The vogue lost no momentumas the centuryadvanced.In I755 Madame de Pompadourwaspaintedasa sultanaby CarlevanLoo. four du Barrycommissioned TwentyyearslaterA4adame

Turkishsubjects;one depicted her served by eunuchs. Gardenpavilionssprangup imitatingTurkishsummerhousesknownas kiosks,andwholeroomswere decorated with turqueries.At Fontainebleaua smallTurkishboudoir was completedfor Marie-Antoinettein I777, with paintedandcarvedwoodworkby the brothersRousseau; while the Comte d'Artoishad two Turkishrooms,one at the Chateaudu Temple,in Paris,and the other in his The Museumownstwo painted apartmentsat Rlersailles. oakpanelsexecutedforthisroomin I 776. The centralmedallionof this one, supportedby two fish-tailednymphs, showsa pashawith two membersof his harem;above, a turbanedmusicianplucks a lute. The quality of the paintingdoes not supportthe attributionof the panels to Jean-HonoreFragonard,who is known to have done turqueriesubjects.It is more likely that they are by the decorativepainter Jean-MarieDussaux,who later did similarschemesat the Chateaude Bagatelle. French.37 x 28h inches.Gift of J. PierpontMorgcln, 07022St4S84

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62 Easternimportsfromthe Westin the eighteenthandnineteenthcenturiestended, asnow,to bescientific ormanufactured items, suitablyadaptedfor the market.The Porte wouldadmitintoTurkeythetimepieces only of certainfavoredmakersand dealers,who consequently dida largebusiness. Onthedials of thewatchesshownhere,thehoursareindicated by stylizedArabicnumbers,and on the movementof one the maker'snamealso appears in Arabiccharacters. The reputation of themenwhomadethesetimepieces wasas highin theirowncountries asin Istanbul. Clockwise: open

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Someof the namesgiven to this picturesqueinstrument reflectitsoriginandhistory. It hasbeencalledin Polish,KsiezycTurecti, meaning"Turkishmoon";in Danish,Janitscharspil,"Janissary instrument"; in French, chapeauchinois,"Chinese hat";andin German,Schellenbaum, "treewithjingles." Turtishcrescent,German,earlyXIX century. Woody and!brass,withhorsehair pendfants, height 5 feet 2 inches.The CrosbyBrownCollectionof MusicalInstruments, 89.4.846

64 The decorativetasteof the earlynineteenthcenturywasfiredby the floridOrientalextravaganza of theBrightonPavilionand otherroyalfollieson the Continent,andby a sentimental interestin allthingsremoteand romantic.Vistasinto the colorfulreachesof theOttomanEmpireprovided bydiarists and artistsof thedaywereadapted intoa turquerie that combinedlight-mindedly with Gothic, Chinese,Saracenic, andbucolicruralthemes evenmorefreelythanin thepast.Oneof the morecharmingexamplesof this sometimes unsettlingstyleis thislittleprovincial woodblock-printed cottonin blue,red,andblack, whosefloralbouquetssuggestthoseof the eighteenth century,andwhosetinystifffigures and pavilionsleaveone wonderingwhether theyareTurkishor Chinese. Englzsh,aboutI 805. s4h x 23h inches.Gzjzt of JeanMontgomery Greenman, 67.91.4

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63 Theinstrument at theupperright,known as a jinglingJohnny,wasderivedfromthe Janissary bandof the Turkisharmy,where it represented the pasha'sstandard and was bornebeforehisregiment in battle.Asa result of the seventeenth-century Austro-Turkish warsit infiltrated European armiesandwas carriedin frontof themarching bands.

-

by Caroline,queen 65 In I8I3 Ingreswascommissioned of Naples, to paint a pendant to the SleepingWoman (now lost) that he had done for her in I809. The Museum'spaintingis a study in grisaillefor this secondcommission.Ingresdid not originallyconceivethe Sgureas Oriental:a preparatorydrawingin the Courtauldcollection showsonly the recliningnude. He added the Oriental accessoryof a turbanin the grisaillestudy and entitled the pictureOdalisque.This thememay have been inspiredby the generalinterest in the Near East that

236

grewout of the Napoleonicinvasionsof Egypt (thenpart of the Ottoman Empire). Soldiersreturnedto France with tales of the exotic placesthey had seen and often broughteasily portablesouvenirswith them. The Snal versionof the painting,now in the Louvre, has many suchOrientalobjects,includinga waterpipeanda Turkish incenseburner,scatteredthroughoutthe picture. Ingres(1780-1867), French. Jean-Auguste-Dominique Oil on canvas,323Sx 43 inches,about1813. WolfeFund 38.65

66 Alexandre Decampswasone of the Srst of manynineteenth-century Frenchartists whowentto Turkeyto sketchandpaintcontemporary Turkish life.Herea groupofTurkishsoldiers is patrolling thestreetsof Smyrna, andDecamps hascarefully recorded everydetailof the scene.The leaderis distinguished by his whiteturbanandis the onlymanon horseback. The ornatemacethathe holdsin hisrighthandisanemblemof rankandtheinsigneof anofficer.Theothersoldiers, running barefoot, wearscabbards andpistolsin their beltsandcarryknivescalledyataghans. Their Albanian rifleshavelong,narrowbarrels with fancy,fish-shaped butts.The artisthas also noted the pointedTurkishstirrups,which doubledasspurs. Dramaandmovement areevokedby using sharpcontrastsof light and dark,and by placingthe weaponsandlegsof the soldiers in strongdiagonals againstthe solidvertical blocksof the buildingsin the background. Anearlierandlargerversionof thispainting wasshownat the Salonof I83I in Parisand causeda sensation withitsdramatic rendering of thisnewandexoticsubject. SlexandreDecamps(I 803-I 860), French.Oil on can?vas, 29S x 36 inches,aboutI855. Bequestof Catharine LorillardWolfe,87.I5.93

67 This study of a Turkishsoldierwas paintedbyCharles Barguein I875. Thefigure shownis a BashiBazouk,a reputedlyferocioustype of irregular in the Turkisharmy. Thesesoldierswereenlistedto fightagainst Napoleonwhenhe invadedEgypt in I798, andweresupposedly responsible for the horribleTurkish massacres in the I 870S. Nothing, however,of thefearsome soldieris evidentin this calmlyseatedfigurewho smokesa narghileandhashis coffeecup besidehim.The paintingdoesnot seemto be takenfromlife, but is an arbitraryarrangement of Turkish weapons, clothing,andobjectsonandaround the model.Barguewasa studentof Gerome and sharedhis teacher'senthusiasm for the Orient.GeromehadcollectedNearEastern costumes andobjectsin hisParisstudio;this composition couldeasilyhavebeenassembled andpaintedby Bargueusingtheseor similar Turkishsouvenirs. CharlesBargue(I 825-I 883), French.Oil on canvas,I8 X I3 inches,dated[I8]75. Bequestof Catharine LorillardWolfe,87.15.102

68 Thingsthoughtof as Turkishcouldbe foundin Americalong beforethe voguesparkedby the Philain I876 and culminating Exposition delphiaCentennial of the I880S. cozy-corner" in theclutterof the"Turkish Fifty yearsearlier,therewasa widerangeof historical One of the architecture. stylesin fashionin American leadingarchitectsthen was AlexanderJacksonDavis, triedhis a Gothicist,occasionally who,thoughprimarily handat Orientaldesigns.ThisTurkishvilla,probably the eclecticyet pragmatic drawnaboutI835, illustrates Westernmindat work.The oniondome,the window corniceareEastern andthescalloped anddoorsurrounds, in feeling,whilethe minaretsand the crescentsabove Turkish.TheTurkishminaretthemaredemonstrably motifs architectural of thatcountry's mostcharacteristic -housed a balconybeneathits peakfromwhichthe muezzincalledthe faithfulto prayer.Davisalteredhis fromtheTurkishmodelsin onlyoneparticular: minarets he replacedthe muezzin'sbalconywith ventsfor the below! fluesof thefireplaces WaAflexanderJactson Daris (s 803-I892), A!merican. tercolor,s4S, x s oM inches.HarrisBrisbaneDict Fund, 24.66.765

69 AlbertoPasini,an Italianwho came to Paristo studyin I85I, greatlyadmiredthe worksof Delacroix, andotherartistswhopaintedOrientalthemes. Decamps, In I855, as an officialartistof a Frenchexpedition,he yearstraveledwidely wentto Persiaandin thefollowing throughoutthe Near East. This lively scenewas undoubtedlysketchedduringoneof histripsto Constantipaintedin Parisin I872. Inclear, nopleandsubsequently brightcolorshe depictsthe domesand turretsof the costumes Mosqueof SultanAhmetandnotestheunusual menstanding of themountedsoldiersandthe turbaned beforethemosquegate.Pasini'smaininterest,however, and atmosphere liesin showingthe city'ssun-drenched imposingMuslimarchitecture. Pasini(s 826-s899), Italian.Oil on canvas,35 x AMlberto 26S inches,dateds872. Bequestof CollisP. Huntington, 2s.IIo.g4

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CONTRIBUTORS 1-4 OscarWhite A4uscarella AssistantCurator,AncientlVearEasternArt S-8 AndrewOliver, Jr. AssistantCurator,GreetandRomanArt 9-15,52 VeraK. Ostoia AssociateCurator,MedieralArt and The Cloisters 16-29,31-38,44-48 Ernst J. Grube Curator,IslamicAfrt

50, 65-67,69 Anne Poulet l\teuJYort University Instituteof Fine i 4 rts- .Hetro politan ,0l u seum Fellow, EuropeanPaintings 51, 64 Jeanl\4ailey AssociateCuratorin Chargeof the Textile StudfyRoom, Western EuropeanArts 53 lSIaryGlaze AssistantCurator,24merican Wing 54.57,60 AlexandrineSt. Clair Formerly

Curatorial

j4sslstant,

Prints

58, 59, 62 30

Jessie lSIcNab Dennis

Don Aanavi Curatorial Assistant,Islamic 4rt

AssistantCurator,Tl'e.tern Europerzn Arts 61

39-43 Helmut Nickel A!ssociate Curatorin Charge,drms and!Srmor 49, 63 EmanuelBlinternitz Curator,MusicalInstruments

JamesParker AssociateCurator,l lSre.tern Europeandrts 68 lSIorrison H. Heckscher Chester Dale Fellot, Prints Drawingsby JoanK. Foley

240

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin ® www.jstor.org

ART

OF

MUSEUM METROPOLITAN

THE

BOARD OF TRUSTEES RobertLehman,Chairman

ArthurA. Houghton,Jr.,President

Malcolm P. Aldrich Henry C. Alexander Mrs. Vincent Astor Cleo Frank Craig Daniel P. Davison C. Douglas Dillon

J. RichardsonDilworth Mrs. JamesW. Fosburgh Roswell L. Gilpatric JamesM. Hester Henry S. Morgan Richard M. Paget

WalterC. Baker,Vice-President

Devereux

C.

Josephs, Vice-President

Elective Mrs. Charles S. Payson Robert M. Pennoyer Richard S. Perkins Francis T. P. Plimpton Roland L. Redmond Mrs. Ogden Reid

Francis Day Rogers Irwin Untermyer Arthur K. Watson Mrs. Sheldon Whitehouse Arnold Whitridge Charles B. Wrightsman

Ex Officio August Heckscher, Commissionerof he Departmen of Parts Alfred Easton Poor, Presidentof he National Academyof Design

John V. Lindsay, Mayor of he Cy of New Yort of he Cityof New Yort Mario A. Procaccino, Comperoller

Honorary Nelson A. Rockefeller

Dwight D. Eisenhower

STAFF JosephV. Noble, Vice-DirectorforAdministration ThomasP. F. Hoving,Director RichardR. Morsches,Operating4dministrator J. KennethLoughry,Treasurer DudleyT. Easby,Jr.,Secretary BarbaraVona, AdministrativeAssistan Arthur Klein, Supervisorof Plans and Construaion John E. Buchanan, Archivist Mildred S. McGill, Assistanifor Loans Robert A. Pierson, Assistan Treasurer Maurice K. Viertel, Controller

AMERICAN

PAINTINGS

AND

SCULPTURE:

James0. Grimes, City Liaison George M. Benda, Auditor Ann Marie Bustillo, AdministrativeAssistan Alfred B. Cartier, Jr., Managerof Personnel JessieL. Morrow, Placemen Manager Robert Chapman, BuildingSuperincenden Walter Cadette, Capain of Arendanes

John K. Howat, 4ssistant Curator

James Biddle, Curator.Berry B. Tracy, AssociateCurator. Mary C. Glaze, Assistan Curaor

AMERICAN

FAR

EASTERN

ART:

Stuart Silver, Manager,ExhibitionDesign Theodore Ward, PurchasingAgent William F. Pons, Manager,PhotographStudio Eloise Bruce, RestaurantManager Betsy Mason, Managerof Of ice Service Carolyn L. Richardson, AdministrativeAssistant

Fong Chow, AssociateCuratorin Charge.Jean K. Schmitt,

AssistantCurator

WING:

ART: Vaughn E. Crawford, Curator.Prudence Oliver NEAR EASTERN Harper, AssociateCuraor. Oscar White Muscarella,Assistan Curaor

ART: Dietrich von Bothmer, Curator.Brian F. Cook, ROMAN AND AssociateCuraor. Andrew Oliver, Jr., Assistan Curaor

GREER

ANCIENT

Helmut Nickel, Associate Curator in Charge. Norma ARMOR: AND ARMS Wolf, Assistan Curaor. Harvey Murton, Armorer CONTEMPORARY

ARTS:

Henry Geldzahler, Curator

Polaire Weissman,ExecutiveDzreaor. Stella Blum, Mavis Dalton, and Ange]ina M. Firelli, AssistanzCuraors

THE

COSTUME

DRAWINGS:

INSTITUTE:

Jacob Bean, Curaor. Merritt SalTord,Conservaor of Drawzngs

and Prints ART: Henry G. Fischer, Curazor.Nora Scott and Eric Young, EGYPTIAN Curators.Virginia Burton, Assistan Curaor ASssociate

Theodore Rousseau, CAlatrman.Claus Virch, MargaPAINTINGS: EUROPEAN retta M. Salinger, and Elizabeth E. Gardner, Associate Curaors. GuyPhilippe de Montebello, Assistan Curaor. Hubert F. von Sonnenburg, Conservaorof Paintings.Gerhard Wedekind, AssociateConservaor

AUDITORIUM

EVENTS:

William Kolodney, Consukant Hilde Limondjian,

ISLAMIC

ART:

Ernst J. Grube, Curaor. Marie G. Lukens, Assistan Curaor

William H. Forsyth, ResearchCurator THE CLOISTERS: AND in Chargeof Medieval Art and The Cloisters.Margaret B. Freeman, Curaor Emeriousof The Cloisters.Vera K. Ostoia and Carmen G6mez-Moreno, Associate Curaors. Thomas Pelham Miller, ExecuniveAssistan in Chargea The Cloisters.Bonnie Young, SeniorLeaurer, The Cloisters ART

MEDIEVAL

MUSICAL

INSTRUMENTS:

Emanuel Winternitz, Curator

John J. McKendry, Associate Curaor in Charge.A. Hyatt Mayor, Curator Emeritus. Janet S. Byrne, Associate Curaor. Caroline Karpinski, Assistan Curaor

PRINTS:

ARTS: John Goldsmith Phillips, Chairman.Carl Christian EUROPEAN JamesParker, Dauterman, AssociateCuraor, Ceramics,Glass, and Meralwork. Edith A. Standen and Jean Associaze Curaror,Furnitureand Woodwork. Mailey, AssociazeCuraors, Texiles. Olga Raggio, AssociateCuraor, Renaissance Art. Yvonne Hackenbroch, Senior Research Fellow. Jessie McNab Dennis and Clare Vincent, AssistanzCuraors WESTERN

MEMBERSHIP:

Dorothy Weinberger, Manager. Suzanne Gauthier, Assistant

Manager

SeniorASsszstant Bradford D. Kelleher, Sales Manager. REPRODUCTIONS: AND SHOP BOOK Margaret S. Kelly, GeneralSupervisor,Art and Boot Shop. Daniel S. Berger, Assistan o zheSales Manager Kate C. Lefferts, AssociateConservatorin Charge CONSERVATION: Jean A. Ashfield, Manager AND PROMOTION: DEVELOPMENT Harry S. Parker III, Chairman.Thomas M. Folds, Dean. Louise EDUCATION: Condit, Assistan Dean in Chargeof he Junior Museum. Angela B. Watson and Roberta Paine, Senior Leaurers. Merrill A. Lake, Assistan o the Dean James Humphry III, Chief Librarian.Margaret P. Nolan, Chief, LIBRARY: Photographand Slide Library.Elizabeth R. Usher, Chief, Art ReferenceLibrary

Eleanor D. Falcon, Manager. James Delihas, Assistant RELATIONS: Manager.Katherine Warwick, Public RelationsWriter.Joan Stack, Manager, InformationService

PUBLIC

Leon Wilson, Associate Editor in Charge. Jean Leonard, AssociazeEdiior. Anne Preuss, Katharine H. B. Stoddert, Suzanne Boorsch, and Joan K. Foley, Assistan Editors PUBLICATIONS:

William D. Wilkinson, Registrar. Rebecca AND CATALOGUE: REGISTRAR Siekevitz, Supervisorof the Catalogue.Hugh G. O'Neill, Sssistan Registrar

Information exceptTuesdays,I0-5; TuesdaysI0-I0; Openweekdays, is Sundaysand holidaysI-5. Telephone:TRafalgar9-5500. The Restaurant Tuesdayevenings5-9;SundaysI2-3; closedholiopenweekdaysII:30-2:30; Sundays3:30-4:30. 3-4:30; days.ColTeehours:Saturdays

THE

MAIN

BUILDING:

Openweekdays,exceptMondays,I o-s; Sundaysand holiCLOISTERS: SundaysI-6). Telephone:WAdsworth3-3700. days I-5 (May-September,

THE

MEMBERSHIP:

will be mailedon request. Information

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