LOAN 
 
 EXHIBITION 
 OF THE 
 )■ PIERPONT 
 MORGAN 
 COLLECTION 
 
 THE 
 
 METROPOLITAN MVSEVM 
 OF ART 
 

 
 
 
 
 
 
 I 
 
 
 
 
THE METROPOLITAN MUSEUM 
 OF ART : GUIDE TO THE 
 LOAN EXHIBITION OF 
 THE J. PIERPONT 
 MORGAN COL¬ 
 LECTION 
 
 
 NEW YORK 
 M C M XIV 
 
COPYRIGHT 
 
 BY 
 
 THE METROPOLITAN MUSEUM OF ART 
 FEBRUARY, 1 9 I4 
 
 me etm cme* 
 
INTRODUCTION 
 
Digitized by the Internet Archive 
 in 2017 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/guidetoloanexhibOOmetr 
 
THE J. PIERPONT MORGAN 
 COLLECTION 
 
 INTRODUCTION 
 
 i HE exhibition which, through the courtesy of Mr. 
 J. P. Morgan, the Metropolitan Museum now offers to 
 its visitors, and which is described in the following pages, 
 is spoken of as the “Morgan Collection.” It is, however, 
 only that part of his collection—or more properly collec¬ 
 tions—which the late Mr. Morgan allowed to accumulate 
 in Europe, and sent to this country during the year be¬ 
 fore he died. To form an idea of the extent of his col¬ 
 lections in their entirety, it should be remembered that 
 in addition to what is now placed on view, there is in the 
 Museum a vast amount of material belonging to them, 
 distributed through its various departments, such, for 
 example, as the large gallery of Chinese porcelains, the 
 rich and important Hoentschel collection of mediaeval 
 works of art, the Merovingian and Germanic antiquities, 
 many paintings exhibited in our picture galleries, and in¬ 
 dividual objects in our Egyptian and Classical collections; 
 and besides all these there are the treasures in his Library 
 —books, manuscripts, prints, drawings, medals, as well as 
 
THE MORGAN COLLECTION 
 the works of art, chiefly Italian, which adorn its walls and 
 cabinets. 
 
 Had such an assemblage represented the results of 
 several generations of a family of collectors, it would have 
 been a most remarkable achievement, but formed as it 
 was by one man, and during a comparatively short 
 period of his life, it is probably without parallel in the 
 history of collecting, as there is to-day no collection 
 which in range, variety, and the high average of quality 
 outranks it. Mr. Morgan always had a passionate love 
 for beautiful things, but although he began to acquire these 
 in his student-days, it was not until the latter years of his 
 life, when he relaxed somewhat his close attention to busi¬ 
 ness, that he gave full play to his ambition as a collector. 
 During that time he purchased with almost feverish zeal, 
 willingly pursued by dealers wherever he went, they know¬ 
 ing it was well worth while to save their best things for 
 him, prince of collectors as he was in more ways than one. 
 In many cases, of course, he bought individual objects as 
 they were offered to him, but it was also part of his policy 
 to secure entire collections when he could, and when he 
 knew them to be of recognized high quality, and thus he 
 often reaped the benefit of a lifetime of patient and ex¬ 
 pert collecting in some special branch. A characteristic 
 instance of his methods he used to describe with great 
 enjoyment, his story being as follows: “I heard that 
 Mr. So-and-so had a certain object in nis collection that 
 
 viii 
 
INTRODUCTION 
 
 I was very anxious to secure, and in the hope of being 
 able to buy it, I obtained an invitation to visit the col¬ 
 lection, which I had never seen. But when I saw what 
 treasures the man had, I said to myself, ‘What is the use 
 of bothering about one little piece when I might get them 
 all?’ So I asked him at once if he would take so much 
 for his entire collection; he said he would, and I bought 
 it then and there.” Another important collection, this 
 time one which he knew well, he bought as he was getting 
 into his automobile to take the steamer for Europe. 
 Just at that moment a dealer came along and told him 
 the collection was for sale. “Very well,” said Mr. Mor¬ 
 gan, “if you are authorized to negotiate for it, you may 
 buy it for me,” and with that, off he went. 
 
 The present exhibition consists entirely of material 
 which has never been seen in this country before, with the 
 exception of the paintings, which have been shown in our 
 Gallery of Special Exhibitions during the past year, and 
 five Gobelin tapestries. It comes from his London res¬ 
 idence, No. 13 Prince’s Gate; his country seat, Dover 
 House, near Putney; the Victoria and Albert Museum at 
 South Kensington; the National Gallery, where the 
 Raphael hung for a number of years, and Paris, where 
 many things were stored from the time when he purchased 
 them. All this part of his collections is therefore now 
 brought together for the first time, and it is doubly to be 
 regretted that he could not have lived to see them thus 
 
 IX 
 
THE MORGAN COLLECTION 
 exhibited, for it may well be doubted whether even he 
 realized what a bewildering abundance of splendid objects 
 he had accumulated, or what a display they were ca¬ 
 pable of making. 
 
 A summary of the component parts of the exhibition 
 was given in the Museum Bulletin for last June, when 
 Mr. Morgan’s son, the present owner of the collection, 
 announced his consent to the holding of a temporary ex¬ 
 hibition of all the objects which had been sent over. As 
 they are more fully described in the Guide itself, this 
 introduction may be confined to a general account of their 
 arrangement. 
 
 In the installation of the Morgan collection, an ar¬ 
 rangement has been followed which is based mainly upon 
 the chronological sequence of the material exhibited, 
 though it has not been possible to adhere strictly to this 
 system in all details. The tapestries, for example, of which 
 there are thirty-six, could not all be crowded into the 
 rooms to which their periods would assign them, and the 
 exhibition as a whole would have lost much of its effective¬ 
 ness had this been attempted. They have therefore been 
 distributed through the various rooms and corridors 
 frankly for decorative effect, where they would show to 
 the best advantage, and where they would best serve 
 their purpose to enliven the background, keeping the 
 various types in places where they would harmonize with 
 the objects about them. 
 
 x 
 
INTRODUCTION 
 
 With the chronological sequence as a basis, the gal¬ 
 leries are arranged as follows: 
 
 11 ANCIENT ART: Egyptian, Greek and 
 Roman bronzes, ivories, etc., Byzantine and 
 Romanesque ivories and enamels, Arabic and 
 Persian glass. 
 
 12 THE GOTHIC ROOM. Mediaeval 
 sculptures in various materials, ivories, enamels 
 and reliquaries. 
 
 13 FIRST RENAISSANCE ROOM, the 
 chief feature being the collection of bronzes, with 
 Della Robbia terra-cottas and the triptych by 
 Filippo Lippi. 
 
 14 THE LARGE RENAISSANCE 
 ROOM. In the centre of the main wall the 
 Raphael, and this and the other walls lined with 
 cases of Italian majolicas with two reliefs, by 
 Rossellino and Donatello, above them. On the 
 floor, cases of reliquaries, crystals and Renaissance 
 glass. 
 
 15 LATER RENAISSANCE; paintings by Van 
 Dyck and the Dutch School, boxwood and hone- 
 stone carvings, later Limoges enamels, and jewelry. 
 
 16 XVI-XVI 11 CENTURIES; paintings, gold 
 and silver plate, ivories, enamels, etc. 
 
 17 Called the “ENGLISH” ROOM, because the 
 dominating feature is the English paintings, though 
 
 xi 
 
THE MORGAN COLLECTION 
 the furniture and other objects in the room are 
 French of the XVIII century, there being no 
 English decorative works of this period in the 
 collection. 
 
 18 FRENCH, XVI I I CENTU RY, the walls 
 hung with Gobelin and Beauvais tapestries, and the 
 furniture and other objects in the room being 
 French of that period. 
 
 19 TH E "FRAGONARD” ROOM. It was 
 the late Mr. Morgan’s wish that the famous Frago¬ 
 nard panels from Grasse should be exhibited in the 
 Museum in an exact reproduction of the room 
 in which they were hung in Prince’s Gate, and 
 thanks to the co-operation of his son this has 
 been done with the actual woodwork of the 
 room itself. The only change is that for the 
 fireplace which stood in the house, a doorway 
 has been substituted, to admit of free passage¬ 
 way through the room. 
 
 20 FRENCH PORCELAINS. 
 
 21 THE COLLECTION OF WATCHES. 
 
 22 GERMAN PORCELAINS. 
 
 23 THE COLLECTION OF MINIATURES. 
 
 As to the decorative treatment of the galleries to serve 
 
 as a setting for this great variety of material, that will 
 explain itself to those who visit the exhibition, and it is 
 difficult to describe adequately to those who do not. 
 
 xii 
 
FLOOR PLAN 
 
 SHOWING ARRANGEMENT OF COLLECTIONS 
 
INTRODUCTION 
 
 Briefly it may be said that the walls of Galleries 11—16 
 have been hung with inexpensive materials of different 
 shades and textures, with a view to avoiding monotony 
 of effect, and also to harmonizing with the tones of the 
 objects which predominate in each room. The two 
 XVIII century rooms, 17 and 18, have been given a paneled 
 effect, the one painted a soft English green and the other 
 a French gray. The walls of the galleries around the 
 area are finished with a rough plaster surface, tinted in a 
 creamy tone, as an appropriate background for the tapes¬ 
 tries which surround them, and a color which should not 
 be too sombre for the porcelains; and the Miniature Room 
 is covered with a soft, greenish-gray fabric, hung in 
 straight folds. 
 
 The work of installation has been shared by various 
 members of our staff. The general plan of arrangement 
 and the decorative scheme were decided upon by a sort 
 of committee consisting of the Director and Messrs. 
 Valentiner, Burroughs, Breck and Friedley. The min¬ 
 iatures have been arranged by Mr. Burroughs, and the 
 ancient bronzes by Miss Richter. But as the bulk of the 
 material consists of objects belonging to the Decorative 
 Arts, so the burden of the work has fallen upon that 
 department of the Museum, and to Messrs. Valentiner, 
 Breck and Friedley belongs the principal credit for the 
 result produced. 
 
 The preparation of the Guide has been distributed as 
 
 xiii 
 
THE MORGAN COLLECTION 
 follows: Gallery 11 is described by Gisela M. A. Richter 
 and Robert T. Nichol, No. 12 by Robert T. Nichol, 
 Nos. 13 and 14 by Joseph Breck, No. .5 by W. R. Val- 
 entiner, Nos. 16 and 21 by Bruce M. Donaldson, Nos. 
 17, 18, 20 and 22 by Durr Friedley, and Nos. 19 and 23 
 by Bryson Burroughs. 
 
 In conclusion, it is an especial satisfaction to record the 
 fact that, with the exception of the manufacture of the 
 materials used on the walls, all the mechanical labor of 
 installation has been performed by the Museum’s own 
 force. The Museum may well be proud of having in its 
 employ a force of mechanics who responded so readily and 
 so intelligently to the extraordinary call that has been 
 made upon them during the months that this installation 
 has been in progress. 
 
 Edward Robinson. 
 
 xiv 
 
TABLE OF CONTENTS 
 
TABLE OF CONTENTS 
 
 PAGE 
 
 Introduction .v 
 
 Guide .i 
 
 Gallery 11, Ancient Art: 
 
 Egyptian. 4 
 
 Greek and Roman.4 
 
 Byzantine and Romanesque . . 11 
 
 Arabic and Persian.21 
 
 Gallery 12, 
 
 Gothic Period.27 
 
 Gallery 13, 
 
 Renaissance Period.39 
 
 Gallery 14, 
 
 Renaissance Period.51 
 
 Gallery 15, 
 
 The Northern Renaissance and Baroque Periods 69 
 Gallery 16, 
 
 The Baroque Period.81 
 
 Gallery 17, 
 
 Eighteenth-Century, English and French . . 103 
 
 Gallery 18, 
 
 Eighteenth-Century, French . . . .111 
 
 xvii 
 
CONTENTS 
 
 PAGE 
 
 Gallery 19, 
 
 The Fragonard Room.117 
 
 Gallery 20, 
 
 French Porcelains. 121 
 
 Gallery 21, 
 
 The Collection of Watches.127 
 
 Gallery 22, 
 
 German Porcelains. >35 
 
 Gallery 23, 
 
 The Collection of Miniatures . . . 1 39 
 
 Bibliography . >53 
 
 xviii 
 
GUIDE TO 
 TH E 
 
 COLLECTION 
 
GALLERY ELEVEN 
 

 
 
CENTAUR, ARCHAIC GREEK 
 ROOM II, CASE B 
 
 GREEK MIRROR 
 V CENTURY B. C. 
 ROOM II, CASE B 
 
GALLERY ELEVEN 
 CLASSICAL, BYZANTINE 
 AND ROMANESQUE 
 PERIODS 
 
 In Cases A-E have been placed Mr. Morgan’s collection 
 of CLASSICAL ANTIQUITIES. Of these by 
 far the most numerous are the ancient BRONZES, 
 which number in all ninety-four pieces. They consist 
 not only of statuettes, but of all manner of household 
 articles and utensils, such as lamps, mirrors, vases, horse- 
 trappings, strigils, ladles, weights, and ornaments from 
 couches, thus illustrating the manifold uses to which 
 bronze was put in antiquity . 1 Such utensils are not only 
 interesting on account of the light they throw on the 
 daily life and customs of the ancients, but because each 
 is an artistic product in itself. For it is one of the dis¬ 
 tinguishing traits of antiquity that the decorative instinct 
 pervaded all classes of the community, and was shared 
 alike by the simple artisans and the sculptors and 
 painters. 
 
 The majority of these bronzes belong to the Roman 
 
 •These have been catalogued by Cecil H. Smith in a large folio 
 volume, fully illustrated. 
 
 3 
 
THE MORGAN COLLECTION 
 period; but the earlier periods are also represented, occa¬ 
 sionally by examples of the first order. 
 
 Case A In Case A have been assembled a few Egyptian 
 bronzes, all dating from the Ptolemaic and Roman 
 periods. The most important is a large statuette of a 
 Seated Cat, in splendid preservation and of good exe¬ 
 cution. 
 
 Case B The bronzes of Greek workmanship will be found 
 chiefly in Case B. The earliest is a remarkable little 
 group of a Centaur and man (perhaps to be identified 
 with Pholos greeting Herakles), dating from about the 
 eighth century B. C. It is of very primitive style, but of 
 great importance on account of the rarity both of grouped 
 statuettes and of mythological scenes at so early a period. 
 The base has on its under side a number of engraved lines 
 and a zigzag pattern in openwork, so that the group 
 probably served as a seal. 
 
 A beautiful example of Greek archaic art (sixth century 
 B. C.) is the statuette of a galloping Centaur about to 
 throw a peculiar object which he holds in both hands. 
 The modelling shows great vigor, and the rapid forward 
 motion is admirably represented. 
 
 Other important pieces are a fifth-century mirror sup¬ 
 ported on a stand in the shape of a female figure, of good 
 workmanship and rare completeness; the cover of a mirror 
 decorated with a charming toilet scene; a remarkable figure 
 of a draped warrior, of the sixth century B. C.; the handle 
 
 4 
 
GALLERY ELEVEN 
 
 of a vase with the fore-part of a Siren on the lower attach¬ 
 ment; and a large statuette of a nude warrior of fourth- 
 century style. 
 
 The bronzes of Roman workmanship, whether re¬ 
 producing earlier Greek types or new creations of the 
 period, have been placed chiefly in Cases D and E, 
 though some will also be found in Cases A and B. A fine 
 example is the large statuette of Dionysos, 15 % inches 
 high, represented as a smiling boy wearing a panther’s 
 skin. The other statuettes include several figures of 
 Aphrodite, Hermes, Victory, Eros, Harpokrates, and Lar, 
 all favorite subjects of that period. There are several 
 excellent specimens of Roman lamps, suspended from 
 chains, and jugs, chiefly from Boscoreale, some covered 
 with the beautiful dark blue patina which distinguishes 
 many bronzes from that site. 
 
 Besides bronzes, Mr. Morgan’s collection includes a 
 few specimens of classical art in other materials. There 
 are two charming examples of Tanagra statuettes, both 
 of standing, draped women, in excellent preservation 
 and of unusual size. Two marble statuettes represent 
 Aphrodite, one, partly draped, is an attractive piece of 
 fourth-century style, the other is a somewhat indiffer¬ 
 ent Roman work reminiscent of the Knidian Aphro¬ 
 dite. Of special interest is a group of silver vases and 
 utensils, delicately worked in the style of the later Greek 
 period. They consist of two cups, a ladle, a safety pin, 
 
 5 
 
 Cases 
 A, B, D, E 
 
Case C 
 
 THE MORGAN COLLECTION 
 and a dipping rod, and are said to have been found 
 together in a tomb at Olbia. 
 
 In addition should be mentioned some MISCELLA¬ 
 NEOUS PIECES of gold jewelry, a few silver and 
 faience statuettes, three pieces of glass (in Case K), of 
 which one is a bowl with several figures roughly incised, an 
 amber relief, and three terracotta vases. Of the latter the 
 most interesting is a jug with trefoil mouth covered with a 
 greenish vitreous glaze. It is decorated with a spirited 
 scene in relief of dancing figures, caricatured in the 
 exaggerated manner prevalent in late Greek and Roman 
 times. 
 
 In Case C will be found a piece of unusual interest and 
 importance. It has been restored as a seat with curved 
 rests decorated with bone carvings and glass inlay; 
 but it must originally have been considerably longer and 
 have served as a COUCH, in which case the two 
 curved rests would have had more use and the whole 
 be better proportioned. This form of couch is that 
 adopted by the Romans from the Greeks, and pop¬ 
 ular with them down to the end of the first century 
 A. D. A number of examples with bronze fittings are 
 known, but specimens with bone decorations are rarer, 
 the best known having been found at Norcia, Ancona, 
 and Orvieto, of which the last is now in the Field 
 Museum at Chicago. The bone carvings, both on the 
 seat and on the stool (which is exhibited in the same 
 
 6 
 
PART OF A ROMAN COUCH 
 ROOM I I, CASE C 
 
 BYZANTINE SILVER DISH 
 VI CENTURY A. D. 
 ROOM II, CASE I 
 

GALLERY ELEVEN 
 
 case), are of rough workmanship, but combine well with 
 the gaily colored mosaic inlay to give the richness of 
 effect so appreciated by the Roman temperament. With 
 this piece should be compared a few fragments of bone 
 and ivory carvings, belonging approximately to the same 
 period, which have been placed in Case L of the same 
 gallery. 
 
 In the summer of 1902, two Greek peasants living 
 at Karavds, in the island of Cyprus, came upon a 
 TREASURE consisting of eleven silver dishes and a quan¬ 
 tity of gold jewelry. Five of 'the dishes and a few 
 pieces of the jewelry were kept in Cyprus, and are now 
 housed in the Nicosia Museum. The rest, after various 
 vicissitudes, became the property of Mr. Morgan. This 
 part of the treasure is now exhibited in Case I. The Case I 
 six plates, of which the largest is about 20 inches in 
 diameter, are decorated with scenes from the Biblical 
 story of David. The jewelry consists of necklaces, brace¬ 
 lets, earrings, and a girdle of gold medallions and coins 
 ranging in date from 408 to 685 A. D. This treasure 
 is of unique importance in illustrating by a series of 
 splendid monuments the silversmith’s art in the early 
 Byzantine period (about the sixth century A. D.), which 
 had heretofore been scantily represented. It shows the 
 dependence of that art on classical models and forms 
 an important link between the early Christian monu¬ 
 ments and the Byzantine art of the ninth and tenth 
 
 7 
 
THE MORGAN COLLECTION 
 centuries. With regard to its artistic merit, the com¬ 
 positions show little inspiration, but every piece is 
 beautifully worked, and we may surmise that the 
 whole treasure was the product of a skilled and painstaking 
 artisan. Eortunately the preservation is astonishingly 
 good, and with the exception of a little corrosion in a few 
 places, the pieces look as if they might have been made 
 yesterday. 
 
 Room 11 contains besides the five cases (A, B, C, D, E) 
 of objects of Ancient Art described above, several other 
 cases and many individual objects illustrative of some of 
 the decorative arts between the fifth and fourteenth cen¬ 
 turies. All of these are of European origin except the 
 single case (R. 11, Case L) which contains very beautiful 
 examples of Syrian enameled glass mosque lamps, etc., 
 manufactured principally in Syria for distribution through 
 the countries of the Levant, notably Egypt, under the 
 Mameluke Sultans, and other parts of the Mohammedan 
 East—between the thirteenth and sixteenth centuries. 
 The other cases contain almost exclusively examples of 
 the great Byzantine and Gothic schools of Mediaeval 
 Europe in Enamel and Carved Ivories. 
 
 The separate objects comprise Tapestries, Carpets, 
 Vases, Statuettes, and two large screen-pieces consisting 
 of small ivory plaques, forming each a narrative sequence. 
 
 By enameling we understand the method of decorating 
 the surface of metal (usually gold, silver or copper) with 
 
 8 
 
GALLERY ELEVEN 
 
 vitrified colors, that is, colors reduced by the action of 
 fire to the consistency of glass. 
 
 Of this method there are three main processes (in 
 chronological order)— cloisonne, champleve, and painted 
 enamel. The first is always the process used in the 
 Byzantine enamels, and (we may observe incidently) 
 in the later Chinese and Japanese schools. It means 
 covering the surface to be decorated with cloisons, that 
 is, small cells or compartments, “cloisters,” for the sepa¬ 
 rate colors, by means of fine wires soldered on, and filled 
 with the enamel paste before filing, the whole being 
 afterwards rubbed down and polished. The second is 
 always the Gothic or Mediaeval way, including the great 
 schools of Germany, France, England and Burgundy, 
 and of the workmen in British India to-day, who produce 
 the gorgeous enamels of Jaipur, Delhi and Lahore. It 
 consists in hollowing out on the metal surface channels 
 and spaces to be filled with the different colors, thus 
 forming a champ levs, or field of color raised to the level 
 of the original surface. The third (but we shall find few, 
 if any, examples in these two rooms) was a method, using 
 neither cloisons nor channels, which brought Enameling 
 much nearer the arts of Painting and Engraving, and so 
 did away with its own distinctive character and raison 
 d’etre. It will perhaps be not amiss to add that by trans¬ 
 lucent enamels we mean colors permitting the passage of 
 light: also that these naturally belonged to the cloisonne 
 
 9 
 
THE MORGAN COLLECTION 
 or Byzantine process, the foundation of which was usually 
 gold, and are seldom or never found in the champleve, or 
 Gothic examples (usually on copper) till about the four¬ 
 teenth century, when the process of basse taille, or engrav¬ 
 ing in relief the bottoms of the channels, afforded a field 
 for their use, the limpid enamels permitting the pattern 
 to show through. This was immediately employed, 
 principally by the Llemish or Burgundian craftsmen and 
 those of Siena and Northern Italy, with exquisite results, 
 especially in small objects, shrines, chalices, reliquaries, 
 etc., of gold and silver. 
 
 Beginning now with the objects and cases in Gallery 
 n, in order (that is, from the left on entering), there will 
 be found in the first corner on a pedestal, a large Chinese 
 vase, or sacrificial vessel, of bronze, belonging to the 
 Chow Dynasty, about B. C. 1500. This is supposed to 
 be the best age of the art of bronze-casting in China, and 
 its remoteness gives us some idea of the early civilization 
 of this wonderful people. 
 
 Omitting the cases of objects of Classic and Ancient 
 Art (dealt with in another paper), we may notice on the 
 walls a piece of fifteenth-century tapestry, delightfully 
 warm and rich in color, and naive and sincere in design. 
 It is Lrench work of the later fifteenth century and be¬ 
 longed formerly to the noble family of Sambola of Cata¬ 
 lonia, in the Kingdom of Spain. It is meant to illustrate 
 the several clauses of the Apostles’ Creed. In the first 
 
 10 
 
LEAF OF A DIPTYCH 
 IVORY 
 
 SPANISH, X CENTURY 
 GALLERY I I, CASE G 
 
 HUNTING HORN 
 IVORY 
 
 SYRIAN, XII CENTURY 
 GALLERY II, CASE G 
 
GALLERY ELEVEN 
 
 compartment is the Eternal Father, crowned and robed 
 both as Pope and Emperor, creating the heavens and the 
 earth: in the second, the Baptism of Our Lord by St. John 
 the Baptist, if not in historic sequence with the follow¬ 
 ing subjects, yet introduced because of the proclamation 
 at that time by the Father’s voice—“This is my beloved 
 Son”; in the third, the Archangel Gabriel announcing 
 to Mary her conception of the Son of God; in the fourth, 
 the Birth of the Lord at Bethlehem; in the fifth, the 
 Passion, Crucifixion, and Death, all summed up in the 
 familiar group of the Crucifixion; in the sixth, the Lord’s 
 Body prepared for burial; in the seventh, the Descent 
 into Hell, and setting free the souls of the Old Testa¬ 
 ment Saints—the “Harrowing of Hell” of the old writers; 
 in the eighth, the Resurrection; in the ninth, the Ascen¬ 
 sion; in the tenth, the Last Judgment; in the eleventh, 
 the Descent of the Holy Ghost on the Blessed Virgin Mary 
 and the Apostles at Pentecost; in the twelfth. Our Lord 
 in Heaven between the Blessed Virgin Mary and St. 
 
 John Baptist, guarding and blessing His Church on earth, 
 at the gate of which sits St. Peter, holding the Keys of 
 the Kingdom; in the thirteenth, the Guardian Angel 
 guiding a soul to the tribunal of Penance, where the 
 priest absolves it; in the fourteenth, Our Lord reigning 
 among the Blessed forever. 
 
 Continuing now at Case F, we find various objects and Case F 
 fragments of early Byzantine and Mediaeval ivories. 
 
 11 
 
Case G 
 
 THE MORGAN COLLECTION 
 Particular attention is directed to the circular cyst or 
 pyxis, probably from its decoration, intended for some 
 ecclesiastical purpose—early Byzantine work of the 
 sixth century; and near it a cup or beaker, boldly 
 and well carved in relief with nude figures of bacchants, 
 probably a somewhat rude Coptic transcription of a 
 Classic model. On the shelf below these is a remarkable 
 oblong box of wood, covered with finely carved ivory 
 plates, representing, on front, back and sides, scenes 
 from the life of the beasts of the forest and of the chase, 
 and on the lid two scenes of the human life of an earlier 
 period, one of a combat of gladiators, the other from some 
 classical comedy. This is fine and careful work belong¬ 
 ing to the period of conscious imitation of Classic models, 
 about the ninth century. 
 
 In Case G, among the various Byzantine and Mediaeval 
 objects, perhaps the most noteworthy is the beautiful 
 and delicately carved fragment from the throne of Don 
 Jayme I, King of Arragon and Majorca in the thirteenth 
 century, representing a knight in the armor of the period 
 (barred helmet and the suit of chain-mail reinforced on 
 the forearms and legs with steel plates), mounted on a 
 horse vigorously climbing a wooded hill The herbage 
 and small wild-creatures beneath their feet, and the con¬ 
 ventionalized border above of wreathen climbing plants, 
 and beasts, are tenderly and skilfully treated. On the 
 next shelf is a maimed Crucifix, fine and dignified French 
 
 12 
 
ENAMEL PLAQUE 
 RHENISH, XII CENTURY 
 GALLERY I I, CASE J 
 
 THE “OPFENHEIM” RELIQUARY 
 SILVER OVERLAID WITH ENAMEL ON GOLD 
 BYZANTINE, IX CENTURY 
 GALLERY II, CASE J 
 
 GOLD AND ENAMEL PLAQUES 
 BYZANTINE, IX CENTURY 
 GALLERY I I, CASE J 
 
 

 RELIQUARY 
 LIMOGES ENAMEL 
 FRENCH, XIII CENTURY 
 GALLERY II, CASE H 
 
GALLERY ELEVEN 
 
 work of the twelfth century; and on a lower one a really 
 noble tablet of the diptych type, evidently one of a series 
 of subjects from the Gospel history, containing two inci¬ 
 dents of the Resurrection; the lower, that in which Our 
 Lord appears to St. Mary Magdalene (the Noli me tan- 
 gere of so many later artists)—with the legend above, 
 
 Dns Marie loquitur (The Lord speaks to Mary); and in 
 the upper half, the Lord joining the two disciples on their 
 walk to Emmaus on the evening of the first Easter Day. 
 
 This is dignified Spanish work of the tenth century. In 
 the same case are several beautiful ivory heads of crosiers 
 (French crosse), and also several carved ivory horns 
 (“oliphants”), the largest covered with delicate intricate 
 geometric design, Oriental both in origin and taste; the 
 others, whatever their provenance (supposedly French or 
 German, twelfth century), certainly inspired by Oriental 
 models. 
 
 In Case H are four reliquaries of the shape which the Case H 
 French call chasse, that is, suggesting a small gabled 
 house or chapel, though the word itself means no more 
 than “coffin” or “bier.” These are all admirable ex¬ 
 amples of the splendid clampleve enameling of Limoges 
 at various periods during the thirteenth century. It may 
 be well to note on the two larger the delicate chasing or 
 engraving which covers the gilded surface of the copper, 
 a feature characteristically French, and serving to dis¬ 
 tinguish it from contemporary work of the great German 
 
 13 
 
THE MORGAN COLLECTION 
 schools. The smallest of the four (that to the visitor’s 
 left) bears on the gable at either end a pointed heraldic 
 shield, probably the Arms of the great family of La Tour 
 d’Auvergne, in right of their viscounty of Turenne. This, 
 and the benitier (Holy Water bucket) above, are of an 
 earlier date than the other reliquaries. In the bottom 
 is a very fine enameled Crucifix, good and strong French 
 work of the thirteenth century, and a group in repousse 
 copper, gilt, of the Virgin Mary with the Divine Child 
 on her knee in the act of blessing, both royally robed and 
 crowned. 
 
 Turning now to the central floor-case, which we shall 
 consider somewhat out of order (for chronology’s sake), 
 Case L an d beginning at the north side of Case L, we find some 
 admirably perfect examples of ivory Consular diptychs 
 of a very early Byzantine era, 521 A. D. Perhaps it 
 will be as well here to recall the meaning and origin of 
 the “Consular Diptych.” Diptych, of course, means a 
 book, “table,” or pamphlet of two leaves. It is a pure 
 Greek word; and being also official, we rightly trace its 
 use to the years succeeding Constantine, who transferred 
 the seat of Empire from Rome to Byzantium (Constan¬ 
 tinople), after which Greek rapidly became the official 
 language. The Romans, always tenacious of ancient 
 forms, continued long, even under the Empire, to elect 
 Consuls, and it became customary for these magistrates 
 on their election to present to the Emperor, the Senators, 
 
 14 
 

 IVORY PLAQUE 
 SPANISH, XIII CENTURY 
 GALLERY II, CASE G 
 
 IVORY PLAQUE 
 BYZANTINE, IX CENTURY 
 GALLERY II, CASE I 
 
 CONSULAR DIPTYCHS 
 IVORY 
 
 ROMAN, VI CENTURY 
 GALLERY II, CASE L 
 
 

GALLERY ELEVEN 
 
 and their friends, sometimes even to their powerful clients, 
 as memorials of their election, and of the games which 
 they gave in its honor, ivory diptychs, or folding-tablets, 
 bearing their “image and superscription,” together with 
 various emblematic figures and designs. Those curious 
 about the matter will find it fully discussed in any dic¬ 
 tionary of Classical Antiquities or Encyclopedia. Here 
 we need only note that the Church early adopted the use 
 of such diptychs, sometimes, indeed, the very Consular 
 ones themselves, making the necessary erasures and sub¬ 
 stitutions, for recording her illustrious ones, inscribing 
 them with the names of the local Martyrs and Patrons, 
 the local Bishop and reigning Emperor, and generally with 
 the catalogues of living and dead to be specially com¬ 
 memorated at Mass. 
 
 Later the name came to be applied to any two-leaved 
 folding tablets containing representations of Sacred and 
 devotional scenes. In the Middle Age the triptych, or 
 three-leaved form, became the favorite. Modern art- 
 jargon has even invented the barbarism polyptych, for 
 one of more than three leaves. 
 
 In this Case are both leaves of a true Consular diptych. 
 The inscription at the top of the left one records the name 
 of Flavius Petrus Sabbatius Justinianus, who was Consul 
 Ordinarius, that is, gave his name to the year, in 521. 
 Each leaf bears also an inscription within a garland, 
 addressed to the donor’s friends and supporters. That 
 
 15 
 
THE MORGAN COLLECTION 
 on the left means, “Gifts of little cost, it’s true, but pro¬ 
 lific of honors” (which might be incriminating in a dis¬ 
 puted election!): the right reads, “ I the Consul offer these 
 to my Lathers,” that is, “my honored Conscript Lathers,” 
 —the Senate. On either side of this veritable Consular 
 diptych are the two leaves of a “converted” one, or, 
 perhaps, a later copy of an old one, in which the Classic 
 types have been made to do duty for Christian heroes. 
 It certainly antedates the creation of traditional Christian 
 types, and it is hard to recognize in the smooth-faced 
 youths of the diptych leaves, those rugged and bearded 
 protagonists of the Christian Church, Saints Peter and 
 Paul. Yet such they are, and St. Peter bears his very 
 modest keys, and St. Paul his precious volume in hands 
 veiled according to the antique and Oriental reverent 
 method, still familiar to anyone acquainted with the 
 Liturgy of the Catholic Church, in the veiling of the hands 
 of the Subdeacon who holds the paten at High Mass, or 
 of the Priest, who gives Benediction with the Blessed Sac¬ 
 rament. To the right of the St. Paul is a very queenly 
 and reverent Madonna holding the Divine Child, probably 
 cut from the plaque of which it formed part, beautiful 
 and careful work in the highest style of the court carvers 
 of the tenth or eleventh centuries. Turning the corner 
 there is time here to notice only a plaque, book-cover, 
 probably, of minute and exquisite finish, showing a throned 
 Christ of early youthful type, surrounded by the symbols 
 
 16 
 
GALLERY ELEVEN 
 
 of the Four Evangelists; and near it another very won¬ 
 derful one, also Byzantine of the eleventh century, be¬ 
 tween pillars and under a canopy of delicately carved 
 trellis-work, a dignified yet pathetic Crucifixion; with 
 unutterable pity the Savior seems to be inclining down¬ 
 wards His Hands full of pardon for the guilty race, typi¬ 
 fied by the prostrate form of our First-Father Adam at 
 the roots of the Cross, in response, as it were, to the decree 
 of the Eternal Father, to gain whose ear Mercy and 
 Justice seem contending in the small group below. On 
 either side of the Redeemer stand noble grieving figures 
 of the Mother and St. John: the traditional group of the 
 Crucifixion (the Rood of Mediaeval churches) fixed for 
 ever for Christian Art. 
 
 On the next long side of the case we have time here 
 only to note the strange Russian plaque (ninth or tenth 
 century), of Our Lord’s entry into Jerusalem on the first 
 Palm Sunday, in which He is mounted on a horse instead 
 of the ass of the Gospel narrative, and in which, the 
 strewn garments, for lack of perspective, seem to stand 
 rigidly on end, as though frozen before they reached the 
 ground; and close by it a small minutely carved and 
 colored ivory disk with figures of the three great “ Doc¬ 
 tors” of the Eastern Church, Saints Basil, John Chrysos¬ 
 tom, and Gregory Nazianzen. 
 
 In order to follow uninterruptedly the tradition and 
 development of Christian Art, we must pass from the wan 
 
 17 
 
THE MORGAN COLLECTION 
 beauty of these pallid or dusky ivories to the blazing 
 Case J splendors of the early Byzantine enamels in Case K. 
 Here the supreme treasures are doubtless on the long 
 north side of the case, and chief among them the two 
 small, much-battered figures fixed side by side on a vel¬ 
 vet plaque. Erom the fragmentary lettering on them, 
 we know them to be the Sorrowful Mother-of-God and 
 the Beloved Disciple, St. John, in the attitude in which 
 tradition has fixed them on either side of the Crucified 
 Son and Savior. The marvel is that despite the rigid 
 canons of his art, and perhaps, indeed, through them, 
 and despite the reverent restraints of Religion, the artist 
 has yet contrived to give such human individuality and 
 emotion to these stiff little hieratic figures. They are 
 types, indeed, of the sacred personages they represent; 
 but one has only to glance upwards at the purely vacuous 
 representations of corresponding personages in that sump¬ 
 tuous jewel, the “Oppenheim” reliquary, to see how 
 individual as well as traditional has been the treatment 
 of the unknown artist of these precious fragments. They 
 are doubly interesting as exemplifying the perfect expres¬ 
 sion of Christian Art attained before the outbreak of 
 the desolating Iconoclastic (“Image-breaking”) Contro¬ 
 versy in the eighth century. This, having been waged 
 relentlessly by four Emperors, Leo Isauricus, Constan¬ 
 tine Copronymus, Leo Armenius, and Theophilus, for 
 more than a century, violently interrupted the develop- 
 
 18 
 
GALLERY ELEVEN 
 
 ment of Sacred Art, scattering the artists in exile and de¬ 
 stroying their works; but the traditions embodied in 
 those two fragmentary figures had been firmly fixed, and 
 once the ban was raised in the ninth century, it started 
 with renewed impulse from the highest achievements 
 of the old tradition until it blazed forth in that splendid 
 series of sacred images forming the great glory of this 
 collection. This includes representations of Our Lord 
 Himself, His Mother, John the Baptist, His chief Apos¬ 
 tles, and various military Saints, among them, St. George. 
 It will be at once observed that the conventional robing 
 of the various sacred personages has been fixed for all 
 time: the chiton and himation of Our Lord and the Apos¬ 
 tles; the palla (drawn over the head) of the Virgin Mary; 
 the “rough garment” of camel-skin of St. John Baptist; 
 the noble and military chlamys, badge of patrician rank and 
 high military command, of St. George and his brother 
 soldiers. This splendid series belongs to a period between 
 the tenth and eleventh centuries. We must be content 
 here to draw attention to two other objects only, mere 
 fragments too, belonging to the same resplendent period 
 of the enameler’s art. These are a segment of a circular 
 band and a plaque of irregular shape, once doubtless parts 
 of backgrounds, the circular one, perhaps, of a halo, of 
 icons of the Virgin Mary. Here we are in the purely decora¬ 
 tive field of Oriental Art, an endlessly repeated fixed 
 design, which yet grows no more wearisome than the 
 
 19 
 
THE MORGAN COLLECTION 
 changeless succession of the starry heavens, which began 
 their courses before the creation of Man. This is radiant 
 jewellery multiplied to cover spaces not spots, and to 
 charm at once by the color and prolong the attention by 
 the plan. 
 
 It is a far cry from this to the strangely different, 
 but no less noble, MEDI/EVAL CHAMPLEVE 
 ENAMELS OF LIMOGES, which lie in the end 
 compartment of this case to the right. Again conven¬ 
 tional design and harmonius color; but somehow we are 
 in a freer atmosphere, emblematic of that magnificent 
 Europe—joyous yet serious—strenuous yet contemplative 
 —warlike yet religious—the Europe of cathedrals and 
 castles—of craftsmen’s guilds and Free Cities—which 
 was springing into being under the great Popes, Emperors, 
 and Kings of Christendom. One is conscious in all the 
 characteristic Art of these wonderful centuries of an 
 amazing, widespread vigor and individualism, all disci¬ 
 plined and useful, full of achievement, because ultimately 
 submissive to Divine Authority in Church and State. 
 Sanity was its leading characteristic. No one then had to 
 apologize for the errors of “the artistic temperament.” 
 Its two supreme poets were Dante, the eager politician, 
 and Chaucer, the laborious and honest collector of the 
 Port of London. Its clergymen were not only philos¬ 
 ophers and scholars, but statesmen and men-of-affairs, 
 guiding the policies of Kings and peoples,—Alcuin and 
 
 20 
 
GALLERY ELEVEN 
 
 Suger, Gerbert (Pope Sylvester II), and St. Thomas a 
 Becket. It was above all a practical age, and its Art 
 existed to beautify the daily life of men—high and low—and 
 to decorate the common articles of everyday use. Unless one 
 grasps this fact, one can never appreciate at their proper 
 worth the artistic relics of the Middle Age. 
 
 Before, however, leaving this room for Gallery 12, 
 where we shall again encounter objects of Christian Art, 
 we must spend a few moments looking at the central 
 floor-case K, which contains principally examples of Case K 
 EASTERN GLASS, constructed under Mohammedan 
 influence; the larger pieces for use in Mohammedan 
 mosques. The most noteworthy of these are four 
 Mosque-Lamps, i.e., lamps meant to be suspended by 
 cords or chains in the interior of mosques, or shrines, or 
 in mausoleums, or over the tombs of illustrious dead. 
 
 The offering and maintenance of them lighted is a common 
 act of devotion. 
 
 It will be observed that the four principal ones, and 
 indeed, all such lamps, show only slight variations from 
 a common form: a foot of varying height; a capacious 
 body, more or less oval, for containing the oil; and a 
 deep and flaring mouth or throat to protect the flame. 
 
 Those which we shall particularly consider are all, too, of 
 similar material and decoration—a clear transparent 
 glass, with conventional applied ornament in coloured 
 glass, producing the effect of enameling. They are 
 
 21 
 
THE MORGAN COLLECTION 
 commonly spoken of as “Arabian,” evidently from the 
 consciousness of the well-known origin of the Religion of 
 Islam; also, probably, because the Saracens, whose 
 conquests first brought Western Christendom into con¬ 
 tact and conflict with it, were originally an Arabian people. 
 But as a matter of fact those we are considering, and 
 most of those of similar character, were made in Syria, 
 probably near Damascas, and distributed by caravans 
 throughout the Mohammedan Levant. 
 
 The following is what we are told specifically of the four 
 in question, derived presumably from the inscriptions 
 and other marks on each. 
 
 No. i ( circ. A. D. 1286). A tomb-lamp intended for 
 the mausoleum of an Emir, Ala-el-Din Aydekin, etc., etc.; 
 el-Boudokdar, etc.— 1. e., “Ala-el-Din, etc., the Bowman,” 
 either from some office he himself held at the court of the 
 Mameluke Sultans (then rulers of Egypt), or what we 
 should call his “surname.” With reference to this, the 
 lamp is decorated with his badge, a sort of bastard heraldry 
 which the Moors and Saracens (and through them the 
 Mamelukes and Turks) seem to have borrowed from the 
 Crusaders. This is the significance of the two bows 
 back-to-back in the red medallion both on the body and 
 the throat of the lamp. 
 
 No. 2 {circ. 1329). This was made for the Mosque of 
 ( i.e ., built by) Kossoum in Grand Cairo. This person 
 was a Mameluke, a favorite of the reigning Sultan, who 
 
 22 
 
GALLERY ELEVEN 
 
 promoted him to be one of his cup-bearers and finally an 
 Emir, and at his death, left him guardian of his son, 
 Abu-Bikr, whom Kossoum promptly exiled and murdered: 
 a fate which overtook himself before long, about 1341. 
 His badge, a red cup on a particolored medallion of white 
 and gold, refers plainly to his first office at court, from 
 which, probably, he continued to be designated throughout 
 his life. 
 
 No. 3 ( circ . 1348). This lamp (also Cairene in pro¬ 
 venance) is said to have been made and hung up in honor 
 of El-Melik-el-Nasser, Son-of-Kalaoum, one of a group 
 of Mamelukes, who seem between 1293-1340 to have 
 been engaged in various attempts to set up for them¬ 
 selves an independent petty sovereignty. The badge 
 on this is a heart-shaped or top-shaped medallion of clear 
 glass, bearing an Arabic inscription said to mean, “Glory 
 to our lord the Sultan, the King." 
 
 No. 4 {circ. 1393). This is said to have been made 
 in honor of the Sultan, El Melik, el Zaher, etc., etc., the first 
 of the Circassian Sultans, who from serving in the Mame¬ 
 luke guards raised themselves to this pre-eminence be¬ 
 tween the years 1382-1392. The badge or signet on this 
 lamp is a gold medallion bearing a device or inscription 
 in three lines, said to mean, “(i.) El Zaher; (ii.) Glory 
 to our lord, the Sultan, the King; (iii.) May his victory 
 be glorious.” 
 
 Attention is also directed to the two smaller mosque- 
 
 23 
 
THE MORGAN COLLECTION 
 lamps of sapphire-colored glass, with intricate conven¬ 
 tional decoration in polychrome "enamel.” 
 
 There are also in this case four minute objects, three 
 at least undoubtedly genuine, which deserve considera- 
 Case K tion. These are the small disks of glass lying towards 
 the corners of the top shelf and showing portraits and in¬ 
 scriptions impressed in gold-leaf on the reverse of the 
 glass. They are very ancient examples of the art now 
 known as EGLOMISE, OR VERRE EGLOMISE- 
 It consists in painting on the back of glass, in gold and 
 colors, the requisite design, and then imposing on it a 
 corresponding plate of glass, and fusing the two together 
 by a gentle heat. This naturally requires extraordinary 
 care and delicacy of treatment, but when successful, pro¬ 
 duces a picture indestructible by anything short of vio¬ 
 lence. The application to the process of the term eglomise 
 is a strange example of retro-active nomeclature. In the 
 late eighteenth century, a Paris picture-framer named 
 Glomi was in great request among connoisseurs for the 
 excellence of his work. He professed to have invented 
 (and there is no reason to doubt his sincerity) a new 
 method of framing, particularly adapted to the tinted 
 engravings of the day, which consisted in laying down 
 on the reverse of the glass certain lines and bands of gold 
 with a background of blue-black varnish or lacquer, to 
 form a setting for the picture, inside the actual frame. 
 This obtained great vogue, and the “new” process was 
 
 24 
 
GALLERY ELEVEN 
 
 called after its inventor eglomise, or, rather pictures so 
 treated were said to be egiomises —done in Glomi’s style. 
 When, at a later date, mediaeval and even earlier ex¬ 
 amples of a corresponding art were discovered, the term 
 was conveniently transferred to them, though owing its 
 origin to something which occurred many centuries later. 
 
 25 
 
G A L L E R Y T W E LV E 
 

 
 II 
 
 
 
 
 
 
 nKn 
 
 Ul|j 
 
 lit "11^5} 
 
 
 GALLERY TWELVE 
 GOTHIC PERIOD 
 
GALLERY TWELVE 
 GOTHIC PERIOD 
 
 PASSING now into Gallery 12, the first thing to attract 
 our attention on the right as we enter is an admirable 
 oblong panel of early thirteenth-century 
 tapestry: not embroidery or darned-work, like that of 
 Bayeux, but real tapestry, a woven web of haute lice, 
 vertical loom, always the characteristic method of the 
 Parisian and best French schools, to which this belongs. 
 The subject, one need hardly say, is the traditional and 
 symbolical representation of the Crucifixion, with the 
 historical figures of the Blessed Mother and St. John on 
 either side accompanied by later saints, who are only 
 present from local devotion and because all sanctity is 
 the fruit of the Cross. In this case they are two Virgin- 
 Martyrs: the one to the right of the Cross very evidently 
 St. Catharine of Alexandria; the one to the left, probably, 
 St. Margaret of Antioch. 
 
 Immediately below this is a large gabled shrine, 
 aumry, or, possibly, tabernacle or repository for the Holy 
 Sacrament, although the present use of stationary taber- 
 
 27 
 
THE MORGAN COLLECTION 
 nacles, on or above an altar, dates only from the sixteenth 
 century. It is of wood covered inside and on the front 
 with plates of Limoges enamel of the thirteenth century, 
 and heightened with figures in relief of copper gilt. It 
 was unfortunately buried for centuries, probably to save 
 it from destruction or desecration, and nothing is more 
 fatal to the beauty and splendor of enamel; it requires, 
 therefore, some effort of the imagination to restore to it 
 its original brilliance and charm. The principal group 
 inside represents with great simplicity and dignity the 
 Descent from the Cross; those inside the folding-doors 
 represent, three on each side, scenes connected with 
 the Resurrection. On the right, that is, Our Lord’s 
 right, beginning from the bottom (and in mediaeval 
 subjects divided into compartments, it will usually be 
 found that a vertical series begins at the bottom, and 
 several horizontal series, at the left-hand of the bottom 
 row), the liberation from Hell of the souls of the Old 
 Testament Saints: the Three Maries at the empty Sepul¬ 
 chre; the appearing of the Lord to St. Mary Magdalene. 
 Those on the left: Our Lord joining the Two Disciples on 
 their journey to Emmaus; His recognition by them at the 
 supper at Emmaus; His satisfying the doubts of St. 
 Thomas. On the outside of the doors are figures in re¬ 
 lief of Our Lord in Glory surrounded by emblems of the 
 Four Evangelists; and of Our Lady, by four Angels. It 
 will also be noted that throughout, even in Death on the 
 
 28 
 
GALLERY TWELVE 
 Cross, the Lord is regally crowned, signifying that His 
 endless triumph had now begun. 
 
 Worth more than a glance, too, is the short band of 
 faded tapestry, beautiful English work of the 
 late thirteenth century, representing a Cruci¬ 
 fixion with attendant Saints: on the right of the Cross 
 SS. Peter and James-the-Great; on the left SS. Paul and 
 Andrew. Several things concur to fix the date of this 
 piece within a year or two: not only the architecture, 
 which could not be later than the early fourteenth century, 
 but the heraldries and the Saints. Of the shields in the 
 spandrels of the arches, those to the right and left of the 
 Cross are the royal arms of England (Edward 1 ) and of 
 Castile and Leon (his beloved and heroic Queen Eleanor). 
 She died in 1290, and the King in 1307; and this was 
 probably executed before her death, or as part of one of 
 the many and various memorials which he dedicated to 
 her memory immediately afterwards. Of the Saints, 
 too, St. James, Santiago, is the renowned patron of 
 Castile, and St. Andrew, much honored in other parts 
 of Spain, especially in Catalonia. The other two com¬ 
 plete shields are: the lion, that of Mowbray, Earl of Arun¬ 
 del, ancestor of the present Duke of Norfolk, and the 
 three chevrons, that of the Declares, once Earls of Pem¬ 
 broke. 
 
 In Case A are several beautiful and characteristic 
 French ivories: a large group of the Madonna and 
 
 29 
 
 Case A 
 
THE MORGAN COLLECTION 
 the Child, with the benignant and caressing suggestion 
 so distinctive of such groups of the fourteenth century; 
 on a lower shelf a strange and almost unique representa¬ 
 tion, at least in ivory, of the same subject, in which the 
 Virgin holds on her knees a carved wooden cradle, or 
 creche, while she raises the Infant with her left arm and 
 wraps him in swathing-bands with her right. This 
 interesting and unusual representation is thought to be 
 probably of South French origin, possibly from Auvergne, 
 and the disfiguring narrowness of the shoulders and 
 ungracefulness of the head, so strangely inconsistent with 
 the ample draperies and well-managed lower part of the 
 figure, to be attributable to the awkward shape and size 
 of the ivory with which the artist had to work. Beside 
 it is another grave and well-modeled representation of 
 the same group, in which the Child is sitting on His 
 Mother’s knee as on a throne, and raising His Hand in 
 Blessing. In the same case, on the top shelf, is a small 
 spirited carving of the thirteenth century, one of a set 
 of chessmen, representing a mounted knight encounter¬ 
 ing a dragon. 
 
 Cases A, B Against the wall between Cases A and B is a remark¬ 
 able wooden statuette of the Virgin, crowned as 
 a Queen, the features strangely elongated, it is true, 
 but the whole figure noble and gracious, and the draperies 
 preserving the best traditions of art. 
 
 In Case B is a small altar-piece, mainly of ivory, 
 
 30 
 
 Case B 
 

GALLERY TWELVE 
 set in a frame of certosina work, that is, wood 
 inlaid with minute, and generally geometric, designs, in 
 ivory, bone, mother-of-pearl, etc., and consisting of 
 small plaques, each representing a particular scene and 
 forming part of a narrative sequence. The three com¬ 
 partments represent, respectively, in the center, scenes 
 from Our Lord’s Life, from His Conception to His Cruci¬ 
 fixion; and on either side, the lives of the two St. Johns— 
 St. John Baptist’s at the right of the central group, and 
 St. John the Evangelist’s at the left. Unfortunately 
 several of the panels have been displaced, and in one 
 the figure of the Virgin is missing. 
 
 In Case C is an extraordinary reliquary, which 
 perhaps better than some more showy pieces exhibits 
 the amazing facility of the Mediaeval craftsman and his 
 absolute mastery over his material. It represents, 
 when closed, the Madonna and Child: opened, as 
 displayed, it reveals a three-quarters figure of Our 
 Lord, supporting on His palms His Cross, which is al¬ 
 most of the tau-shape. On the inside of the doors, which 
 necessarily follow more or less the modulations of the fig¬ 
 ure of which they form part, at the right of the Cross, 
 are enameled six scenes from Our Lord’s Childhood: the 
 Annunciation; the Nativity; the Adoration by the Wise 
 Kings: at the left, the Announcement to the Shepherds; 
 the Presentation in the Temple; Our Lady and St. Joseph, 
 evidently seeking Our Lord on their return from His 
 
 Case C 
 
 31 
 
Case D 
 
 / 
 
 THE MORGAN COLLECTION 
 first Passover. If the group were of some plastic sub¬ 
 stance, it might not be so wonderful, but when we think 
 that it is carved from wood, and overlaid with enameled 
 copper, and consider the difficulties of such work on an 
 irregular surface, our wonder can only be equaled by 
 our admiration. It is Lrench work of Limoges of the 
 thirteenth century. 
 
 In the same case is a large ivory plaque of the 
 Descent from the Cross, of the same type as that in the 
 great enameled shrine which we first noticed, but a cen¬ 
 tury later, and none the better for that. 
 
 In the same case is another amazing object, A small 
 ivory representing a shepherd-boy asleep on top of 
 a terraced hill on which stand exactly balanced sheep; 
 and birds drink from formal fountains, as in some 
 Byzantine mosaic. It is somewhat startling to find that 
 this is a naive Indo-Portuguese representation of the six¬ 
 teenth century, of the youthful St. John Baptist. 
 
 In Case D, most noteworthy is a c a r v e d and 
 
 PAINTED WOODEN GROUP, pRENCH FIFTEENTH CEN¬ 
 TURY, of the Visitation of the Virgin Mary to St. Eliza¬ 
 beth. The figures are noble and graceful, as well as 
 tenderly affectionate, and each bears inserted on 
 her breast a long cabochon crystal, the traditional Me¬ 
 diaeval treatment, to recall the Gospel narrative that 
 the younger Mother bore at that moment in her bosom 
 the Lord of Life, and the elder His Lorerunner, St. John 
 
 32 
 
MADONNA 
 
 FRENCH, XIV CENTURY 
 GALLERY 12, CASE C 
 
 DESCENT FROM THE CROSS 
 FRENCH, EARLY XIV CENTURY 
 GALLERY 12, CASE C 
 
VISITATION 
 
 WOOD 
 
 FRENCH, XIV CENTURY 
 GALIERY 12, CASE D 
 
 MADONNA 
 
 FRENCH, XIV CENTURY 
 GALLERY 12, CASE G 
 
GALLERY TWELVE 
 Baptist, who, yet unborn, recognized the presence of 
 his God. Two large silver reliquaries, in 
 the not unusual form of a hand and forearm, are ex¬ 
 ceedingly fine types of French work of the fifteenth cen¬ 
 tury. 
 
 In the next case the two figures of mourners 
 from a tomb, and the kneeling ones of a King and Queen, 
 also from a funereal group, deserve attention. These are 
 all characteristic examples of such work in France in the 
 fourteenth century. 
 
 In Case G are a strong and convincingly realistic 
 group of “plain people,” carved in oak, Flemish work— 
 probably Antwerp—of the fifteenth century; some of the 
 miraculously delicate and intricate German carved wood¬ 
 work of the sixteenth century, in the large dark-colored 
 shrine; and a curious, mutilated fragment in mar¬ 
 ble of the Death of the Virgin, in its naive and unhesi¬ 
 tating realism, recalling Wohlgemuth (Diirer’s master) 
 and other primitive Germans of the fifteenth century. 
 
 Standing against the wall, further on, is a charming 
 youthful St. Michael slaying the dragon: spirited 
 French work of the fifteenth century, not distinguished 
 by strength, but beautiful and graceful. Behind him 
 hangs one of those far-sought Indian carpets of char¬ 
 acteristic design, which, never very plentiful (India, in 
 these fabrics, followed and was eclipsed by Persia), have 
 become increasingly rare since British occupation. 
 
 Case F 
 
 Case G 
 
 33 
 
Case H 
 
 Cases 
 1 and J 
 
 THE MORGAN COLLECTION 
 
 In case H are several striking examples of the com¬ 
 bination OF DIFFERENT METHODS OF ORNAMENT. 
 Most conspicuous is the large triptych of wood overlaid 
 with copper gilt and silver, and decorated with a large 
 medallion of the Madonna and Child, early, stiff hieratic 
 work, more Romanesque than Gothic, and twelve smaller 
 plaques representing various scenes of hunting and hawk¬ 
 ing, of war and peace, all in French enamel of the thir¬ 
 teenth century. The central panel is, besides, thickly en¬ 
 crusted around the sacred image with antique gems, 
 cameos and intaglios; and the two wings with cabochon 
 stones and crystals. The same union of enamel with 
 inscribed gems will be observed in the three crucifixes 
 and two of the reliquaries, chasses, on the lower shelf, all 
 likewise of the thirteenth century. On the same shelf is 
 a very curious example of eglomise work of the fifteenth 
 century, an amusingly naive and realistic representation 
 of Our Lord speaking with the Woman of Samaria. 
 
 Passing now to the floor-cases, the first two (I and J) 
 contain almost entirely a very complete and representa¬ 
 tive collection of French ivory carvings of the 
 thirteenth and fourteenth centuries. Those still preserv¬ 
 ing traces of color are particularly worth notice, for 
 example, that representing on either side of the cen¬ 
 tral panel Our Lord’s entrance into Jerusalem on Palm 
 Sunday, the Agony in the Garden, the Washing of the 
 Feet, and the Crucifixion; and another, of equal delicacy 
 
 34 
 

 ST. MICHAEL 
 STONE 
 
 FRENCH, XV CENTURY 
 GALLERY 12, NORTH WALL 
 
GALLERY TWELVE 
 
 and beauty, containing seven scenes from the Passion of 
 Our Lord, the Palm Sunday Entry, the Last Supper, the 
 Washing of the Feet, the Flagellation, the Crucifixion, 
 the Descent from the Cross, and the Resurrection. In 
 both end compartments of the same case are very inter¬ 
 esting ivory combs, and on the north side, among many 
 other things, a small circular crocketed disk with three 
 figures on horseback, one with hawk on wrist, either going 
 to or returning from the chase. There is also an ex¬ 
 quisitely delicately pierced carving, or carving a jour, as 
 the French call it, representing four figures, two men and 
 two women, each under a Gothic canopy. Also a very 
 beautiful diptych showing on one leaf the Nativity and 
 the Adoration of the Magi, and on the other the Cruci¬ 
 fixion and the Coronation of the Virgin. 
 
 In Case J there is time only to draw attention to an Case J 
 elaborately beautiful pearwood triptych (in the 
 west end compartment) representing the symbolic Cruci¬ 
 fixion between the emblems of the Four Evangelists, and 
 in either wing St. John Baptist and St. Benedict. On the 
 north side are two amazingly delicate plaques, carved 
 a jour, representing a series of scenes from the life of Our 
 Lord and His Mother. There is also a very lovely and 
 ingeniously carved ivory head of a crosier, the curve of the 
 staff being formed of a foliated shoot, and the center or¬ 
 nament representing on one side the Crucifixion and on 
 the other the Virgin between Angels. 
 
 35 
 
Case K 
 
 Cases L, 
 M. N 
 
 THE MORGAN COLLECTION 
 
 With Case K we have reached the borderland—some¬ 
 times in actual date, though not in feeling, overpassed 
 it—of the Gothic or Mediaeval period. Both the drinking- 
 horns here shown are splendid examples of goldsmiths’ 
 work in Germany of the fifteenth century, particularly 
 the one crested with the figure of St. Michael and said 
 to have come from the treasury of the Church of Castro- 
 Jerez, in the province of Burgos in Spain. Very striking, 
 too, is the noble figure of St. Christopher winning his 
 name, “The Christbearer,” also from a church, this time 
 (as is the group itself) a French one, Castelnaudary, near 
 Toulouse. The statuette of the Virgin and Child is 
 essentially and typically German work of the fifteenth 
 century, reminding one inevitably of the charming Virgins 
 of Shongauer, and Israel van Mechenen and others of 
 Diirer’s predecessors and contemporaries. In the same 
 case is one of those wonderful locks which show us how 
 no part of a building, or any object worth making, was 
 allowed to go undecorated. This is iron-work, French 
 of the sixteenth century, and represents the Last Judgment 
 and the Locks of Doom: on one side St. Peter admitting 
 the Blessed into Paradise, on the other the torments 
 of Hell. 
 
 In Cases L, M and N are chiefly a group of GOTHIC 
 ENAMELS covering the thirteenth and 
 fourteenth centuries. They are vary largely of 
 the early noble German schools: Lorraine, and the valleys 
 
 36 
 
IVORY DISC 
 
 BURGUNDIAN, XV CENTURY 
 GALLERY 12, CASE J 
 
 DRINKING HORN 
 GERMAN, XV CENTURY 
 GALLERY 12, CASE K 
 
SILVER MADONNA 
 GERMAN, XV CENTURY 
 GALLERY 12, CASE N 
 
 ENAMEL RELIQUARY 
 RHENISH, XII CENTURY 
 GALLERY 12, CASE L 
 
 ENAMEL CIBORIUM 
 LORRAINE. XILXENTURY 
 GALLERY 12. CASE N 
 
GALLERY TWELVE 
 of the Rhine, and Moselle, contemporary with the best 
 French period of Limoges, and generally to be distin¬ 
 guished from it by greater robustness and originality, a 
 greater freedom of handling, and wealth of color. Notable 
 in this respect is the resplendent portable reli¬ 
 quary in the eastern compartment of Case L, quatre- 
 foiled in shape, and said to have contained, so the Latin 
 legend on it runs, some of the hair of St. Mary Magdalene. 
 It is great work of the Rhenish school in the thirteenth 
 century. 
 
 Case N contains some of the most precious examples 
 in the whole collection: another portable reliquary, 
 burse-shaped, of enamel, set about with cabochon crystals, 
 work of the Moselle region of the early thirteenth cen¬ 
 tury; above all, the large and magnificent ciborium, 
 enameled inside and out, of the end of the twelfth cen¬ 
 tury, and from Lorraine. The subjects on the lid are 
 the Nativity, the Presentation in the Temple, the Bap¬ 
 tism of Our Lord, His ascent of Calvary, His Crucifixion, 
 and Resurrection. On the lower half are represented 
 six Old Testament types of the Incarnation and Redemp¬ 
 tion. Inside, on the lid is represented Christ in Glory; 
 on the bottom the Agnus Dei. There is also on the upper 
 shelf another very beautiful ciborium, of fair colors 
 and elegant shape: French work (probably Limoges) of 
 the early fourteenth century. Its six panels show scenes 
 from the Passion and Resurrection of Our Lord, and it is 
 
 37 
 
THE MORGAN COLLECTION 
 topped royally with a crystal orb. It is very lovely and 
 precious; but one seems to feel just the faintest suggestion 
 of mechanical precision, and an absence of that inex¬ 
 haustible wealth of thought, design, and love lavished on 
 the great German work below. Another of the sumpt¬ 
 uous treasures of this case (N) is the little enameled 
 and jeweled s h r i n e enclosing a figure of the Mother 
 and Child. It is delicate and beautiful work of the 
 fourteenth century, probably Burgundian or Flemish, 
 reminding one, in its splendor of pure, harmonious color, 
 of the pictures of the great contemporary Flemish painters 
 —Memdling, the Van Eycks, and their fellows. Its fold¬ 
 ing leaves are ingeniously contrived entirely to enclose, 
 at will, the sacred figures; and they are enameled within 
 and without, as is also the base, with that glowing, trans¬ 
 lucent enamel which we spoke of at the beginning as the 
 great glory of this period of the art. The Cross is of 
 pierced pearls and precious stones. There are also here 
 some admirable examples of niello-work, damascening in 
 black on silver, whose chief artists were the Italians of the 
 fourteenth and fifteenth centuries, notably the Sienese. 
 And there are other things, which the lovers of beautiful 
 things (les vrais amateurs) will find out for themselves. 
 
 38 
 
RELIQUARY 
 
 GOLD, ENAMEL AND JEWELS 
 BURGUNDIAN, XIV CENTURY 
 GALLERY 12, CASE N 
 
GALLERY THIRTEEN 
 RENAISSANCE PERIOD 
 
GALLERY THIRTEEN 
 THE RENAISSANCE 
 PERIOD 
 
 ONE branch of art which attained a remarkable de¬ 
 velopment during the Renaissance was that of bronze 
 casting. This art had not, of course, remained in abey¬ 
 ance during the long centuries which intervened between 
 the fall of the Classic World and the rebirth of civilization 
 at the close of the Dark Ages, but it was not until the 
 fifteenth century that the art of the bron^ier became a 
 popular and well-established means of expression. This 
 newly revived art flourished particularly in Italy. Many 
 are the names of the great Italian sculptors who worked 
 at one time or another in bronze. The fifteenth and 
 sixteenth centuries witnessed in Italy the production of a 
 vast quantity of bronze sculptures which range from such 
 monumental figures as the Gattamelata of Donatello to 
 the unpretentious medal of some anonymous artist. The 
 larger sculptures, either in the round or in relief, have 
 always held the interest of the historian, but it is only 
 recently that the smaller works, the statuettes, domestic 
 
 39 
 
THE MORGAN COLLECTION 
 utensils, plaquettes, and medals have been accorded the 
 attention which they merit. 
 
 The statuettes, perhaps the most interesting class 
 of this material, may be divided into two main groups, 
 original works—either studies for larger sculptures or 
 made for their own sake—and copies more or less free 
 after classical originals. Comparatively few monuments of 
 ancient sculpture were known in the Renaissance, and 
 these were zealously treasured by their fortunate owners. 
 In consequence, many an amateur of antiquity had per¬ 
 force to console himself with copies. The large number 
 of such bronze copies which have come down to us attests 
 the extraordinary enthusiasm for classical antiquity which 
 characterized the culture of the Renaissance and the 
 popularity in which certain works were held. Classical 
 example was also responsible in a large measure for the 
 development of the medallist’s art, and its influence is 
 frequently apparent in the subjects of plaquettes and 
 in the motives which ornament the ink-stands and mortars 
 and other domestic utensils upon which the Renaissance 
 bronze worker so often lavished the full measure of his 
 genius. In designing small bronzes the sculptor enjoyed, 
 as a rule, more freedom in the choice of subject and treat¬ 
 ment than he did in his larger works, particularly in those 
 intended for the adornment of the Church. He was free 
 to model the nude human body and to design his work 
 to be seen not from one point of view alone, but from all 
 
 40 
 
GALLERY THIRTEEN 
 sides. It would consequently be impossible to arrive at 
 any just opinion of Italian Renaissance sculpture with¬ 
 out taking into proper consideration the small bronzes 
 which often represent a sculptor at his happiest moment 
 of inspiration and execution. 
 
 During the Renaissance these bronzes were highly 
 valued, not only by the great princely patron, but also 
 by the more humble amateur who graced the shelves of 
 his study with a few choice medals and little figures. 
 Such a room Carpaccio has painted in one of his decora¬ 
 tions for S. Giorgio degli Schiavoni, representing St. 
 Jerome reading in his quiet study. The small bronzes to 
 be found in the art cabinets of the sixteenth and seven¬ 
 teenth centuries were prized for their decorative value 
 during the two following centuries. But it is only lately 
 that the systematic collection of Renaissance bronze has 
 met with attention and, particularly in the case of the 
 statuettes, has been made the subject of scientific re¬ 
 search. A distinguished pioneer in this field of study has 
 been Dr. Wilhelm Bode, whose catalogue of Mr. Morgan’s 
 collection of Renaissance bronzes is a splendid achieve¬ 
 ment of criticism. Among the private collections of 
 Renaissance bronzes (not including medals and plaquettes) 
 which have been formed within the last few years, none 
 is more important either in the number of objects 
 contained or in the high average of quality than Mr. 
 Morgan’s. 
 
 4i 
 
Case L 
 
 Case M 
 
 Cases 
 A and B 
 
 THE MORGAN COLLECTION 
 This collection fills nine wall cases and four floor cases. 
 Some of the larger pieces are shown on pedestals. The ar¬ 
 rangement of the Italian BRONZES begins on the left 
 as one enters the room, but the first case (L) on the right 
 contains a number of Early Medi/eval Pieces, 
 for the most part of French or German origin. 
 They have been included with the Renaissance material 
 exhibited in this room to show the continuity of the metal 
 working tradition, which may be studied in its origin 
 among the classical bronzes of Gallery 11. Of these early 
 pieces, many of them in brass, there should be especially 
 noted several fine pricket candle-sticks, illustrating in their 
 grotesque combinations of human figures and monsters, the 
 inventive fantasy of the Middle Ages. In this case there 
 are also several later German works, notably a remark¬ 
 able reliquary bust of Saint Catherine by the famous 
 sculptor, Veit Stoss. In the floor case (M) oppo¬ 
 site, the exhibition is continued. Here are rare ewers 
 representing, for example, a knight on horseback, or 
 Samson struggling with the lion. Another important 
 work is in the shape of a man’s head. Typical examples 
 of thirteenth-century bronze casting are three recumbent 
 lions designed for the base of a candelabrum originally 
 in the Cathedral of St. Hubert in Luxemburg. An ex¬ 
 tremely fine reliquary bust should also be noticed. 
 
 The arrangement of the Italian bronzes be¬ 
 gins with the first case (A) on the left as one enters the 
 
 42 
 
THE RESURRECTION 
 LORENZO VECCHI ETTA 
 EAST WALL 
 
HERCULES 
 
 ANTONIO POLLAIUOLO 
 CASE A 
 
 HERALDIC FIGURE 
 BERTOLDO DI GIOVANNI 
 CASE A 
 
GALLERY THIRTEEN 
 room. In this case and in the floor-case (B) near by are 
 exhibited Florentine Bronzes of the fifteenth 
 and sixteenth centuries. Bertoldo di Giovanni, the 
 pupil of Donatello and first master of Michelangelo, is 
 represented by two characteristic figures, a Hercules and an 
 heraldic figure of which the pendant is in the Liechten¬ 
 stein Collection. They illustrate admirably his severe 
 and forcible style. Two other works to be noted in con¬ 
 nection with these are an Athlete, of the school of Ber¬ 
 toldo, and a Hercules, an early copy after the master. 
 An artist of even greater distinction was Antonio Pol¬ 
 laiuolo. His Hercules, the central figure in Case A, is 
 one of the most striking pieces of the collection. In 
 vigorous modelling and beauty of design, it would be 
 difficult to surpass. The figure, which represents Her¬ 
 cules after his victory over the Cretan Bull, has been 
 left rough cast and not worked over with the chisel, as 
 was frequently the case with Renaissance bronzes. Also 
 by this artist is a figure of Marsyas, a work inspired by a 
 classical original, and a graceful figure of the shepherd 
 Paris. Another famous bronze worker of the fifteenth 
 century was Andrea del Verrocchio. To this master is 
 attributed a small figure of Hercules. With these rare 
 fifteenth-century bronzes of the Florentine school may 
 be mentioned two large and important reliefs, shown on 
 the east wall of the gallery, by Lorenzo Vecchietta, one 
 of the most admirable sculptors of the Sienese school. 
 
 43 
 
THE MORGAN COLLECTION 
 The Resurrection, executed in 1472, shows in particular 
 his austere style and technical ability. 
 
 With Leonardo da Vinci and Michelangelo we bridge 
 over the fifteenth and sixteenth centuries. One of the 
 most interesting bronzes in the floor-case B is the atelier 
 copy of a model by Leonardo for his celebrated equestrian 
 statue of Francesco Sforza. The Moses in the same case 
 is an interesting work by a follower of Michelangelo, and 
 the Pieta is a copy of the master’s original in St. Peter’s, 
 Rome. A third bronze, Samson slaying the Philistine, 
 reproduces a clay model by Michelangelo in the Buona- 
 rotti Collection, Florence. Francesco da San Gallo is 
 represented by a powerful bronze, undoubtedly his mas¬ 
 terpiece, of St. John the Baptist. Far removed from the 
 harsh strength of this sculptor is the ultra-refined art of 
 Benvenuto Cellini, perhaps the most typical artist of the 
 High Renaissance. A Triton blowing a long horn closely 
 approaches Cellini’s style, as also do a small figure of a 
 Griffin, the foot or support of a coffer, and the beautiful 
 group of the Triumph of Virtue over Vice, almost cer¬ 
 tainly the work of the master. Associated with the 
 Florentine School, although he was not an Italian by 
 birth, is Gian Bologna. The collection contains several 
 fine examples by this master, notably the signed group of 
 Nessus and Dejanira, shown in Case B. Two lamps, 
 harpies mounted upon dolphin-like monsters, are un¬ 
 common examples of Gian Bologna’s utilitarian bronzes. 
 
 44 
 
STUDY FOR AN EQUESTRIAN MONUMENT 
 AFTER A MODEL BY LEONARDO DA VINCI 
 CASE B 
 
 NESSUS AND DEJANIRA 
 GIAN BOLOGNA 
 CASE B 
 

 
 QUEEN TOMYRIS WITH THE HEAD 
 OF CYRUS. BARTOLOMEO BELLANO 
 CASE D 
 
 A SATYR 
 
 FRANCESCO DA SANT’aGATA 
 CASE D 
 
 SATYR, INKSTAND 
 RICCIO 
 CASE E 
 
GALLERY THIRTEEN 
 
 Paduan bronzes, the most numerous class of Re¬ 
 naissance bronzes, fill the two cases against the west wall, 
 and one floor-case near by. The Paduan school owed 
 much to the inspiration and example of the great Floren¬ 
 tine master, Donatello, who worked in Padua for ten 
 years from 1443 on, and established, there a foundry 
 and school which flourished for nearly a century. Two 
 ornamented caskets in Case C, generally ascribed to Cara- 
 dosso, are attributed by Dr. Bode to some unknown 
 follower of Donatello. The first great sculptor of the 
 Paduan school, Bartolomeo Bellano, was also closely 
 associated with the Florentine master. The collection is 
 particularly rich in works by Bellano. In the floor-case 
 E is one of his rare and undoubted originals, Neptune 
 riding the Sea Monster, one of the principal pieces in the 
 former Spitzer and Hainauer Collections. Other impor¬ 
 tant bronzes are the Marsyas in Case C, Queen Tomyris 
 with the head of Cyrus, the David, and the gilded bronze 
 figure of Venus, the last three in Case D. To the school 
 of Bellano is attributed a small statuette in gilded bronze 
 of St. Jerome. 
 
 The great master, however, of the Paduan school was 
 Andrea Briosco, called Riccio, the pupil of Bellano, who 
 flourished in the latter part of the fifteenth century and 
 early in the sixteenth. A large number of extremely fine 
 works by this master, as well as a representative gathering 
 of school works, are included in Mr. Morgan’s collection. 
 
 45 
 
 Cases C, 
 D and E 
 
THE MORGAN COLLECTION 
 Among the originals by Riccio should be noted in Case E 
 one of the artist’s masterpieces—a statuette probably 
 representing Susanna, a Triton bearing a Nereid on his 
 back, and a large ink-stand of a seated Satyr holding a 
 cornucopia which serves as a candle-stick. This last 
 bronze is characteristic of a large group of similar decora¬ 
 tive pieces by the master and his assistants and imitators. 
 Another fine original by him, in this class of objects, is 
 the lamp in the form of an ancient galley. The collection 
 is unusually rich in these decorative objects, ink-stands, 
 hand-bells, mortars, and lamps, which may be seen in all 
 three cases. Different in character is the work of a 
 highly original sculptor, Francesco da Sant’Agata, who 
 flourished in the first half of the sixteenth century. By 
 this master there are two original works in the collection, 
 and a later copy after a third. The Satyr and the Nude 
 Youth with his arms upraised are notable for their beauty 
 of form and graceful movement. Paduan artists were 
 especially successful in their studies of animals, and the 
 visitor should note among these works several studies of 
 horses and a curiously life-like and amusing figure of a 
 goat. Before leaving the Paduan bronzes, there remains 
 to be mentioned the bust portrait of Marcantonio Passeri, 
 professor of philosophy at the University of Padua, which 
 is exhibited on a pedestal in one corner of the room. Un¬ 
 assuming, yet full of life, this admirable work has been 
 tentatively attributed to Riccio. 
 
 46 
 
NEPTUNE RIDING A SEA MONSTER 
 BARTOLOMEO BELI.ANO 
 CASE E 
 
APOLLO SUSANNA 
 
 l’antico RICCIO 
 
 CASH r. CASE E 
 
GALLERY THIRTEEN 
 
 Venetian bronzes, particularly the decorative ob¬ 
 jects, are closely related in style to the Paduan produc¬ 
 tions. A representative group of this material will be 
 found in Case F. With one exception, a little St. Sebas- Case F 
 tian, and, possibly, the delightful study of a young child, 
 executed in the fifteenth or early sixteenth century, these 
 bronzes all belong to the High Renaissance. The two 
 great sculptors of this period were Jacopo Sansovino and 
 Alessandro Vittoria. In the style of Sansovino are an 
 elaborate door-knocker, and an ink-well, the bowl of which 
 is supported by three seated male figures, and the cover, 
 crowned with a standing putto. By Alessandro Vittoria 
 is a pair of candle-sticks; and two ink-wells illustrate the 
 manner of his school. Two unusual bronzes, probably 
 representing the elements Earth and Fire, are interesting 
 pieces. The large portrait medallion on the floor of the 
 case, by Andrea Spinelli, is a typical example of Venetian 
 work in relief. 
 
 In Case G are grouped several important works of the Case G 
 North Italian school. Two early bronzes are es¬ 
 pecially interesting. The first of these is a small eques¬ 
 trian figure representing Alberico Magno de’ Suardi, a 
 North Italian work of about 1450. The other is a high 
 relief of the Assumption, in the style of Amadeo, a char¬ 
 acteristic production of the Lombard school. Unusually 
 important is a group of four figures by the rare Mantuan 
 master known as L’Antico, whose works have the elegance 
 
 47 
 
Case H 
 
 Cases 
 I and J 
 
 THE MORGAN COLLECTION 
 and distinction of the classical originals he so much ad¬ 
 mired. A statuette of Apollo, originally holding a bow, 
 is obviously inspired by the Apollo Belvedere. Classical 
 influence is also apparent in the Hercules and in the little 
 figure of Cupid bending his bow. More original perhaps, 
 at least instinct with more personal feeling, is the figure 
 of Venus, who holds a round mirror in her hand. 
 
 In Case H are bronzes of the sixteenth cen¬ 
 tury, for the most part unassigned to any school. One 
 of the largest pieces, a Gazelle, is presumably, however, 
 a North Italian work. The bust portrait of Pope Gregory 
 XIV, dating probably about 1590, is one of the most 
 effective in the small group known of similar pieces. 
 Several little figures of Boys and Cupids are charming 
 genre subjects. A Nude Warrior in the style of the 
 Florentine, Domenico Poggini, should be noticed. 
 
 I n Cases I and J are other examples of SIXTEENTH 
 AND SEVENTEENTH-CENTURY BRONZES. 
 Among the former in Case J should be noticed one or 
 two examples by Florentine followers of Giovanni Bologna. 
 Another Florentine, Pietro Tacca, whose work extends 
 into the middle of the seventeenth century, is represented 
 by two typical works, an old man riding a goat, and a 
 quite extraordinary inkstand decorated with figures repre¬ 
 senting the martyrdom of St. Laurence. The classicism 
 of the LATE RENAISSANCE, which had little 
 of the naive, romantic enthusiasm of the early period, is 
 
 48 
 
BUST OF MARCANTONIO PASSERI 
 RICCIO (P) 
 
ANDREA SPINELLI, MEDALLION 
 VENETIAN SCHOOL 
 CASE F 
 
 RELIQUARY BUST, ST. CATHERINE 
 VEIT STOSS 
 CASE L 
 
GALLERY THIRTEEN 
 illustrated by several bronzes in this case, for instance, the 
 Meleager, and two large groups of Mercury and Cupid, 
 probably by Francois Duquesnoy. Bronzes similar in 
 character fill the floor-case 1 . In this case, besides several 
 fine Italian pieces of the late Renaissance, is an import¬ 
 ant example of GERMAN B R'O N Z E S in the 
 early sixteenth century, Eve, by Hans Vischer of the 
 school of Nuremberg. In Case K is another interesting 
 German bronze, a man holding prickets for candles, by 
 Peter Vischer the Younger. Another German bronze is 
 the high relief traditionally described as Aristophanes, 
 but which, as the motto would indicate, more probably 
 represents Hippocrates. The other bronzes in this case 
 are principally FLEMISH OR NORTHERN 
 FRENCH. These last include an interesting group 
 of seated women, bathing or arranging their hair, by 
 some follower of Gian Bologna. Among the Flemish 
 bronzes may be noted a statuette of Diana, dating 
 about 1650, and two figures of animals, a hound and a 
 bull, exemplifying the skill of the Flemish bronze workers 
 in this class of objects. 
 
 In examining the bronzes the visitor, of course, has 
 not failed to notice the Della Robbia sculptures 
 and other material exhibited in this room, together with 
 the collection just described. It has seemed better, how¬ 
 ever, to describe these objects apart from the bronzes 
 rather than in order as one proceeds around the room. 
 
 49 
 
 Case K 
 
THE MORGAN COLLECTION 
 At the left of Case G is a beautiful terracotta medallion 
 of the Madonna and Angels by Luca della Robbia. The 
 two charming reliefs in ENAMELED TERRA¬ 
 COTTA of the Virgin adoring the Christ Child, which 
 hang on the south wall, represent a somewhat later phase 
 of the della Robbia school when the refined grace and 
 elegance of Andrea had taken the place of Luca’s greater 
 simplicity. Three medallions with coats-of-arms sur¬ 
 rounded by wreaths of fruit and leaves are notable for 
 their splendid decorative effect and rich harmony of 
 colour. Two MARBLE SCULPTURES deserve 
 more than the brief line which can be given them. These 
 are the small relief of the Adoration of the Magi, attrib¬ 
 uted to Mantegazza, and the beautifully designed and 
 executed frieze hanging on the west wall. Above this 
 frieze is the well-known ALTAR-PIECE by Fra 
 Filippo Lippi, painted, according to Vasari, for Alessan¬ 
 dro degli Alessandri, who is represented kneeling in the 
 foreground with his two sons. On the opposite wall is 
 a late fifteenth-century TAPESTRY, charming in 
 colour, which represents the Judgment of the Emperor 
 Otho. 
 
 50 
 
GALLERY FOURTEEN 
 

 
 GALLERY FOURTEEN 
 RENAISSANCE PERIOD 
 
GALLERY FOURTEEN 
 THE RENAISSANCE 
 PERIOD 
 
 1 HE exhibition of Renaissance material is continued 
 in Gallery 14, which has for its central feature the famous 
 altar-piece painted by the youthful Raphael for the nuns 
 of the Convent of St. Anthony of Padua in Perugia in 
 1504-05. The largest collection shown in this gallery 
 is that of ITALIAN MAJOLICA, which fills 
 twelve wall cases arranged in order around the room, 
 beginning at the right of the south entrance. In 
 its extent and the remarkable quality of the pieces 
 which compose it, this collection, one of the finest in 
 private possession, illustrates in an exceptional way 
 the splendid achievements of Renaissance ceramic 
 art. 
 
 The Italian ware known as M A J O LI C A differs in its 
 technical aspect from the earlier pottery in the thin coat¬ 
 ing of opaque, and generally white, stanniferous enamel 
 which protects the surface. This use of stanniferous 
 enamel, probably introduced by or learned from Moorish 
 potters, or directly from the Orient, was known in Italy 
 
 5i 
 
THE MORGAN COLLECTION 
 at least as early as the later years of the fourteenth cen¬ 
 tury, and eventually superseded in popular favor the 
 manufacture of slip-covered “sgraffito” ware, covered 
 with a transparent, plumbeous glaze, which was the 
 characteristic faience of the Middle Ages and continued 
 to be produced, side by side with true majolica during 
 the Quattrocento. The name “majolica” is derived 
 from the little Spanish island of Majorca, a half-way 
 port in the maritime commerce between Italy and Spain. 
 At first used only to describe the lustred faience imported 
 from Spain, its use was later extended to include as well 
 the lustred productions of the factories at Gubbio and 
 Deruta. To-day, although incorrectly, we commonly des¬ 
 ignate as “majolica” not only the lustred, but also the 
 unlustred enameled Renaissance pottery, and give to the 
 earlier slip-covered ware with transparent glaze the some¬ 
 what unfortunate name of mezza-majolica. To return, 
 for a moment, to lustred majolica. The application of 
 metallic lustre to enameled pottery appears to have been 
 derived, together with the use of stanniferous enamel, 
 from Saracenic or Oriental potters. The great develop¬ 
 ment of this art in Italy was largely due to the skillful 
 direction of the Gubbio furnaces, where it attained its 
 highest perfection. Pesaro and Deruta claim its still 
 earlier use, but in the sixteenth century the great center 
 of lustring was undoubtedly at Gubbio, where pieces 
 often painted elsewhere, notably in Urbino and Castel 
 
 52 
 
GALLERY FOURTEEN 
 Durante, were enriched with metallic lustre, the glitter 
 of gold and silver, and most prized of all, a glowing ruby- 
 red. 
 
 Aside from enameled floor-tiles and sculptures in 
 enameled terracotta, for example, the della Robbia re¬ 
 liefs in Gallery 13 and in this room, together with two 
 interesting though scarcely beautiful portrait busts by 
 an artist of far less merit, the usual examples of Italian 
 majolica may be broadly divided into two classes: one, 
 of objects destined for daily use; the other, of decorative 
 pieces, piatti di pompa, large plates to be suspended from 
 the wall or exposed upon credente or sideboards, huge 
 vessels, ornamental pieces which attest the Renaissance 
 love of magnificence and splendor. To this second group 
 belong most of the richly decorated majolica pieces, but 
 this does not argue any lack of beauty in the simpler 
 objects. On the contrary, they are often superior both 
 in design and shape. A well-known class of objects 
 combines both utilitarian and decorative purposes. 
 These are the slightly concave, cylindrical jars intended 
 to hold drugs and accordingly known as “pharmacy 
 vases," or albarelli (little trees), so called because of their 
 resemblance to the short lengths of bamboo which con¬ 
 tained the spices imported from the Orient. 
 
 From the standpoint of pure decoration, early Rena¬ 
 issance majolica is often in many ways finer than the 
 later productions. Ornamental motives, whether or 
 
 Gallery 
 
 •3 
 
 53 
 
THE MORGAN COLLECTION 
 not with representative elements, are treated conven¬ 
 tionally in a way suited to their decorative purpose. 
 Even when portraits or figures are introduced, they are 
 rendered naively, so that they tell rather as decoration 
 than as representation. But with growing technical 
 facility and the natural change in taste which marked 
 the transition from the spontaneity of the early age to 
 the elegance and luxury of the High Renaissance, there 
 came a growing fondness for a more pictorial rendering 
 of subjects, rarely the invention of the majolica painter, 
 but copied as a rule from contemporary engravings and 
 wood-cuts. Marcantonio’s engravings after Raphael were 
 much favored, as several pieces in the present collection 
 bear witness. This tendency was unfortunate on the 
 whole; the Massacre of the Innocents, for example, does 
 not commend itself particularly as an appropriate sub¬ 
 ject for the decoration of a plate from which one expects 
 to eat. But this must be said by way of justification—the 
 plate was intended only secondarily for use; its principal 
 service was to make part of the brave show which decked 
 the sideboard of some stately room. A few words must 
 be said upon the wide variety of subjects which the 
 majolica painter was called upon to represent. For the 
 religious-minded patron there were figures of saints and 
 incidents from holy legends. Equally popular were the 
 scenes from classical fables and ancient history, portrait- 
 heads of Roman emperors, gods and goddesses, all intended 
 
 54 
 

 VIRGIN AND CHILD, ENTHRONED WITH SAINTS 
 BY RAPHAEL 
 
bAFA 
 
 VASE—WITH ORSINI ARMS AND 
 PORTRAIT OF A MAN 
 TUSCAN, XV CENTURY 
 CASE A 
 
 PLATE—PORTRAIT OF A LADY 
 TUSCAN, XV CENTURY 
 CASE A 
 
 PLATE—BEAR HUNT 
 CAFFAGGIOLO, XVI CENTURY 
 CASE C 
 
GALLERY FOURTEEN 
 to win the heart of the devoted humanist. Finally, for 
 the lover, amorous scenes, portraits of the betrothed, 
 clasped hands and affecting mottoes. 
 
 The arrangement of the exhibition, which has had to 
 be a somewhat flexible one, begins with the pieces in the 
 first case (A) on the right of the south door. In this and Cases A 
 the following case (B) are shown several fine Quattro¬ 
 cento pieces, probably Florentine, certainly of Tus¬ 
 can Manufacture. Among these should be noted 
 a large vase ornamented with a portrait-head and a 
 shield of arms framed in wreaths; a plate with the 
 portrait of some gallant’s inamorata; another with a 
 symbolic figure of Time copied from an early engraving. 
 
 In strength and beauty of design these pieces are typical 
 of the finest productions of the fifteenth-century potters. 
 
 A little later is the splendid vase, in Case A, with plastic 
 as well as painted ornamentation, probably intended for 
 the decoration of an altar. 
 
 At Caffaggiolo, near Florence, there was early 
 developed one of the most important factories of painted 
 majolica. Commencing towards the end of the fourteenth 
 century, the industry flourished for over two centuries, 
 particularly in the sixteenth century under the later pa¬ 
 tronage of the Medici. The wares of this fabrique are 
 remarkable for richness of glaze and coloring, in which a 
 deep blue and strong yellow predominate. Several ex¬ 
 amples of this ware, at certain periods, closely resembling 
 
 55 
 
THE MORGAN COLLECTION 
 Case C Faentine majolica, are shown in Case C'and elsewhere. 
 
 Together with this Tuscan majolica there is exhibited 
 in Case B an example of the so-called Medici Ware, 
 the earliest known European porcelain of which examples 
 have survived to us. Of this rare product of the Floren¬ 
 tine factories towards the end of the sixteenth century, 
 there are known hardly more than thirty pieces. Besides 
 the piece just mentioned, there are on exhibition in the 
 Museum two other examples of Medici porcelain acquired 
 by Mr. Morgan at the Taylor sale and placed at that 
 time in our Wing of Decorative Arts as a loan. While 
 speaking of Tuscan ware, mention may be made of a 
 fine plate in Case B, typical of the elaborate patterns 
 of the manufactory in Siena. 
 
 The question of priority among the great centres of 
 majolica production in Italy has never been satisfactorily 
 settled. There can be no doubt, however, that one of the 
 earliest potteries was established at Faenza. From the 
 latter part of the fifteenth through the sixteenth century, 
 the industry flourished in no uncertain way, reaching its 
 apogee early in the Cinquecento. Faenza was not only 
 one of the earliest and most productive centres, but in 
 point of quality and artistic excellence its wares were 
 Cases D, rivalled by few. In cases D, E, and F are exhibited 
 E and F several examples of early majolica made in Faenza 
 and a representative gathering of the most characteristic 
 productions of the later Faentine potters. The most 
 
 56 
 
LARGE JUG 
 
 FAENZA, CASA PIROTA, XVI CENTURY 
 CASE F 
 
 TWO-HANDLED VASE 
 FAENZA, XV CENTURY 
 CASE E 
 
PLATE—WOMAN WITH LUTE 
 DERUTA, XVI CENTURY 
 CASE G 
 
 PLATE—PORTRAIT OF MAN 
 DERUTA, XVI CENTURY 
 CASE G 
 
 PLATE—SAINT MARGARET 
 MAESTRO GIORGIO, GUBBIO, I 527 
 CASE J 
 
GALLERY FOURTEEN 
 important atelier of this period was the Casa Pirota, a 
 bottega which flourished for a decade or more from about 
 1525 onwards. Its numerous productions are character¬ 
 ized by a fondness for painting a berettino or sopra a^urro, 
 that is, upon a deep blue background; utilizing this color 
 —always a favorite one with the Faentine artists—for 
 the shadows of the design. In Case F are shown several 
 typical examples of the Casa Pirota ware, notably a 
 splendid large pitcher with a figure of a musician (Apollo?) 
 and two portrait-heads painted in medallions upon the 
 richly patterned blue ground. 
 
 From the Faenza productions we pass to those of 
 D e r u T a , exhibited in Case G, with a few pieces in Case 
 H. The nine large plates in Case G, with their char- Case G 
 acteristic pale gold or chamois lustre, reminiscent of 
 the imported pieces from Spain, are a remarkably fine 
 group of this attractive ware at its best period, the early 
 part of the sixteenth century. These plates, together 
 with the three in Case H, illustrate not only the technical 
 peculiarities of the ware, but also the usual range of sub¬ 
 jects occurring in Deruta majolica: ideal heads of heroes 
 or of beautiful ladies surrounded with flowers, twining 
 ribbons bearing names and amorous inscriptions; repre¬ 
 sentations of saints, especially of St. Francis, since Deruta 
 was so near Assisi; coats-of-arms, and profane subjects, 
 such as the nude woman with the lute or Diana and her 
 nymphs bathing, two fine plates in Case G. In this case 
 
 57 
 
THE MORGAN COLLECTION 
 are also two beautiful portrait-heads, and a representa¬ 
 tion of St. Francis, notable for the depth of color and the 
 bright golden lustre. Of the Deruta masters we know 
 only one who signed his pieces with his name and locality: 
 El Frate in Deruta. To this master, active between 1541 
 and 1554, may be attributed a plate in Case 1 , signed el 
 frate 1545. It is widely different in style, however, from 
 the pieces just noted, and attests the changes which set 
 in towards the middle of the century. 
 
 One of the most important and flourishing centres of 
 ceramic art in the sixteenth century was Urbino, 
 although the potteries there do not appear to have been 
 established as early as those of Faenzaand Deruta. The 
 characteristic style of the Cinquecento Urbino pieces is 
 easily recognized. They usually are decorated with figure 
 compositions grandiose in style and design, copied from 
 engravings, or with fanciful arabesques or grotesques, and 
 in color show a fondness for shades of yellow and green 
 and deep cobalt. The names of many of the Urbino 
 masters are known. The Fontana family produced 
 many artists, of whom perhaps the most celebrated was 
 Case H Orazio, by whom there is in Case H a large, deep 
 dish decorated with grotesques and a central composi¬ 
 tion representing Samson slaying a Philistine. Another 
 well-known artist working at Urbino was Francesco 
 Xanto Avelli da Rovigo, many of whose pieces were 
 subsequently enriched with metallic lustre at Gubbio. 
 
 58 
 
PORTRAIT BUST 
 ITALIAN, ABOUT I 500 
 
 PLATE-WITH THE ARMS OF ISABELLA 
 
 D'ESTE. NICCOLO PELLIPARIO, CASTEL 
 DURANTE, XVI CENTURY 
 CASE L 
 
 PLATE—DECORATED WITH GRO¬ 
 TESQUES. CASTEL DURANTE, DATED 
 
 1537 
 
 CASE L 
 
MONSTRANCE 
 
 SI I.VER-GI LT AND ENAMEL 
 ITALIAN, XV CENTURY 
 CASE M 
 
GALLERY FOURTEEN 
 Such a piece is shown in Case I. Two other interest- Case I 
 ing examples by this master, although without lustre, 
 may be seen in Case H. Besides these Urbino plates 
 and bowls shown in Cases H and 1 , there should also 
 be noted two large ink-stands with, figures in Case 1 , 
 and a large cistern, a typical example of the magnificent 
 “show pieces” produced by the Urbino masters. 
 
 The fame of the potteries at Gubbio rests almost 
 solely on their productions enriched with metallic lustre. 
 
 Not only were objects of local manufacture so treated, but, 
 as it has been said, painted majolica pieces were sent to be 
 lustred at Gubbio from the ateliers of Faenza, Urbino 
 and Castel Durante. Towards the end of the fifteenth 
 century a certain Giorgio Andreoli, better known as 
 Maestro Giorgio, came from his native Pavia to Gubbio, 
 where he soon acquired renown for the beautiful quality 
 and color of his lustre, particularly of the deep ruby-red 
 which was quite unique in the history of Italian ceramics. 
 
 Maestro Giorgio’s dated pieces range between 1519 and 
 1537, but it is probable that he did not die until 1552. 
 
 In Case J, together with other lustred Gubbio pieces Case J 
 of great beauty, are several signed examples by this 
 famous master. Hardly less beautiful is the shimmer¬ 
 ing lustre on the majolica pieces exhibited in Case K. Case K 
 Several painted and lustred plaques with figures, notably 
 the large framed piece hanging above Case L, should 
 also be noted. 
 
 59 
 
Case L 
 
 THE MORGAN COLLECTION 
 
 In Case L we have, finally, examples of the very im¬ 
 portant potteries of Cast el Durante, which emerge 
 into history at an early date, although we are able to 
 assign with certainty to this atelier only its produc¬ 
 tions during the High Renaissance. The Castel Dur¬ 
 ante pieces are remarkable for their decorative use of 
 such motives as grotesques, trophies of arms, musical 
 instruments, and similar devices; and for the beautiful 
 quality of the white enamel. The favorite colors are blue, 
 green, and yellow. The Morgan Collection contains one 
 of the few signed pieces of the Castel Durante ware, a 
 large plate representing a female saint hung by her feet, 
 signed by Sebastio de Marporio and dated 1510. Three 
 celebrated pieces in the collection are exhibited in Case L. 
 These are three plates with coats-of-arms and legendary 
 scenes which originally formed part of a magnificent service 
 made for Isabella d’Este (d. 1539) with the Este-Gonzaga 
 arms. Five other pieces of this famous set are dispersed 
 among the Alphonse de Rothschild and Campe collections, 
 the Bologna Museum, the British Museum, and the 
 Victoria and Albert Museum. This service, one of the 
 finest achievements of Italian ceramic art, has been 
 attributed to Niccolo Pellipario (called also Niccolo da 
 Urbino), whose descendants, settled at Urbino, there 
 assumed the now famous name of Fontana. 
 
 The floor-cases M, N and P contain principally examples 
 of ECCLESIASTICAL METAL WORK, crosses, 
 
 60 
 
GALLERY FOURTEEN 
 monstrances, reliquaries, paxes, and other pieces of church 
 furniture in silver-gilt or gold, ornamented with enameled 
 plaques, verre eglomise panels, crystal, precious stones, or 
 other materials which served the goldsmith in his sump¬ 
 tuous art. Perhaps the favorite means of adornment were 
 the small plaques of Translucent Enamel over silver 
 carved in very flat relief—basse-taille, as the process is 
 known. In the fourteenth century and throughout most 
 of the following, this variety of enameling enjoyed great 
 popularity in Italy. The Morgan Collection contains many 
 superb examples of these lovely enamels so rich in color and 
 so effective in design. Unfortunately silver offers but 
 little “grip” for enamel, and it is seldom that a piece has 
 come down to us intact. These translucent Italian 
 basse-taille enamels are comparatively rare to-day, and 
 their large representation in the collection is particularly 
 noteworthy. A splendid example of fourteenth-century 
 Sienese work is shown in Case M. This is a chalice Case M 
 ornamented with a number of small enameled silver 
 plaques, gorgeous in color and of great historical in¬ 
 terest, since from an inscription we learn that this 
 chalice was originally the property of the Abbey of St. 
 
 Michael in Siena, founded in the eleventh century, and 
 at the time the chalice was made, belonging to the Order 
 of Vallombrosa. Another fine piece is the large cross, 
 in the same case, ornamented with enameled plaques. 
 
 Another similar cross is shown in Case N. But before 
 
 61 
 
THE MORGAN COLLECTION 
 leaving Case M, mention must be made of several impor¬ 
 tant pieces, notably a large silver-gilt monstrance with an 
 enamel representing St. Peter, and a remarkable silver 
 gilt pax with a relief of the Flagellation in wrought gold 
 against an enameled background, attributed to Averlino 
 (Filarete) or, by other critics, to Moderno. This pax 
 was made for Cardinal Borgia (d. 1509) when Archbishop 
 of Monreale, and formed part of the treasure of the Cathe¬ 
 dral of Tarazona, Aragon. A small casket in verre 
 eglomise should also be noted in this case. The term 
 “verre eglomise’ is derived from a certain French goldsmith 
 and glass-painter of the eighteenth century named Glomi. 
 Although the process of painting on glass is of great 
 antiquity, this name has come to be used as a convenient 
 description for all painted decoration applied to the under 
 surface of panels of rock-crystal or glass. 
 
 Two diptychs, rare and early examples of verre eglo- 
 Case P mise, are shown in the floor-case P. Translucent enamels, 
 however, form the most important class of material in 
 this case. Notable is a set of Sienese enamels on small 
 medallions, a large morse, and several plaques in trans¬ 
 lucent enamel from the extremities of a cross. Equally 
 interesting are four lockets and the two plaques orna¬ 
 mented with engraved designs on silver filled in with a 
 black composition material, known as niello. 
 
 Case N 1 n Case N are two large crosses decorated with niello 
 plaques, beautiful examples of fifteenth-century Italian 
 
 62 
 
CHALICE 
 
 SILVER-GILT AND TRANSLUCENT ENAMEL. 
 SIENESE, XIV CENTURY 
 CASE M 
 
 PAX 
 
 SILVER-GILT, WITH CENTRAL 
 PANEL OF VERRE EGLOMISE 
 MILANESE, LATE XV CENTURY 
 CASE N 
 
-1 
 
 SMALL SHRINE 
 
 ROCK-CRYSTAL, ENAMEL AND JEWELS 
 SPANISH, XVI CENTURY 
 CASE N 
 
GALLERY FOURTEEN 
 work in this fascinating branch of the goldsmith’s art. 
 One of the most important pieces in this case is the 
 large silver-gilt pax enriched with enamel, precious 
 stones, and verre eglomise panels. This admirable piece 
 dates from the late fifteenth century' and is probably 
 Milanese in origin, although some critics hold it to be 
 French. It closely resembles the famous Baiser de Paix, 
 in the Louvre, presented by Henri III to the Chapel 
 of the Order of the Saint Esprit. It is regrettable that 
 the coats-of-arms which would have aided in determining 
 the origin of the Morgan pax have been removed. Sim¬ 
 ilar in style to the verre eglomist central panel is a late 
 fifteenth-century pax with a painting under glass repre¬ 
 senting the Madonna and Child and four saints. The 
 arms are those of the Benucci family of Montalcino 
 whence this pax is said to have come. A small reliquary 
 of silver-gilt, richly jeweled, in this case is one of the most 
 interesting objects in the collection. In the centre is a 
 large sapphire engraved with a representation of the 
 Crucifixion, and above it, is an amethyst carved to repre¬ 
 sent the head of Christ. Both these jewels, together with 
 the small gold cross at the top of the reliquary, are much 
 older than their present setting, which dates from the 
 early seventeenth century, and are said to have formed 
 part originally of the celebrated treasure of the Cathedral 
 of Oviedo in Spain. The workmanship is Spanish, with 
 the exception of the foot, which was probably added to 
 
 63 
 
THE MORGAN COLLECTION 
 the piece in Elanders. Another Spanish piece is a small 
 portable reliquary of rock-crystal and enameled gold, 
 originally in the possession of a member of the Campana 
 family and said to have been in the Relicario of the Cathe¬ 
 dral of Santiago de Compostella in the latter part of the 
 sixteenth century. Of great beauty and interest is the 
 small shrine or reliquary composed of a jeweled base and 
 an octagonal piece of rock-crystal, within which is set 
 a group representing the Crucifixion, wrought in gold 
 and enamel. This piece came originally from the con¬ 
 vent of the Carmelites de Peneranda de Bracamonte in 
 the province of Salamanca. It is said to have been set 
 upon a wonderful rock-crystal tabernacle, richly mounted 
 in enamel, which served as a reliquary. This small 
 shrine is Spanish work of the sixteenth century. Another 
 piece of similar date and notable for the beauty of the 
 enameling is the so-called Guzman cross of rock-crystal 
 and enameled gold. The original mount, however, 
 would appear to have been ebony. A few other examples 
 of crystal are shown in Case N, but the greater number 
 Case O of these rare objects will be found in the adjoining Case O. 
 
 The art of working ROCK-CRYSTAL in the 
 Middle Ages and Renaissance was one of considerable im¬ 
 portance, and the various vessels carved from it and beau¬ 
 tifully engraved with ornamentation and figures were 
 always highly prized. Large clear pieces were extremely 
 difficult to obtain, and hence the material was regarded 
 
 64 
 
EWER 
 
 ROCK-CRYSTAL 
 MILANESE, XVI CENTURY 
 CASE O 
 
 OVAL PLAQUE 
 
 BATTLE SCENE. ROCK-CRYSTAL 
 GIOV. BERNARDI OF CASTEL-BOLOGNESE (1495—1 555) 
 CASE O 
 
TAPESTRY. THE CRUCIFIXION 
 BRUSSELS, ABOUT I $20 
 
 WOVEN BY PIERRE DE PANNEMAKER, AFTER A CARTOON 
 BY BERNARD VAN ORLEY 
 
GALLERY FOURTEEN 
 as one of such rarity that objects made from it were 
 considered worthy to be presented to monarchs, who 
 esteemed them all the more, perhaps, because it was 
 believed that a cup of rock-crystal would turn milky in 
 color if poison was poured into it. No private collection 
 contains so many fine examples of rock-crystal as this 
 remarkable group shown in the cases of Gallery 14, with 
 a few of the later pieces shown elsewhere. Space, how¬ 
 ever, does not permit more than a brief mention of one 
 or two of the most important pieces. Among these is 
 a large rock-crystal ewer with engraved scenes from the 
 story of Apollo. It has been suggested, and it is probably 
 true, that this remarkable piece is the work of the Sarachi 
 brothers, notable carvers in rock-crystal, who resided in 
 Milan in the sixteenth century and executed the splendid 
 casket (now in the Escorial) made by order of the Duchess 
 of Savoy for her sister. The satyr’s head on the ewer 
 is probably, then, the work of the famous goldsmith, 
 Giovanni Battista Croce, the favorite jeweler of the 
 Duchess of Savoy, who carried out the exquisite metal 
 work for the coffer. Signed pieces of crystal-carving 
 are so rare that the presence of several such pieces in the 
 collection gives to it unusual distinction. One of these 
 is a shrine, enriched with gold and enamel work, by Adam 
 van Vianen, born in Utrecht about 1570, and died there 
 somewhere between 1627 and early in 1628. By an 
 artist even more famous for his crystal-carving, Giovanni 
 
 65 
 
THE MORGAN COLLECTION 
 Bernardi, of Castel Bolognese, who was born in 1495, 
 and died in Faenza in 1555, is an oval medallion engraved 
 with a battle scene. Giovanni Bernardi was the first 
 crystal-cutter whose work seems comparable with that 
 of the antique, and the work of his hand is worthy of 
 high praise. Another piece, a standing cup with cover, 
 German work of the early seventeenth century, is signed 
 by the engraver, F. Zach. This signature, however, re¬ 
 mains somewhat of a puzzle and various conjectura 
 identifications have been advanced. It may be, however, 
 the work of a certain F. Zach, an ingenious wood-carver 
 who lived about 1684 in Thalhausen and worked in the 
 Benedictine convent at Ochsenhausen in the kingdom 
 of Wurtemberg. Of the other crystal pieces it will be 
 possible to mention but a few: a beautifully engraved 
 bowl from the Odescalchi collection, formerly in the 
 possession of Queen Christina of Sweden; and two fan¬ 
 tastic vases in the form of winged monsters. 
 
 Before concluding the description of Case O, a few 
 words must be said concerning several fine pieces of 
 AMBER there included with the rock-crystal. One of 
 the most important is a shell-shaped cup, in which an 
 amorino lies asleep: the stem is of wrought gold, richly 
 enameled, and represents the Tree of Good and Evil, 
 fastened upon a rough base of clear amber. This piece 
 was at one time in the famous Farnese collection, and 
 belonged either to Cardinal Alessandro Farnese or to his 
 
 66 
 
GALLERY FOURTEEN 
 brother. Cardinal Ranuccio Farnese. The cup is German 
 work of the late sixteenth century. 
 
 In Case Q are shown together VENETIAN 
 GLASS and enamel, for the most part of the sixteenth 
 century. The collection of glass includes several rare 
 early pieces. Note, for example, the tall goblet decorated 
 with a figure composition; also, a small bowl with enam¬ 
 eled decoration in white, blue, and greenish turquoise, and 
 the profile portrait of a young man. A large blue tazza 
 enameled with a pattern in red, white, and turquoise 
 blue, as well as two other similar pieces in white glass, 
 may be mentioned. Two small vases with blue handles 
 are particularly beautiful in shape. Seven pieces of 
 Venetian blue and white enamel, with the characteristic 
 enrichment in gold, form an important group of this 
 material. Attributed to Benedetto da Rovezzano is a 
 statuette in polychromed and gilded wood of St. George, 
 victorious in his combat with the dragon. 
 
 Two of the finest TAPESTRIES in the collection 
 are shown in Gallery 14. They are both Flemish, and 
 date from the early years of the sixteenth century. In 
 one St. Veronica is represented, showing to the Emperor 
 Vespasian the handkerchief on which is miraculously im¬ 
 printed the image of Christ. This superb tapestry comes 
 from the collection of Lord Sackville, Knole, Kent. 
 Even finer is the marvelous tapestry of the Crucifixion, 
 formerly in the collection of the Dukes of Alva in Madrid, 
 
 67 
 
 Case Q 
 
THE MORGAN COLLECTION 
 and in the Dollfus collection, Paris. The tapestry was 
 woven by Pierre de Pannemaker about 1515-20, after a 
 cartoon by the celebrated painter Bernard van Orley. 
 
 Hanging on the opposite wall from these tapestries are 
 two important examples of SCULPTURE. One is 
 a charming marble relief of the Madonna and Child, for¬ 
 merly in the Hainauer collection. This sculpture is at¬ 
 tributed to Antonio Rossellino, one of the most attractive 
 of Florentine sculptors of the second half of the fifteenth 
 century. The second piece is a large tondo in terracotta, 
 of the Madonna and Child by the great Florentine master 
 Donatello. This relief comes from the Casa Martelli, 
 Florence. Attributed to Luca della Robbia is a gracious 
 Madonna relief in blue and white, and to Baccio Ban- 
 dinelli, a Florentine sculptor of the High Renaissance, a 
 charming little high relief in marble of Cleopatra. 
 
 68 
 
GALLERY FIFTEEN 
 NORTHERN RENAISSANCE 
 AND BAROQUE 
 PERIODS 
 
 CjALLERY FIFTEEN is devoted to objects of 
 DECORATIVE ARTS OF THE NORTHERN 
 RENAISSANCE, mostly of the sixteenth cen¬ 
 tury, and to DUTCH and FLEMISH PAINT¬ 
 INGS of the seventeenth century. Van Dyck 
 is represented by two splendid examples: the Marchesa 
 Spinola, of his Genoese period, and the Earl of Warwick, 
 of his later English period. Rubens’ distinguished, 
 courtly portrait of the Archduke Ferdinand of Spain 
 contrasts well with the realistic and carefully executed 
 painting by Rembrandt, representing the Amsterdam 
 merchant, Nicholas Ruts. The two Hobbemas are types 
 of Dutch landscape painting of the highest order. 
 
 THE COLLECTION OF FRENCH PAINT¬ 
 ED ENAMELS, one of the most complete in exist¬ 
 ence, gives a survey of the whole development from the 
 end of the fifteenth up to the seventeenth century. This 
 art, which was produced almost exclusively in Limoges, 
 renowned in the Middle Ages for its champleve enamels, 
 
 69 
 
THE MORGAN COLLECTION 
 differs widely in technique from the enamel of the earlier 
 periods. The copper is covered all over with a colored 
 ground of opaque enamel, without the separation by 
 cloisons, by depressions, or embossings. On this ground 
 the composition is painted in a way somewhat similar 
 to stained glass or oil paintings. With the exception of 
 parts executed in translucent enamel, the metal does not 
 influence in any way the effect of the finished object. This 
 technique may possibly have been imported from Venice 
 to Lrance, but the Venetians always kept closely to 
 purely decorative patterns, while the Limoges enamelers 
 rivaled painters in their pictorial compositions and 
 occupied themselves with a much wider field of subjects. 
 We should, however, not judge the enamels too much 
 from the point of view of the oil painting. The motives 
 of Limoges painted enamels were rarely invented by the 
 enamelers, but taken from prints and woodcuts, especially 
 of German and Italian origin. Their artistic value con¬ 
 sists almost exclusively in the color effects, which are in¬ 
 dependent contributions of the enamelers. 
 
 Many of the earliest enamels have long been assigned 
 to a certain “Monvaerni,” which is probably not an 
 artist’s name, since it occurs as part of a religious in¬ 
 scription on a plaque belonging in style to this class of 
 works. The style of this rare group of late fif¬ 
 teenth-century enamels is represented in the col¬ 
 lection by a plaque with the Crucifixion, attributed, 
 
 70 
 
GALLERY FIFTEEN 
 
 hardly rightly, to Jean Penicaud I. The composition is Case F 
 crowded, has little perspective and is arranged somewhat 
 in the style of the early Burgundian tapestries. The 
 colors, white and yellow-brown predominating, are not 
 so luminous as those in the enamels assuredly by Jean 
 Penicaud I and Nardon Penicaud. These two artists 
 are the most important masters in the first third of 
 the sixteenth century. The artistic personality of 
 Nardon is clearer than that of Jean I. His motives are 
 generally religious. The form he prefers is the triptych ; 
 his colors are rich, although never translucent. Dull blue, 
 reddish-brown and purple are favorite colors and fre¬ 
 quently the haloes of his saints are made in raised dots of 
 various blues and greens. From his hand are the three 
 fine triptychs in Case H, and a large composition consist- Case H 
 ing of six plaques partly copied from engravings (Case F) 
 by Schongauer, whose work he frequently used as a model. 
 
 In brilliancy of color, however, he is surpassed by Jean 
 Penicaud I, if the two plaques, the Christ on the Mount 
 of Olives, Case F, and the Crowning with Thorns (wrongly Case F 
 attributed to Monvaerni, Case F) are, as we believe, 
 really by him. The first is, perhaps, the most beautiful 
 of all enamels in the collection as far as colors are con¬ 
 cerned. It seems that Jean Penicaud I was the first 
 who used translucent enamel colors to any extent and 
 who succeeded in producing shades of purple, blue and 
 green which have not since been equaled. 
 
 7 « 
 
THE MORGAN COLLECTION 
 
 His followers, however, continued his manner, but re¬ 
 placed his breadth of style by a more minute execution. 
 Jean Court, Suzanne Court and Jean Limou¬ 
 sin, who worked about two generations later, executed 
 marvellous works in partly translucent enamels. Espec¬ 
 ially the salt-cellars, the plate, the ewer, and the tazza, in 
 Case A Case A, by Jean Court, should be mentioned as master¬ 
 pieces of his style. As far as the motives are concerned, 
 his works show already the complete victory of the 
 Renaissance: classical, mythological and allegorical 
 motives have replaced the religious subjects. In colors, 
 also, the flesh tints of his figures, with their pale grisaille¬ 
 like tones, mark the transition from the older scheme of 
 colors to one in which cool, silvery colors predominate. 
 
 Suzanne Court’s work is well shown by two salt-cellars 
 in Case A. Her finely executed enamels with their 
 glittering effects show her as one of the best women 
 artists of all time. 
 
 Chronologically, the famous Leonard Limousin 
 falls between Jean 1 and Nardon Penicaud and the last- 
 named artists. His dated works range from 1535 to 1574. 
 He did not follow the technical example of Jean Penicaud I, 
 although occasionally he used translucent enamels, but 
 worked with a few opaque colors, especially dark blue and 
 green, which he used as a background for his excellent 
 portrait-heads. In this specialty he rivals painters like 
 Clouet and Corneille de Lyon who, very likely, were 
 
 72 
 
GALLERY FIFTEEN 
 influenced by him. The two small portraits, one dated 
 1546, and a large one of a Queen, show his art at its best, 
 while the portraits of Francois 1 and of Marguerite of 
 Navarre are of great historical interest. 
 
 The most prolific artist of the second half of the 
 SIXTEENTH CENTURY (about 1534-1582) is PlERRE 
 Reymond, whose art is shown in all its versatility. Under 
 the influence of the Italian High Renaissance, the rich 
 color effects give place to plastic conceptions in which 
 the figures stand out in white and grayish tones against 
 a black background, the figures being made more realistic 
 by a touch of red and the composition enlivened by gold 
 ornaments. Different examples of his work, plaques, 
 candlesticks, vases, large and small plates, saltcellars, 
 tazza, etc., are in the collection (Cases B and C). His 
 work shows an unevenness of execution, which leads to 
 the supposition of a large workshop and numerous imita¬ 
 tors, and marks the beginning of the decline of the later 
 Limoges enamel art. 
 
 Among his followers are Martial Reymond, Martial 
 Courteois and others. To the same late period belongs 
 also Colin de Nouailher, by whom there are two caskets 
 in Case C, works of rather superficial execution, but not 
 without charm in the softness of the outlines and the 
 brightly colored backgrounds of the classical compositions. 
 
 The finest examples of the grisaille enamels in the 
 collection is the piece in Case A, known as the “ Monkey 
 
 Cases 
 B and C 
 
 Case A 
 
 73 
 
THE MORGAN COLLECTION 
 Cup,” representing in three compartments monkeys 
 stealing the property of a traveling merchant. The fine 
 silver-gilt mounts, still in Gothic style, seem rather Ger¬ 
 man than Erench, and the cup itself seems to belong to 
 a period earlier than that of Pierre Reymond. Possibly 
 it was executed at Limoges on a German order about 1530 
 and mounted in Germany. 
 
 The FRENCH CERAMICS OF THE SIX¬ 
 TEENTH CENTURY are represented by several types 
 of PAL 1 SS Y ware and of the much rarer Henri 11 ware. 
 The Palissy pieces are not of the familiar but less interest¬ 
 ing type, decorated with reptiles, shells and insects, start¬ 
 lingly naturalistic, but those with mythological figures 
 characteristic of the French Renaissance and more suitable 
 to the forms of the plates. The large plate repre¬ 
 senting Diana, with the two sauce boats, and other 
 pieces in Case J, are specimens which make one under¬ 
 stand better why this ware has been praised so highly. 
 The four candle-holders, especially the two with angels’ 
 heads, seem to support the theory that Bernard Palissy 
 was greatly influenced by the Italian majolica makers, 
 especially by the later Della Robbias. 
 
 The Henri II ware is counted among the rarest 
 products of the fictile arts. Hardly more than ninety pieces 
 are known and only a small number are in private posses¬ 
 sion. The seven in Mr. Morgan’s collection are certainly 
 the largest number of such pieces privately owned Little 
 
 74 
 
GALLERY FIFTEEN 
 is known about the origin of this ware other than it was 
 made principally during the reign of Henri II, possibly at 
 Saint Porchaire, although the documents upon which this 
 theory is based, speak only of certain pieces made of Saint 
 Porchaire clay, which does not imply necessarily that the 
 objects were made there. Still less justifiable seems the 
 name of Oiron, which is often given to this faience, since 
 the documents from the Chateau d’Oiron, which refer to 
 this ware, are only concerned with majolica pavements of 
 different type and partly still in place. 
 
 The division into different periods which has been made 
 is scarcely more successful, nor does it seem likely that the 
 artist—probably one man did them all—worked more than 
 ten or fifteen years. The pieces are shown in Case J. 
 
 The two tazzas, the one with cover from the Le 
 Breton collection, are comparatively simple in color, brown 
 and black in arabesque designs. A greater range of 
 color distinguishes the third tazza, which is decorated 
 with four pillars painted with green and purplish spots; 
 these columns are somewhat in the style of the Palissy 
 ware. 
 
 Exceptionally fine in shape, aside from their decoration, 
 are the three salt-cellars, one of them showing Gothic 
 windows, a very unusual motive in the French Renais¬ 
 sance ceramics. The second is especially charming in its 
 blue and red decoration and its niches with allegorical 
 figures. The most important of all, however, is the ewer 
 
 75 
 
 Case J 
 
THE MORGAN COLLECTION 
 with the dragon handle and the spout decorated with a 
 little figure of the Virgin and Child. 
 
 The technique of these objects is very simple, the deco¬ 
 ration being impressed on the surface with small stamp¬ 
 ing irons. But as Solon says, “A born artist alone could 
 have conceived the idea of producing a style of pottery 
 so much in advance of anything that was made at the 
 time, without departing from the ruling technique of a 
 common handicraft.” 
 
 THE COLLECTION OF JEWELRY which is 
 Case G placed in the Case G could hardly be described in a 
 few words, as almost each object has a lengthy history 
 connected with it, and artistically is worthy of prolonged 
 consideration. For a detailed description the visitor is 
 referred to Mr. Williamson’s excellent catalogue of the 
 jewels, but a few of the most important pieces may be 
 mentioned here. Among these are the following: 
 golden chain of honor, made about 1600 for Christian 11 
 of Saxony; the badges of the Order of the Annunziata and 
 of St. Michel; the golden portrait medal of Archduke 
 Maximilian, German work of 1612; a rosary of onyx 
 beads enclosing enamel work, Italian, sixteenth century; a 
 medallion of wrought and enameled gold, Florentine, 
 fifteenth century, said to have been made by Ghiberti for 
 Cosimo de’ Medici; a pendant and two buttons or links 
 made by an Augsburg goldsmith, probably for a member 
 of the Fugger family; a gold portrait medallion of the 
 
 76 
 
GALLERY FIFTEEN 
 Emperor Charles V, by Leone Leoni; a pendant jewel of 
 ambergris and enameled gold, Italian work of the late 
 sixteenth century, one of the greatest rarities of the col¬ 
 lection; and finally, other pendants, Italian, French, 
 Spanish and German of the sixteenth century, superb 
 examples of the goldsmith’s craft. 
 
 THE COLLECTION OF SMALL BOXWOOD 
 CARVINGS shown in Cases D and K is one of ex¬ 
 ceptional interest. Aside from the Rothschild collections 
 of these miniature carvings in the Louvre and the British 
 Museum, there is no collection of equal importance to 
 the one now under consideration. For the most part 
 these rare objects are Flemish or German in origin 
 and date from the sixteenth century, when in these north¬ 
 ern lands the carvers of small objects developed so ex¬ 
 traordinary a skill of hand that their achievements in 
 many cases seem almost miraculous. Take, for example, 
 the large rosary beads, of which several are contained in 
 the collection. Within these beads, used as terminals to 
 hang at the end of rosaries, are miniature carvings of in¬ 
 credible, microscopic fineness. In date they may be 
 assigned to the early part of the sixteenth century or at 
 least to the period between 1475 and 1530. The first of 
 these “prayer-nuts” or “pater nosters” may have been 
 made in England, but the industry was undoubtedly at 
 its greatest in Flanders. With these rosary beads must 
 be mentioned a double triptych of carved boxwood, form- 
 
 77 
 
 Cases D 
 and K 
 
THE MORGAN COLLECTION 
 ing a small shrine. This also is Flemish work of the early 
 sixteenth century. A remarkable diptych, elaborately 
 carved in boxwood, representing the Nativity and the 
 Mass of St. Gregory, is an unusual example of Flemish 
 fifteenth-century carving. It was formerly in the posses¬ 
 sion of Queen Christina of Spain. An important ex¬ 
 ample of Renaissance decorative carving is a small casket 
 of boxwood, carved with emblematic subjects of a masonic 
 character, German work of the sixteenth century. Of 
 great interest is an elaborately carved boxwood mirror 
 frame, the design probably inspired by the work of a 
 Frisian painter, known in France as Jean Vredeman de 
 Vriese. The carving itself is French of the sixteenth 
 century. 
 
 The collection includes a considerable number of 
 portrait medallions in boxwood and honestone, 
 which illustrate the admirable skill attained by the Ger¬ 
 man carvers of the sixteenth century in this field of art 
 Among the pieces assigned to known sculptors are the 
 following: a honestone medallion with portrait of Hier¬ 
 onymus Holtzschuher by Peter Floetner; a boxwood 
 medallion of Barbara Reihingin by Hans Kels von Kauf- 
 beuren, dated 1538. By Hans Daucher is a beautifully 
 executed honestone panel representing the meeting of 
 Charles V and Ferdinand of Bohemia. Very important 
 is a large honestone relief representing the Triumph of 
 Charles V, a repetition of the bronze relief by Leone 
 
 78 
 
GALLERY FIFTEEN 
 Leoni. On the left is a tournament, on the right the 
 triumphal entry into Antwerp, and below these two parts, 
 a river scene with people struggling in the water. The 
 panel is dated 1522 and signed with the initial H. An¬ 
 other interesting honestone plaque represents Venus. 
 Several German boxwood panels desetve more than the 
 few words which can be given them here; notably a long, 
 narrow panel with a battle scene; a relief with Venus and 
 Vulcan for subject; a portrait panel of Ludwig Raab of 
 Ulm, signed A. H. B.; and other reliefs with subjects from 
 daily life or hold legend. Among the statuettes and other 
 small sculptures in the round, one of the most striking is 
 a representation of Death as a cavalier astride a sorry nag. 
 
 79 
 
GALLERY SIXTEEN 
 THE BAROQUE 
 PERIOD 
 
 1 HE majority of the OLD PLATE, mainly of Ger¬ 
 man origin, in Gallery 16, was collected by Herr Gutmann 
 of Berlin, and subsequently acquired by Mr. Morgan. 
 
 The only piece of the Gothic period is a horn with 
 silver mounts dating from the early part of the fifteenth 
 century (located in Gallery 12). The use of the horn 
 as a drinking vessel dates back to the Anglo-Saxons, 
 and has survived in England until comparatively late 
 times. Transference of the estates by the cup or horn, 
 sword or helmet of the owner, without the formality of a 
 written charter, was adopted by the Normans. These 
 horns have been treasured in modern times as reliquaries, 
 and the three most noted examples are located respectively 
 in the Church of St. Serverin at Cologne, the Church of St. 
 
 Servais at Maestricht, and at Gran Cathedral in Hun¬ 
 gary. 
 
 To pass on from the Gothic period to the silversmiths’ 
 work of the Renaissance, there are two flagons or 
 tankards of the sixteenth century, the smaller (Case A, Case A 
 
 81 
 
THE MORGAN COLLECTION 
 second shelf, left of the center), 1 is worthy of remark, not 
 only from its richly decorated details, but also from the 
 fact that this form found its way across to England and 
 was there copied by Elizabethan silversmiths. The other 
 (Case A, second shelf, right of center) is a fine specimen 
 of a type prevailing in North Germany and the Baltic 
 provinces. 
 
 More remarkable is the superb sixteenth-century 
 German tankard (Case A, top shelf, extreme right), with 
 a plain silver body enclosed in a framework of fine filigree, 
 geometrical in general design, and embellished with em¬ 
 bossed borders of amorini and medallions of Hector and 
 Paris, a band with eight cupids' heads in relief, at intervals, 
 encircling the centre of the body. This fine filigree work 
 originated in Italy, and Benvenuto Cellini, in a well-known 
 passage, mentions Piero di Nino as “a goldsmith who 
 worked in filigree—an art which, while it affords great 
 charm, is not without its difficulties.” 
 
 A tankard, wholly different in style and character, is 
 the rare and interesting specimen (Case A, bottom, ex¬ 
 treme right) which is probably Hungarian of the early 
 part of the seventeenth century. It is of cast sil¬ 
 ver-gilt, octagonal in form, and entirely covered with con¬ 
 ventional representations of tears and small oval medal¬ 
 lions in slight relief. Catherine de Medici is known to 
 
 1 The cases are lettered starting from the doorway leading from Gal¬ 
 lery 15 and keeping to the right. 
 
 82 
 
DIANA AND STAG 
 
 GERMAN, AUGSBURG, XVI CENTURY 
 GALLERY 1 6, CASE A 
 
COVERED CUP 
 
 GERMAN, NUREMBERG, XVI CENTURY 
 GALLERY l6, CASE A 
 
GALLERY SIXTEEN 
 have adopted tears as a badge, on the death of her husband, 
 Henry II in 1559. 
 
 Later in the seventeenth century the tankard became 
 larger in circumference and shorter, and of this type there 
 are two excellent and massive examples,in this collection. 
 In Case G (second shelf, centre), is one of large size with 
 the body divided into eight panels engraved with various 
 subjects: figures, warriors, etc., and with smaller Van 
 Dyke panels on the body and cover, embossed with 
 cherubs, fruit, and different kinds of animals. The other 
 tankard (Case H, second shelf, left) is decorated on the 
 body with a scene representing a victory of Alexander the 
 Great, while in the cover is a medallion with a mounted 
 figure of Alexander. This is of the early eighteenth cen¬ 
 tury and was wrought at Danzig by one Haidt. 
 
 The partiality of the Renaissance artificer for mounting 
 shells, nuts, and eggs into all sorts of vessels for drinking 
 and decorative purposes is familiar to students of the gold¬ 
 smith’s art. The exquisite pearly iridescence and the 
 beauty of the lines of the nautilus appealed strongly to 
 the craftsman’s aesthetic taste. This collection contains 
 seven shells mounted in different forms. The earliest 
 (Case A, second shelf, extreme right), which is a conch 
 mounted in the sixteenth century, is secured by gilt straps, 
 and embossed with masks, fleur-de-lis, etc., the straps 
 studded with Roman denarii. The turbinated nautilus- 
 shell cup (Case A, second shelf, extreme left), with a stem 
 
 83 
 
 Case G 
 
 Case H 
 
 Case A 
 
THE MORGAN COLLECTION 
 formed of a figure of Hercules and with dolphins and 
 sea monsters applied to the foot, is the work of Casper 
 Bendell of Breslau, 1578-1596. 
 
 A N AUTI LUS SH ELL mounted in an unusual and 
 Case D ingenious manner is shown in Case D (top shelf, extreme 
 left). The whorl has been cut into wavy bands, revealing 
 the yellow epidermis alternate with the under nacreous 
 layer. It is mounted with the aperture of the shell turned 
 downwards and represents a large snail ridden by a well- 
 modeled figure of a Nubian, enameled in black, with dark 
 red and green loin cloth, and carrying a bow with a quiver 
 of arrows on his back. It was made by Jeremiah Ritter 
 of Nuremberg, early in the seventeenth century. 
 
 Case G, The nautilus shell shown in Case G (top shelf, left center) 
 is remarkable for its exquisitely engraved emblematic 
 scenes of Peace and War; the side shown has a pastoral 
 scene, with numerous women and children; the other, 
 horsemen engaged in combat with firearms. An heraldic 
 helmet with a barred vizor closed, is delicately carved 
 and pierced from the whorl of the shell, and above is 
 added an engraved helmet and shield, while two female 
 heads, carved from a conch shell, are applied to the um¬ 
 bilicus. It is signed by a German artist, C. Bellekin, 
 who flourished in the seventeenth century. The dolphin 
 stem, the foot and the mounts are the work of a Breslau 
 craftsman early in the eighteenth century. There are 
 only four other examples of Bellekin’s engraved work on 
 
 84 
 
GALLERY SIXTEEN 
 nautilus shell in existence, two in the Kunstgewerbe 
 Museum at Berlin and two in the “Green Vaults” at 
 Dresden. 
 
 The fourth nautilus cup in this collection is that in 
 Case G (top shelf, center). It has a cover with a large 
 “whale” in the act of casting out Jonah, and the shell is 
 supported by a seated figure of Neptune on a high pedestal 
 repousse with marine subjects and embellished with 
 applied frogs, lizards, etc.—possibly Transylvanian work 
 of the seventeenth century. 
 
 The next Case (E, second shelf, left center) has a shell 
 which is surmounted with a figure of a whale ridden by 
 Neptune and vomiting Jonah; this is supported by a 
 graceful vase-shaped stem with scrolled dragon brackets 
 set on a circular foot repousse with sea monsters and with 
 frogs applied. Seventeenth-century German work. 
 
 The seventh and last is the turbinated shell mounted 
 as a cup (Case F, second shelf, left center), which has a 
 domed cover decorated with strap work, etc., and sur¬ 
 mounted by a seated boy. The stem, which is a tree-trunk 
 clasped by a boy, rests on a six-lobed base. This is of 
 Austrian origin, about 1700. 
 
 The main decorative features of the supports, mounts, 
 and embellishments of the nautilus shell are, appropriately 
 enough, marine subjects, such as dolphins, figures of 
 Neptune, sea monsters, and frequently a whale or dolphin 
 vomiting Jonah. Nuremberg goldsmiths are credited 
 
 85 
 
 Case E 
 
 Case F 
 
Case E 
 
 Case F 
 
 THE MORGAN COLLECTION 
 with the production of the finest specimens, and Nicolas 
 Schmidt, sometime Master of that famous guild, was 
 one of the most talented artificers in this branch of the 
 work in precious metals, one of his finest examples being 
 the sixteenth-century nautilus cup supported by a figure 
 of Neptune astride a seahorse, on a base with sirens 
 playing stringed instruments, in the royal collection at 
 Windsor Castle; other specimens of his work are to be 
 seen in the “Green Vaults” at Dresden. 
 
 Flemish goldsmiths also manifested a liking for 
 the nautilus cup; and two examples mounted by them, 
 one bearing the year mark of Antwerp for 1581, and the 
 other, dating about 1590, are included in the superb 
 collection of plate bequeathed by Baron Ferdinand 
 Rothschild to the British Museum. 
 
 Cocoanuts have also been frequently mounted as 
 cups in elaborate fittings by German silversmiths, and a 
 fine specimen in this collection is shown in Case E (second 
 shelf, center). The nut is carved with foliage, grotesque 
 masks and birds, and with three devices with names 
 above; the rich mounts were executed in Augsburg in 
 the seventeenth century. 
 
 The egg of the ostrich was also used 
 to form cups and other drinking vessels in Germany. 
 The egg in the cup in Case F (second shelf, center) is 
 secured by three enameled and floreated straps, and 
 decorated with other bands and panels of painted enamels, 
 
 86 
 
GALLERY SIXTEEN 
 festoons of fruit, grotesque masks, etc., while the stem 
 takes the form of an ostrich. This is German work of 
 the seventeenth century. 
 
 An example of the employment of an ostrich egg in 
 another kind of table-ornament, will be found in Case C 
 (bottom, extreme right), where the egg forms the body of 
 its namesake bird. The fine silver-gilt mounts were 
 wrought by Johannes Clauss of Nuremberg during the 
 second quarter of the seventeenth century. The base is 
 embellished with red crawfish, a lizard, frogs, tortoise, and 
 applied scrolls terminating in minute female figures. 
 The use of figures of small animals and reptiles, often in 
 natural colors, was in high favor with the goldsmiths of 
 the German Renaissance. 
 
 Though drinking vessels of Fantastic and Gro¬ 
 tesque Forms are found at all periods, their use 
 was never more frequent than in Germany during the 
 sixteenth and seventeenth centuries. The banqueting 
 rooms of the merchant princes of such important centers 
 of international commerce as Augsburg and Nuremberg 
 in the sixteenth and seventeenth centuries contained a 
 brave display of these curious vessels, as well as the 
 ordinary kinds of standing cups, at their festive gatherings. 
 
 The numerous Trade Guilds and Companies of cross¬ 
 bowmen and arquebusiers were also well furnished with 
 fine plate, many of their cups being topical; for instance, 
 the cup and cover, dated 1668, in Case D (bottom, extreme 
 
 87 
 
 Case C 
 
 Case D 
 
THE MORGAN COLLECTION 
 
 Case D 
 
 Case A 
 
 Case K 
 
 Cases 
 A, B, C 
 
 left) was doubtless the prize cup of a Miners’ Guild. 
 A large silver-gilt Bull of the seventeenth century, in the 
 Bavarian Industrial Museum at Nuremberg, represents 
 a cup of the Butchers’ Guild at Reutlingen. 
 
 Some of these quaint and interesting drinking vessels 
 were fitted with clockwork contrivances for 
 moving along highly polished tables. They were wound 
 up and despatched, and the guest opposite whom the 
 vessel stopped was compelled to consume the entire 
 contents on pain of a forfeit. The fine group of Diana 
 and the Stag (Case A, top shelf, center), wrought by an 
 unknown Augsburg master towards the close of the six¬ 
 teenth century, contains in the irregular octagonal base 
 such a contrivance. An example of the same group by 
 another German goldsmith is the one in the Kunstge- 
 werbe Museum, Berlin, by Matheus Wallbaum, artificer 
 of the exquisite ebony and silver triptych (center Case K, 
 top shelf) made in Augsburg in the late sixteenth century. 
 
 Many kinds of animals, including horses in various 
 attitudes, stags and unicorns, lions in different positions, 
 birds and dogs, have served as models for cups for the 
 German goldsmith. The lion would appear to have been 
 the most popular animal, the bear ranking next; while the 
 favorite bird was the owl. This collection contains many 
 examples:—the stag (Case A, second shelf, center) and 
 the lion rampant; (Case B, top shelf, right center), both 
 of the sixteenth century; the two stags (Case G, second 
 
 88 
 
GALLERY SIXTEEN 
 shelf, extreme left and extreme right); a lion holding a 
 shell-shaped bowl (Case C, top shelf, extreme right); 
 the massive lion seated upon mathematical instruments, 
 cannon, etc., with a view of a Swiss city, below, wrought 
 at Rappersweil in Switzerland (Case C, top, extreme 
 left); the goat (Case E, top shelf, extreme left) and 
 horse (Case B, top shelf, left center); the ram (Case B, top 
 shelf, extreme left) and partridge (Case B, top shelf, 
 extreme right), all of the seventeenth century. To these 
 must be added the dancing bear, date 1737, made in Augs¬ 
 burg (Case G, top shelf, right center), and the peacock 
 (Case G, top shelf, extreme right). 
 
 Other quaint drinking vessels in this collection are the 
 Wager Cups in human form. One, which was made at 
 Augsburg in the sixteenth century, represents a lady in ruff, 
 with a skirt embossed with scrolls, fruit, birds, and other 
 devices, her raised arms holding a small plain cup (Case 
 A, top shelf, extreme left). The term “Wager Cup” has 
 been applied to this type of vessel because the lower part, 
 the skirt, was supposed to be emptied of its contents at 
 one effort, without spilling the wine in the small cup, which 
 revolves on a swivel, and which likewise was emptied at a 
 draught. Another of these cups, different in decorative 
 features, by a Nuremberg silversmith of about 1550, is 
 shown in Case E, second shelf, extreme left; a third, of 
 another type, without the small revolving cup, late 
 sixteenth century, is in the same case on the extreme right 
 
 89 
 
 Cases 
 A, E, F 
 
THE MORGAN COLLECTION 
 end of the shelf. A fourth, a figure in Hungarian cos¬ 
 tume, wrought by Master Jorg Rutel, of Nuremberg, 
 about 1595, is in Case L, top shelf, extreme left; and 
 another type of Wager Cup, shaped like a windmill, of 
 Dutch workmanship, dating from the seventeenth century, 
 is also to be seen in Case L, top shelf, extreme right. 
 
 One of the succeeding developments in the taste for 
 showy pieces of plate in the form of animals was that which 
 prevailed from about the middle until the end of the 
 seventeenth century for large equestrian figures, 
 like the statuette of a cavalier in the costume of Louis XIV 
 Case H on a prancing horse (Case H, top shelf, center). 
 
 This collection contains one example of what might 
 be termed ecclesiastical art in the fine ebony 
 triptych, with silver-gilt enrichments, by the famous 
 silversmith of Augsburg, Matheus Wallbaum (center, 
 Case L). In its architectural features it follows the 
 well-known traditions of Northern Europe, treated, 
 however, in the characteristic manner of the Renaissance. 
 The center panel is painted with the Adoration of the 
 Magi; the right with the Presentation in the Temple; 
 and the left with the Circumcision. The small rect¬ 
 angular panel below contains a painting of the Llight into 
 Egypt. These painted panels were done by one Anton 
 Mozart—a follower of J. Breughel and D. Vinchebooms— 
 whose initials and date, “A. M., 1598,” are signed in the 
 central panel. 
 
 90 
 
CHINA OF MING PERIOD 
 GERMAN MOUNTS 
 XVI CENTURY 
 GALLERY 1 6 , CASE B 
 
 CAVALIER ON HORSEBACK 
 GERMAN, AUGSBURG, XVII CENTURY 
 GALLERY 1 6 , CASE H 
 
CUP 
 
 ATTRIBUTED TO CELLINI 
 ITALIAN, XVI CENTURY 
 GALLERY 1 6 , CASE K 
 
 SALTCELLAR 
 ADAM VAN VIANEN 
 FLEMISH, XVII CENTURY 
 GALLERY 1 6 , CASE K 
 
 BEAKER 
 
 ATTRIBUTED TO CELLINI 
 ITALIAN, XVI CENTURY 
 GALLERY 1 6 , CASE K 
 
GALLERY SIXTEEN 
 
 Rose water-dishes and ewers, originating in 
 Italy during the Renaissance and passing thence to other 
 countries, Latin and Teutonic, the ewers noted for the 
 elegance of their form, have survived in goodly numbers. 
 An important example of a large dish of Spanish origin is 
 included in this collection. It is of silver-gilt, repousse, 
 with a bold scroll design and oval bosses; applied to it are 
 elliptical and rectangular panels of exquisite enamel. 
 In the raised center is an enameled shield with the arm 
 of Castille, France, and Leon. This fine dish, which has 
 unfortunately been separated from the companion ewer, 
 dates from the early part of the seventeenth century 
 (Case C, top shelf, center). 
 
 The beautiful dishes wrought by the German artificers 
 of the sixteenth century are succeeded in the following 
 century by dishes or plateaus of much larger di¬ 
 mensions and greater massiveness, with bold designs, in 
 coarser workmanship. An example of these larger dishes 
 is shown in Case D, top shelf, center, dating from the 
 second quarter of the seventeenth century. The centre 
 is embossed with a campaigning scene,—knights and 
 Moorish horsemen, and a chariot with a dead king; the 
 wide border is embossed with cuttlefish. 
 
 Larger and still more massive are the two immense 
 dishes (one in Case C, bottom center, the other in corre¬ 
 sponding position in Case D), with groups of nymphs and 
 warriors, accompanied by amorini embossed in bold 
 
 91 
 
 Case C 
 
 Case D 
 
 Cases 
 
 C, D 
 
THE MORGAN COLLECTION 
 relief in the center, and tulips and other flowers on the 
 rims, which were wrought by H. Lambrecht, of Hamburg, 
 late in the seventeenth century. 
 
 Several causes combined in Germany to foster the pro¬ 
 duction of cups in very great numbers and in almost 
 endless varieties of form. Foremost was the commercial 
 activity of such cities as Augsburg and Nuremberg, fol¬ 
 lowed closely by the rivalry between these two famous 
 centers of the art of the goldsmith and of the ironworker 
 and other crafts. Other potent factors were the jovial, 
 beer-drinking customs of the people themselves, and the 
 spirit of good-fellowship existing among the numerous 
 trade guilds, in whose possession were many fine loving- 
 cups and cups of welcome, decorated with suitable symbols, 
 the gifts of members and others. The frequent inter¬ 
 change of gifts, usually in the form of plate, between mon- 
 archs, ambassadors and other prominent personages, 
 tended to encourage an art where Orders would be be¬ 
 stowed in our time. Included in this collection are a few 
 choice standing cups and covers. The earliest 
 Case J are the two silver-gilt double-cups (Case J, bottom, 
 extreme right and extreme left) of the last quarter of the 
 sixteenth century. These double-cups fit over each other 
 at the lip, and were thus fixed together and placed in the 
 buffet or sideboard as ornaments when not in actual use. 
 The German silversmiths of this period and during the 
 seventeenth century frequently inserted a silver medallion 
 
 92 
 
GALLERY SIXTEEN 
 of some important person, or, occasionally, one of the 
 numerous religious medals common in the second half of 
 the sixteenth century in Germany, in tankards, cups, and 
 other vessels; and these two double-cups have in the one 
 on the right, a medallion of Sigismund Richter, 1562, and in 
 the other on the left, one of Hieronymus Loter, 1544, who • 
 was “sous diacre’’ (sub-deacon) at Augsburg. 
 
 Another variety of double-cup, very different in its 
 decoration, is afforded in this collection by the one shown 
 in Case A, bottom, right center, which also dates from the Case A 
 end of the sixteenth century. The bowl is embossed with 
 cherubs’ heads and strap-work enclosing fruit, the upper 
 part being supported by three applied cupids on dolphins, 
 while the lip is engraved with arabesque work. The 
 stem is decorated in relief with female terminal figures, 
 amorini standing on scalloped shells, and double fleurs- 
 de-lis; and the foot is embossed with cupids, strap-work, 
 and fruit. 
 
 Under the head of tall cups with covers, five specimens 
 are here included. The earliest, an important example 
 wrought at Nuremberg about 1550, by a master craftsman, 
 
 Jacob Frohlich, is to be seen in Case A, bottom, left center. 
 
 It is very richly repousse with small figures, plain bosses, 
 and human masks. The graceful vase-shape stem is em¬ 
 bossed with helmeted masks with the terminal satyr 
 brackets above. A stag hunt is embossed on the cover, 
 which is surmounted by a seal-like knob decorated with 
 
 93 
 
THE MORGAN COLLECTION 
 female terminals in niches, projecting animals’ heads, 
 and other embellishments. 
 
 Case A The second variety of covered cup is shown in Case A, 
 bottom, center. Here the bowl resembles a beaker, widely 
 curved at the lip, which is delicately engraved with a 
 hare-hunt. The cover is surmounted by a figure of an 
 armed warrior, believed to represent St. Theodorus. 
 Eberwein Kossmann, of Nuremberg, was the artificer of 
 this fine cup, about 1575. 
 
 Another cup with a beaker-shaped bowl, of later date 
 Case D (seventeenth century), is to be found in Case D, bottom, ex¬ 
 treme right. On the bowl are three strap-work panels en¬ 
 closing a lion hunt in relief, divided by winged female 
 terminals, the other decorative features of the bowl being 
 the arabesques, garlands, fruit, foliage, and strap-work. 
 The cover is surmounted by a Roman warrior holding a 
 Case B plain shield. A fourth cup is shown in Case B, second 
 shelf, left center, dating from the seventeenth century. 
 
 A cup and cover of extreme rarity and utmost value is in 
 Case A Case A, bottom, extreme left. This superb cup, of acorn 
 shape, executed in niello with geometric and arabesque 
 designs, was the work of an unknown Augsburg maker 
 of the sixteenth century. 
 
 Case D A curious type of cup is placed in Case D, extreme 
 right; the body is not unlike a turbinated shell, and each 
 of the lobes is embossed with the head of a monstrous 
 cuttlefish in low relief, supported by a stem in the form 
 
 94 
 
GALLERY SIXTEEN 
 of a dwarf fisher-boy; the base is embossed with dolphins. 
 It is of the late seventeenth century, of Augsburg make. 
 
 A remarkable specimen of drinking vessel is located in 
 Case H, second shelf, center; it is a representation of one 
 of the well-known carved tuns, seen in Germany, the 
 enormous tun of Heidelberg. The barrel is of silver, dec¬ 
 orated with applied vine and supported by four rampant 
 lions, while in front is an applied shield of arms, enameled. 
 A figure of Bacchus, forming a stopper, sits astride the 
 barrel, holding a plain silver goblet, which is removable 
 for use as a funnel. This curious piece of plate was 
 wrought at Breslau early in the eighteenth century about 
 1710. 
 
 Quite personal in its use is the small cup, known as 
 Haufebecher in Germany, of which eight specimens 
 are included here. This type of little cup prevailed dur¬ 
 ing the sixteenth century, but it seems to have lost its 
 popularity about 1610. Sets of six or twelve, as well as 
 single cups, were apparently made and fitted into each 
 other as far as the moulding encircling the stem. They 
 probably accompanied the owner on his travels, his hunt¬ 
 ing expeditions, and perhaps on the battle-field. Numer¬ 
 ous subjects, scriptural and allegorical-, feasting and 
 hunting, were introduced as decoration, engraved and 
 embossed. This type of small cup, found in Cases E 
 and F, was confined entirely to Germany, and never 
 penetrated into the other countries. 
 
 Case H 
 
 Cases E, F 
 
 95 
 
Cases F, H 
 
 Case B 
 
 THE MORGAN COLLECTION 
 The silver ornaments and drinking vessels 
 in the form of ships, so frequent in German plate, 
 are doubtless a development from the incense-holder, 
 fashioned like a boat or ship, in common use in the mediae¬ 
 val Church, of which in England an example exists in the 
 silver boat of the fourteenth century now in the possession 
 of the Earl of Carysfort; and in the Treasure of St. An¬ 
 tonio at Padua, Italy, in the fine silver ship with female 
 prow, of the fifteenth century. To these incense-boats 
 succeeded secular vessels like ships, described in inven¬ 
 tories as Nefs. 
 
 Three examples of different varieties of ships are in¬ 
 cluded in this collection: the first made in Nuremberg 
 early in the seventeenth century (Case H, top shelf, ex¬ 
 treme right); the second in Augsburg at about the same 
 date (Case F, top shelf, left center): and the third rather 
 more than a century later by Solomon Dreyer of Augs¬ 
 burg (Case H, top shelf, extreme left). The sail is en¬ 
 graved with the legend “Georg Christoph Neymer— 
 Schiiffmeister Von Regensspurg—P. B. N. 1744.“ 
 
 The only example of the beaker form of cup shown 
 here is the fine massive piece, of the early part of the 
 eighteenth century, in Case B, second shelf, left center. 
 It is of more than ordinary interest from the fact that 
 the manner of decoration is somewhat rare. It is sur¬ 
 rounded by figures of the Twelve Fathers of Israel—the 
 twelve sons of Jacob—in relief, with their names inscribed 
 
 96 
 
GALLERY SIXTEEN 
 below in Hebrew. The signs of the Zodiac, which are 
 often associated with the names of the sons of Jacob, are 
 chased on the cover. This interesting cup was probably 
 executed for a wealthy Jewish family as a Kiddush, or 
 sacred cup, used at home for the blessing and prayer 
 recited at the commencement of Sabbaths and festivals. 
 
 It had long been the fashion to attribute all the finest 
 cups and numerous other works of art, of crystal 
 and agate and other stones, to the artificers of 
 the Italian Renaissance, as was much of the plate, such 
 as tazze, and cups, ewers, and basins of the sixteenth cen¬ 
 tury found in Italy, France, and England; and many of 
 these notable pieces were fondly associated with the great 
 Cellini himself. It is now, however, recognized by con¬ 
 noisseurs that the talented craftsmen of Germany, im¬ 
 bued with Italian models, were responsible for the vast 
 proportion of the most beautiful specimens of this side of 
 art; and many of the royal and public museums in Ger¬ 
 many and in Vienna, and the Waddesdon Room at the 
 British Museum contain a large number of exquisite ex¬ 
 amples. Repeated allusions have already been made to 
 the numerous vessels of all kinds, in glass, crystal, agate 
 and other stones, mounted in gold and enamel, in the 
 Treasury of Charles I of England. 
 
 The Morgan Collection contains a tall crystal goblet 
 (Case B, second shelf, extreme right), probably Transyl- Cases B, K 
 vanian work of the late sixteenth century; a 
 
 97 
 
THE MORGAN COLLECTION 
 silver-gilt cup with agate bowl (center, Case K, top 
 shelf), supported by a triton in an oval foot, which is 
 decorated with marine subjects in repousse; and a cup 
 with crystal bowl (center, Case K, bottom), slightly 
 curved and engraved with acanthus leaves, birds, and in¬ 
 sects, mounted in silver-gilt, with a dolphin stem on an 
 enamel foot—both German work of the seventeenth 
 
 CENTURY. 
 
 In the seventeenth century, a goodly number of tank 
 ards of CARVED IVORY were mounted as a result 
 of increased importation of ivory into Europe at a lower 
 cost. Many of these are of considerable size. This col¬ 
 lection contains four specimens of carved ivory tankards 
 and two cups, all mounted in silver. The largest, in 
 Case 1 Case I, second shelf, left center, is elliptical in form and 
 is boldly carved with amorini at play, an infant Bacchus 
 in ivory surmounting the cover. The silver-gilt mounts 
 are embossed with tulip and acanthus designs, while the 
 handle is in the form of a female term. This tankard was 
 mounted by Johann Heinrich Mannlich, of Augsburg, at 
 the end of the seventeenth century. 
 
 A tankard of different variety is shown in Case I, 
 bottom, extreme left. Here the body is carved with a 
 representation of Esther before Ahasuerus, who is seated 
 on a throne embellished with lions sejant, the steps having 
 lions couchant at the sides, surrounded by numerous fig¬ 
 ures, camels, etc. It was mounted at Danzig in the 
 seventeenth century. 
 
 98 
 
GALLERY SIXTEEN 
 A third variety in the subject of the carving is fur¬ 
 nished by the tankard to be found in the same case, 
 bottom, extreme right, which is covered with boys play¬ 
 ing instruments, drinking, etc., mounted about 1720, by 
 Philip Stenglen, of Augsburg. The tankard, in the same 
 case, second shelf, right center, is a fourth variety, some¬ 
 what earlier in date than the last; and this is carved in 
 high relief with female figures in various attitudes. 
 
 One of the two ivory cups (same case, second shelf, 
 center) is carved with four Bacchanalian figures, richly 
 mounted in silver-gilt, by Albrecht Biller, of Augsburg, at 
 the end of the seventeenth century. The other cup 
 (same case, second shelf, extreme left) is carved with a 
 boar-hunt, the silver-gilt mounts being new. 
 
 In no instance, unfortunately, can the name of the 
 artist who carved these tankards and cups be identified. 
 
 The famous GOLDS MITHS’GUILDS of Augs¬ 
 burg and Nuremberg are represented in this collection by 
 twenty-one and thirteen specimens of plate respectively. 
 German silversmiths, whose place of abode cannot be de¬ 
 termined, have produced twenty-one pieces. Among the 
 lesser German guilds whose artificers find a place here are 
 Breslau, represented by the Bellekin Nautilus, the six¬ 
 teenth-century Turbinated Shell Cup, and the immense 
 cup in the form of a great tun; Danzig, by the tankard 
 with the victory of Alexander the Great, and by a 
 carved ivory tankard; Freiburg, in Saxony, by the 
 
 99 
 
THE MORGAN COLLECTION 
 parcel-gilt cup of the Miners’ Guild, wrought by Andreas 
 Muller; and Hamburg, by the two massive gilt dishes. 
 The collection includes a specimen of Austrian silver¬ 
 smiths’ work in the turbinated shell cup: and of Hun¬ 
 garian, in a tankard; that part of Hungary known as 
 Transylvania is perhaps represented by the crystal goblet 
 and a fine Nautilus cup. Switzerland provides the largest 
 seated lion from the town of Rappersweil; Holland, the 
 prancing horse made at Amsterdam, and the wind-mill 
 cup; and Spain, the fine large dish with beautiful enamels. 
 
 The five Flemish TAPESTR 1 ES were made some¬ 
 time after 1520, in Brussels; the scenes are from the story 
 of Noah. These tapestries, as the majority of the Mor¬ 
 gan tapestries, came from Knole, in the County of Kent, 
 England. 
 
 The two PA I NT I NGS on the south wall, as well as 
 the one on the west wall, came from Mr. Morgan’s Lon¬ 
 don house. The one on the right as you enter from 
 Gallery 15 is the portrait of Anne of Austria, painted by 
 Peter Paul Rubens (1577-1640). Anne, the daughter of 
 Philip 111 of Spain, was born in 1601. She married 
 Louis XIII of France in 1615. At her husband’s death 
 in 1643, she was proclaimed Regent during the minority 
 of her son, Louis XIV. The picture belonged to the Dukes 
 of Marlborough at Blenheim, and is of the painter’s 
 early period. 
 
 The painting on the left as you enter from Gallery 15 
 
 100 
 
G'ALLERY SIXTEEN 
 is the portrait of Infanta Maria Theresa, by Velasquez 
 (1599-1660). Maria Theresa was the daughter of Philip 
 IV and Isabel de Bourbon. She was born in 1638, mar¬ 
 ried to Louis XIV in 1660, and died in 1683. It was 
 while attending Philip at the conference at I run in 1660, 
 which led to the marriage that Velasquez was taken with 
 the illness from the effects of which he died shortly after. 
 
 The portrait was painted during the last decade of his 
 life, early in the fifties, judging from the apparent age 
 of the sitter, which seems scarcely ten years. 
 
 The portrait on the west wall is that of a child, by an 
 unknown artist of the Spanish school. There is a date 
 in the floor, 164-, and consequently it has been assigned 
 to the seventeenth century. 
 
 On the north wall hangs the portrait of the late J. 
 
 Pierpont Morgan, by Carlos Baca-Flor, a contemporary 
 - South American artist who studied in Paris. This por¬ 
 trait of Mr. Morgan was painted during the winter of the 
 year 1910. 
 
 The bronze Triton and Nereid is the work of Adrian 
 De Vries, the leading Flemish bronze maker of the seven¬ 
 teenth century. He was a pupil of Giovanni da Bologna, 
 and though more pictorial than the Italian, still exhibits 
 a great deal of Italian feeling in this group. 
 
 Case L contains a rather interesting display of clocks, 
 for the most part French, of the eighteenth century, 
 
 Case K contains some rare and precious work in gold, Case K, L 
 
 10 ! 
 
THE MORGAN COLLECTION 
 enamel, crystal, and agate. A backgammon board, be¬ 
 lieved to have belonged to Mary, Queen of Scots, when 
 Queen of Francis II of France, is also in Case K. 
 
 Case B The porcelain in Case B is very rare, Chinese of the 
 Ming period set in sixteenth-century European mounts. 
 
 102 
 
GALLERY SEVENTEEN 
 

 
 
 GALLERY SEVENTEEN 
 THE EIGHTEENTH CENTURY 
 
GALLERY SEVENTEEN 
 THE EIGHTEENTH 
 CENTURY 
 
 ITH a few exceptions all the objects in the Morgan 
 Collection not already discussed are of European origin 
 and were made during the eighteenth century. The 
 exceptions are the older miniatures and watches in the two 
 special collections elsewhere described, the Gothic and 
 seventeenth-century tapestries hanging in the corridors, 
 and a few specimens of Chinese porcelain contemporary 
 with the French furniture in Galleries 17 and 18, and of a 
 type much appreciated in Europe at the time of its man¬ 
 ufacture. Although in this portion of the exhibition it 
 has not been possible to follow a precise chronological 
 arrangement, the objects of earlier eighteenth-century 
 workmanship are largely confined to Gallery 17. This 
 room has been paneled in green, in a manner suggesting 
 one of the lofty halls found in English houses of about 
 1730, and the BRITISH PAINTINGS of slightly 
 later date which fill the walls thus hang against a back¬ 
 ground reminiscent of that for which some of the pictures 
 were doubtless originally intended. Beginning at the 
 
 103 
 
THE MORGAN COLLECTION 
 right of the door which opens into this room from Gallery 
 16, and proceeding toward the left, the paintings hang in 
 the following order: 
 
 1 The Depositing of Giovanni Bellini’s Three Pictures 
 in the Church of the Redentore, Venice, by Turner. The 
 subject is presumably imaginative, as no such occurrence 
 is mentioned by Vasari. The three pictures portrayed 
 are still in the Sacristy of the Chiesa del Redentore at 
 Venice, but their attribution to Bellini has been severally 
 questioned. Turner exhibited this painting in the Royal 
 Academy in 1841. 
 
 The Duchess of Devonshire, by Gainsborough. The 
 subject of the picture is Georgiana, the wife of William, 
 fifth Duke of Devonshire, and the eldest child of John, 
 first Earl Spencer. She was born in 1757 and died in 
 1806. The picture was painted about 1787. Its early 
 history is uncertain. After having been supposedly lost, 
 it was discovered by a picture dealer in 1841. Originally 
 a full-length, it had been cut down by its owner to fit a 
 space over a mantelpiece. The story of the theft of the 
 picture and its recovery is too well known to repeat. 
 
 Miss Farren (Countess of Derby), by Lawrence. Eliza¬ 
 beth Farren, a popular actress, was born about 1759. 
 She retired from the stage in 1797, when she married Ed¬ 
 ward, twelfth Earl of Derby. Lawrence made the por¬ 
 trait in 1790, when he was twenty-one years old, and 
 
 1 Reprinted from the Bulletin for January, 1913. 
 
 104 
 
GALLERY SEVENTEEN 
 received ioo guineas for it. The picture was exhibited 
 in the Royal Academy in the same year, No. 171, as Por¬ 
 trait of an Actress. It was the artist’s first success, and 
 remains one of his most famous works. A stipple en¬ 
 graving of the picture sold in May, 1911, for 500 pounds. 
 
 The Godsal Children, called The Setting Sun, by 
 Hoppner. The subjects were the three children of Mr. 
 and Mrs. Godsal of Iscoyd Park, near Whitechurch, 
 Flintshire. The work was exhibited at the Royal Acad¬ 
 emy in 1789 as Portraits of a Young Lady and Two 
 Children. A first state of a mezzotint engraved by 
 Young in 1790 sold at Christie’s in 1901 for 220 guineas, 
 probably three times what Hoppner received for the 
 original painting. 
 
 Mrs. Scott Jackson (Lady Broughton), by Romney. 
 The sitter was Mary Keating, who married Thomas Scott 
 • Jackson. Three years after his death, which occurred in 
 1791, she became the wife of Rev. Sir Thomas Broughton, 
 Bart. Romney’s diary mentions sittings for this pic¬ 
 ture in 1784, and at the end of his ledger is this entry: 
 “Lady Broughton, W. L. [whole length] cleaned and var¬ 
 nished and sent to Oulton Park.” Lady Broughton’s 
 daughter by her first marriage and sole heiress, Maria, 
 was married to Sir J. G. Egerton of Oulton Park, and from 
 her descendants the picture was acquired. 
 
 Mrs. Tennant, by Gainsborough. Mary, the daugh¬ 
 ter of Rev. John Wylde, was the wife of William Tennant. 
 
 105 
 
THE MORGAN COLLECTION 
 She died in 1798. Her portrait was painted by Gains¬ 
 borough about 1786. Mr. Morgan purchased the picture 
 from Major C. R. Tennant, a descendant of the sitter. 
 
 Lady Betty Delme and Her Children, by Reynolds. 
 Lady Delme before her marriage was Lady Elizabeth 
 Howard, daughter of Henry, fourth Earl of Carlisle. She 
 was born in 1747 and married Peter Delme in 1769. The 
 children are John and Emelius Henry, born in 1772 and 
 1774. The work was painted in 1777 and remained at 
 Cams near Fareham, until sold in 1894 at Christie’s, by 
 order of Henry Delme. 
 
 Lady Gideon, by Gainsborough. She was Mary Mor¬ 
 row, who was born in 1743 and married Sir Sampson 
 Gideon in 1766, about which time this picture was painted. 
 
 Miss Ross (Mrs. Bell), by Raeburn. The sitter was 
 Isabella Ross, who afterwards married George Bell, M.D. 
 The portrait was painted in 1801 or 1802. 
 
 A Scene on the River Stour, by Constable. The pic¬ 
 ture is dated 1819 and was exhibited at the Royal Academy 
 Exhibition of that year. A small finished study for it is 
 the property of the Boston Museum. 
 
 Lady Maitland, by Raeburn. Lady Maitland was 
 Catharine Connor. She was married in 1804 to Rear- 
 Admiral Sir Frederick Lewis Maitland, who was captain 
 of the Dellerophon when Napoleon surrendered on board 
 that ship in 1815. The picture was painted about 1817. 
 
 Other paintings of this period are hung in the Miniature 
 
 106 
 
SECRETAIRE OF MARIE ANTOINETTE 
 FRENCH, XVIII CENTURY 
 
TALL CLOCK, BY BERTHOUD 
 FRENCH, XV11I CENTURY 
 
GALLERY SEVENTEEN 
 Room and in Gallery 18, and are described in order of 
 their arrangement. 
 
 Aside from the pictures, all the other objects exhibited in 
 Gallery 17 are French and display the perfection of finish 
 attained by workmen of that nationality in the eighteenth 
 century, a perfection sought for in all phases of the life 
 of the time and often achieved with brilliant success. 
 
 The FURNITURE in the Morgan Collection is par¬ 
 ticularly noteworthy because of the significant part played 
 by the cabinet-makers in the history of the period, and 
 the remarkable technical skill exhibited in these master¬ 
 pieces of joinery. The individual productions of the great 
 workmen of the time were rightly looked upon as works 
 of creative art of a high order, and the makers enjoyed 
 the patronage and protection of the King and the nobility, 
 who vied with one another in acquiring examples of con¬ 
 temporary cabinet-making. The ebenistes as the cab¬ 
 inet-makers were called, worked in conjunction with the 
 metal chasers, orciSELEURS, who made mounts in or¬ 
 molu, that is, chiseled and gilded bronze, with which the 
 inlaid furniture was further decorated. The ebenistes 
 and to a less extent the ciseleurs signed their works as 
 a painter signs a picture, and many of the pieces in the 
 Morgan Collection bear the names of celebrated artisans 
 of the time, including Riesener, Boudin, Dupre, Carlin, 
 Burb, Joseph, Montigny, and Pasquier. The most nota¬ 
 ble, although the latest, examples of furniture in this room 
 
 107 
 
THE MORGAN COLLECTION 
 and in the collection are the marqueterie secre¬ 
 taire and the commode, placed in the center of the 
 north and south walls respectively. These two pieces, to¬ 
 gether with a writing-table now in the possession of Baron 
 Rothschild in England, formed a set once the property of 
 the Duke of Hamilton, but originally constructed for the 
 private apartments of Marie Antoinette at St. Cloud. 
 They were made in 1791 by the most famous artist in 
 wood of his day, J. H. Riesener, who signed and dated 
 both secretaire and commode. The beautiful mounts in 
 ormolu, with which the pieces are further decorated, have 
 long been attributed to Gouthiere, but may possibly be 
 the work of Thomire, who share between them the honor 
 of being the best-known ciseleurs of the late eighteenth 
 century. These two pieces are among the finest and 
 most celebrated specimens of French furniture ever pro¬ 
 duced and excel in quality any pieces of Louis Seize work 
 remaining in France. The tall clock on the south¬ 
 east wall deserve attention as being a remarkable piece 
 of mechanism in a fine and characteristic case. The works 
 are by Ferdinand Berthoud (1727-1807), a famous in¬ 
 ventor and maker of clocks and astronomical instruments, 
 and the author of various works on horology. The case 
 is ornamented with bronzes executed, after designs of the 
 sculptor Clodion, by Philippe Caffieri, of a distinguished 
 family of metal workers. Around the wall is a set of 
 two sofas and twelve chairs in the style of Louis 
 
 108 
 
MARQUETRY COMMODE 
 FRENCH, XVII] CENTURY 
 
 SECRETAIRE, ONE OF A PAIR, ORNAMENTED WITH SEVRES PLAQUES 
 FRENCH, XVIII CENTURY 
 

 
 
 
GALLERY SEVENTEEN 
 XV, which came from the collection of the Kings of Den¬ 
 mark, to whom they are said to have been presented by 
 the French monarch. This furniture is upholstered in 
 characteristic tapestries made at the royal manufactory 
 of Beauvais in the middle of the eighteenth century, the 
 set being an admirable example of the decorative furniture 
 coverings which formed an important part of the product 
 of that factory. The carpet in the center of the room 
 was made at the Savonnerie, another state-subsidized 
 institution which produced velvet-piled carpets largely 
 for the court. Also in the center are three Chinese 
 vases set in French mounts of ormolu, standing on a 
 table which dates from the earlier years of the eighteenth 
 century. 
 
 Placed on tables and commodes in this gallery and the 
 next are distinguished examples of the graceful and care¬ 
 fully finished SCULPTURE produced by the French 
 artists during the eighteenth century. In Gallery 17 the 
 most noteworthy are the two small painted plaster 
 busts standing on the secretaire of Marie Antoinette, al¬ 
 ready described. These are byj ean-Antoine Houdon 
 (1741-1828), and represent the sculptor’s two children. 
 One bust bears the seal placed there by its author when 
 he exhibited the work in the Academy during his life¬ 
 time. The bronze Diana standing near by is also 
 attributed to him. Houdon, one of the greatest portrait- 
 sculptors of any period, was called by Congress to the 
 
 109 
 
THE MORGAN COLLECTION 
 United States to execute the statue of General Washington, 
 now in the State Capitol of Virginia. Replicas of this 
 work are familiar, as are those of the bust of Benjamin 
 Lranklin, which the sculptor carried out in Paris during 
 the philosopher's embassy to Prance. 
 
 110 
 

 
GALLERY EIGHTEEN 
 THE EIGHTEENTH 
 CENTURY 
 
 1 RE walls of Gallery 18 are hung with TAPEST¬ 
 RIES from the two great looms of the eighteenth cen¬ 
 tury. Those with a deep rose-colored background on the 
 north and west walls were made at the Royal Manu¬ 
 factory of the Gobelins, at the end of the reign 
 of Louis XV. This institution, established by Colbert early 
 in the preceding reign, as a manufactory of furniture, hang¬ 
 ings, and decoration for the royal palaces, has always held a 
 pre-eminent place in the field of the Decorative Arts of 
 the Rococo period, and is still maintained by the French 
 government on practically its ancient foundation. Tech¬ 
 nically Gobelin tapestries are considered unique, and at no 
 period was greater skill of execution shown in the factory 
 than when these five hangings were made, although the 
 attempt to imitate in weaving a finished painting can 
 scarcely be considered a logical form of decoration. These 
 five tapestries are from the famous series illustrating the 
 History of Don Quixote, designed originally in 1714 
 by Charles Coypel, the painter, and frequently re- 
 
 111 
 
THE MORGAN COLLECTION 
 peated with many variations throughout the next seventy 
 years. The five pieces in the Morgan Collection represent 
 the combined work of Belin de Fontenay and Audran the 
 Younger in the fifth and most successful phase of the 
 design. The rose-colored ground was a new discovery 
 never before used at the Gobelins factory and was con¬ 
 sidered a noteworthy achievement. One of these five 
 tapestries, that showing Don Quixote led by Folly, belongs 
 to a set made in the atelier of Nielson, the head of the 
 Gobelins factory, in 1783. It remained in the factory 
 until 1810, when it was presented as an official gift to the 
 Prince of Hesse Darmstadt. The other four Don Quixote 
 tapestries were made in two other Gobelins ateliers, those 
 of Cozette and Audran. These pieces were completed in 
 1773, and were the next year presented by the new king, 
 Louis XVI, to the aged Cardinal de la Roche-Aymon, 
 Archbishop of Rheims and Grand Almoner of France 
 who had confirmed, married, and crowned the young 
 monarch. These five hangings were brought together 
 some time in the nineteenth century and passed into the 
 possession of the King of Spain, from whose collection they 
 came into Mr. Morgan’s hands. The two tapestries on 
 the south wall of this gallery, together with the third 
 hanging in the Miniature Room form, a unique set woven 
 at the Beauvais manufactory in 1733. This estab¬ 
 lishment was scarcely less famous than that of the Gobelins, 
 although the former specialized in works intended for use 
 
 112 
 
GOBELINS TAPESTRY, ONE OF A SERIES REPRESENTING SCENES FROM 
 DON QUIXOTE 
 FRENCH, XVIII CENTURY 
 
 BEAUVAIS TAPESTRY, DESIGNED BY OUDRY 
 FRENCH, XVIII CENTURY 
 
PAINTED FOLDING SCREEN, IN THE STYLE OF LANCRET 
 FRENCH, XVIII CENTURY 
 
 CLOCK WITH ORMOLU MOUNTS, SEVRES 
 FRENCH, XVIII CENTURY 
 
GALLERY EIGHTEEN 
 as well as decoration, such as the chair coverings, and fire 
 screens already noted. The subjects illustrated in this 
 set of hangings are scenes from Moliere’s comedies and 
 the cartoons for the series were drawn by J . B. Oudry in 
 1732. His signature can be seen on each tapestry. 
 Although other sets of the Moliere subjects were made at 
 Beauvais, the borders and coloring used in these three 
 specimens were never repeated, so far as is known. This 
 is the more difficult to understand when one considers 
 the charm of design and color, which makes these hangings 
 almost perfect examples of the highest type of tapestry 
 of the Rococo period. 
 
 The screen standing in the center of the north wall 
 deserves special notice among the furniture in this room, 
 having been painted by Lancret, and illustrating a most 
 accomplished phase of French design. The ormolu 
 mounts of the large gray marble console table 
 placed against the east wall are attributed to 
 Gouthiere, as are the two candelabra in lapis lazuli 
 and gilded bronze standing on commodes at the west end 
 of the room. On the south wall is a secretaire 
 curiously ornamented with miniatures behind glass. 
 This piece, like Marie Antoinette’s secretaire and com¬ 
 mode, came from the collection of the Duke of Hamilton, 
 at Hamilton Palace, and has always been said to have been 
 made for Mme. de Pompadour. The various small 
 pieces of furniture in this room, inset with decorative 
 
 113 
 
THE MORGAN COLLECTION 
 plaques of Sevres porcelain, illustrate one of the most 
 accomplished but least happy phases of French cabinet¬ 
 making. Among the sculptures, the life-size bust of 
 Mme. Roland in the center of the west wall is the 
 work of Augustin Pajou (1730-1809), one of the 
 deftest sculptors of an age rich in great technicians. 
 Standing on furniture against the east wall are two 
 small groups, the one in marble being by Falconet 
 in a monumental moment, the other, in terracotta, a 
 beautiful work of Claude Michel, called Clodion 
 (1738-1814), examples of whose skill are perhaps more 
 sought after than those of any other French sculptor. In 
 this group of Cupid and Psyche, the visitor should note 
 the remarkably lifelike quality of the terracotta and the 
 extraordinary reality of the bodily surfaces, together with 
 the lightness of touch and the engaging fancy of con¬ 
 ception. Four smaller sculptures by the same artist, 
 no less fine in quality, are exhibited in other parts of the 
 room. In the center of the floor are five cases 
 containing small objects of especial value, the magnificent 
 toys in which this most sophisticated of periods delighted. 
 
 Case C A gold clock in the form of a vase (Case C), enameled with 
 medallions after Boucher and set with many jewels, was 
 made by Coteau for Marie Antoinette. A miniature gold 
 cabinet with eight drawers and surmounted by a tiny clock, 
 although without a history, is no less exquisite as a piece 
 of workmanship. The small silver-mounted porcelain 
 
 114 
 
TERRACOTTA GROUP, CUPID AND PSYCHE, BY CLODION 
 FRENCH, XVIII CENTURY 
 
SOFA COVERED WITH BEAUVAIS TAPESTRY, STYLE OF LOUIS XVI 
 FRENCH, XVIII CENTURY 
 
 ORMOLU TABLE, LAPIS LAZULI TOP 
 FRENCH, XVIII CENTURY 
 
GALLERY EIGHTEEN 
 cup of the variety usually called Lowestoft, but really 
 made in China for the European market, is reputed to 
 have been used by Prince Charles Edward, “the Young 
 Chevalier”, when he passed a night at Kingsburgh on the 
 Isle of Skye in 1746. A plain Ertglish ring standing near 
 the cup, with a model of a sailing boat, is engraved, “ Lady 
 Hamilton to Horatio Nelson, 1795,” an inscription which 
 makes any further explanation unnecessary. 
 
 The two Cases A and B contain 158 S NUFF-BOXES 
 of French, English, German, and Russian workmanship 
 made at various times throughout the eighteenth century. 
 Many of these boxes are superbly jeweled and are further 
 ornamented with miniatures of high merit by Cosway, 
 Isabey, and others, vying in splendor of material and 
 workmanship with the carnets de bal at the other end of the 
 room. Personages famous in history were the original 
 owners of many of the pieces; among them, Napoleon I, 
 Catharine II, Maria Theresa, George IV, Marechal 
 Lefebvre, and the King of Sardinia. One crystal box 
 is lined with Marie Antoinette’s hair and was a gift from 
 the queen to the Comte d’Artois. Many of these elegant 
 bijoux are signed by jewelers famous in their time. 
 
 In another case (D) in the center of the room is the 
 Morgan collection of carnets de bal, the extravagantly 
 splendid DANCE PROGRAMMES in vogue just 
 before the French Revolution. These tiny objects, 
 which contain always a little ivory tablet, a pencil, and 
 
 115 
 
 Cases A, B 
 
 Case D 
 
Case E 
 
 THE MORGAN COLLECTION 
 sometimes other minute implements, are among the most 
 exquisite vanities of the time, their manufacture having 
 involved an extraordinary skill, together with the use of 
 the most expensive materials This collection of these 
 dance programmes is unique. 
 
 In Case E is an important assemblage of the small 
 ENAMELS ON COPPER made after 1750 at York 
 House, Battersea. The pieces include snuff-boxes, patch- 
 boxes, etuis, and jeweled caskets made chiefly in imitation 
 of Continental models, but possessing in their bright and 
 varied colors, in their bold and sometimes irresponsible 
 brush work, a characteristic English quality. 
 
 The marbles in the two gilded cases standing on the 
 commode at either end of the north wall are the work 
 of Etienne-Maurice Falconet (1716-1791), 
 who is noted for the exquisite suavity of his small 
 sculptures which he intended largely as mantel orna¬ 
 ments. Nine of these graceful marbles of Falconet’s 
 are placed throughout this portion of the exhibition. 
 
 116 
 
GALLERY NINETEEN 
 
GALLERY NINETEEN 
 THE FRAGONARD ROOM 
 
GALLERY NINETEEN 
 THE FRAGONARD 
 ROOM 
 
 INfoWHERE is Fragonard seen to better advantage,” 
 writes Lady Dilke of this remarkable series of decorations 
 which she saw when they were in the house of M. Mal- 
 vilain at Grasse in Provence, the home of the painter 
 during his last years. The panels had been hung against 
 the walls of the Salon with no effort towards decorative 
 unity. When they passed into the possession of Mr. 
 Morgan, he caused a room to be designed in which the 
 paintings could be given a proper setting. The room was 
 set up in Mr. Morgan’s house in London. When the 
 paintings were sent to America, the woodwork and plaster 
 cornice of this room were placed at the Museum’s dis¬ 
 posal, so that it has been possible practically to reproduce 
 the effect which the pictures had in Prince’s Gate. 
 
 The Romance of Love and Youth is the title which has 
 been given the entire set, though without the authority of 
 Fragonard, who, as far as is known, never named them. 
 The pictures were begun about 1772 for the Pavilion of 
 Louveciennes (Luciennes), which Louis XV was building 
 
 117 
 
THE MORGAN COLLECTION 
 for Mme. Du Barry from designs by Ledoux. For some 
 unknown reason they were never put in place, but re¬ 
 mained on the artist’s hands. According to gossip Mme. 
 Du Barry declined to receive them, being displeased with 
 the subject of the picture, in which the heroine is shown 
 mourning her abandonment by a faithless lover. She 
 could not reasonably be expected to care to have such a 
 possibility continually before her eyes or those of her 
 visitors. The subject was, at least, undiplomatic. But 
 whatever the cause, the pictures were in Fragonard’s 
 studio in Paris for almost twenty years. During the Ter¬ 
 ror in 1793 he had them removed to Grasse, his native 
 town, and placed them in the house of M. Maubert, with 
 whom he lived. Here they remained practically unknown 
 until 1898, when they were sold at auction by M. Mal- 
 vilain, the grandson of M. Maubert. Messrs. Agnew 
 were their purchasers, and in the autumn of the same 
 year they were exhibited in London, when Mr. Morgan 
 bought them. 
 
 The pictures are as follows: 
 
 1 The Pursuit (La Poursuite). The heroine with out¬ 
 stretched arms runs away from her admirer, who offers her 
 a rose. Her companions try to hold her. 
 
 2 The Meeting (Le Rendez-vous). The heroine sits on the 
 grass by a statue. Her lover climbs the wall by means of a 
 ladder. She looks over her shoulder as though fearing that 
 she might be seen. Fragonard has given the pair the fea¬ 
 tures of Mme. Du Barry and her Royal gallant, though much 
 rejuvenated in both cases. 
 
 118 
 
GALLERY NINETEEN 
 
 3 Memories (Les Souvenirs). The heroine sits on a stone 
 pedestal in a park, looking over old letters. Her lover 
 stands by her, his arm around her waist. 
 
 4 The Lover Crowned (L’Amant Couronne). The couple 
 pose for a painter. The lover sits at his mistress’s feet, and 
 she holds over his head a crown of flowers. Portalis says 
 (. Fragonard , 1889). ‘‘This canvas is pictorically the splendid 
 climax of all that has gone before. It shows the official 
 triumph of love following upon the more intimate, the truer 
 triumph that has preceded it. The colours in the paintings 
 which open the series have, for all their exquisiteness, been 
 tempered by a certain moderation. Here they burst forth 
 in full splendour, in full passion, making together a bold and 
 ringing harmony breathing forth a very paean of victory.” 
 
 5 The Abandonment (L’Abandon). This, the final scene of 
 the series, takes place in a garden in autumn. The heroine is 
 seated alone at the foot of a column surmounted by a sun¬ 
 dial fashioned as a Cupid sitting on the world. 
 
 6 Love the Victor (L’Amour Vainquer). (This is the first 
 of the minor designs, meant as subsidiary to the general 
 theme of the main ones.) 
 
 Cupid holding two torches flies above the clouds. In front 
 two winged babies are kissing, and back of him are two 
 others, one playing a cymbal, the other holding wreaths. 
 A fifth in shadow, symbolizing Discord, holds a dagger in one 
 hand and a bridle in the other. 
 
 7 Love the Jester (L’Amour Folie). Cupid flying holds a 
 jester’s bauble. 
 
 8 Love Chasing a Dove (L’Amour Poursuivant une Co- 
 lombe). 
 
 9 Love as a Sentinel (L’Amour en Sentinelle). Cupid 
 stands beside a rose bush, holding an arrow; his quiver is 
 on the ground before him. 
 
 119 
 
THE MORGAN COLLECTION 
 
 io Love the Assassin (L’Amour Assassin). Cupid grasps a 
 dove which he is stabbing with a dagger. 
 
 In addition to these ten panels are four others, of 
 flowers with suggestions of landscape for backgrounds, 
 which complete the unity of the scheme of decoration. 
 
 120 
 
GALLERY TWENTY 
 
STATUETTES, MADAME DE POMPADOUR, AND LOUIS XV, BISCUIT DE SEVRES 
 FRENCH, XVIII CENTURY 
 
 BOWL AND EWER, MENNECY-VILLEROY 
 FRENCH, XVIII CENTURY 
 
 GARNITURE OF THREE FLOWER VASES, SEVRES 
 FRENCH, XVIII CENTURY 
 
GALLERY TWENTY 
 FRENCH 
 PORCELAINS 
 
 .AfTER leaving the Fragonard Room, the visitor 
 enters the long corridor, Gallery 20, all the cases in which 
 are devoted to FRENCH PORCELAINS, with the 
 exception of the two wall cases (A and B) on either side 
 of the door through which the visitor has just passed. 
 These cases contain several small French bronzes, 
 and a number of finer specimens of ormolu, some of 
 which are the work of Gouthiere. The tapestry over 
 the door is Flemish, late sixteenth century, and the large 
 figure pieces on the wall are of similar provenance but 
 fifty or sixty years later. All of these tapestries, together 
 with those in the opposite corridor, came from Knole, an 
 historic English house, belonging to Lord Sackville, in 
 Kent. 
 
 The other cases in this corridor are arranged to show 
 the complete development of the art of porcelain manu¬ 
 facture in France. The making of porcelain in Northern 
 Europe was brought about largely by the desire to pro¬ 
 duce a ware rivaling in quality the Chinese products of 
 
 121 
 
THE MORGAN COLLECTION 
 the seventeenth and eighteenth centuries, which were 
 imported in vast quantities after sea trade with the Far 
 East became an established fact. The faience, which 
 until the end of the seventeenth century had occupied 
 the attention of the French potters, was too heavy in 
 body and dull in glaze to prove a satisfactory substitute 
 for the splendid productions of the Chinese kilns, and the 
 ingenuity of the European potters was long exercised in 
 discovering the secret of the brilliant and flinty paste of 
 the Oriental ware. This quality was produced by the use 
 of a clay known as Kaolin, which was not thought to exist 
 naturally in Europe, and which the potters tried to repro¬ 
 duce synthetically. At first they succeeded only in making 
 a much softer body than that of the Oriental ware, the 
 former being called soft paste in distinction to the hard 
 paste of the latter, but early in the eighteenth century 
 beds of Kaolin were discovered in German}', and the man¬ 
 ufacture was begun there of hard paste Meissen porcelain. 
 The French potters, however, clung for a long period to 
 their creamy soft paste, although they later attained 
 great distinction in the making of true porcelain. In 
 France porcelain manufacture was first attempted at 
 Rouen, then at St. Cloud, and a little later at Mennecy, 
 Chantilly, and one or two other places, all the productions 
 being, of course, soft paste. The earliest specimens of 
 French porcelain in the Morgan Collection are the pieces 
 made at St. Cloud at the end of the seventeenth and 
 
 122 
 
GALLERY TWENTY 
 the beginning of the eighteenth century, which are ex¬ 
 hibited on the top shelf in Case C. The rest of this case 
 is devoted to Ch anti lly, which was manufactured after 
 1725 and imitates closely Chinese models. Cases D and 
 E contain other specimens of soft paste porcelain manu¬ 
 factured at M ennecy-Villeroy between 1734 and 
 1773, at Bourge-la-Reine between 1773 and 1806, 
 and at Crepy-en-Valois between 1762 and 1770. 
 There are in existence only a few specimens from these 
 last two localities, their output being exceedingly small, 
 The factories already noted, however, are chiefly remem¬ 
 bered as pioneers, and the real manufacture of French 
 porcelain began only with the establishment in 1738 of 
 the Royal Manufactory at Vincennes, which produced 
 far more perfect pieces than had previously been pos¬ 
 sible. The Vincennes porcelain in the Morgan Collection 
 is shown in Cases F and G, the pieces most worthy 
 of attention being the three rare figure-groups of white 
 enameled porcelain in Case F. The manufactory at 
 Vincennes continued in operation until 1755, when for 
 reasons of convenience it was moved to a better site at 
 Sevres, where the production of porcelain has continued 
 almost without interruption down to the present day. 
 Beginning with Case H, the remaining specimens of 
 porcelain were made at Sevres and illustrate the culmina¬ 
 tion of ceramic art in France. The perfect potting of 
 these pieces, the rich and extraordinary detail of their 
 
 123 
 
 Case C 
 
 Cases D, E 
 
 Cases F, G 
 
 Case H 
 
THE MORGAN COLLECTION 
 decoration, and the royal restriction on their general 
 circulation—the product of the factory being at the dis¬ 
 posal of the King—gave the ware enormous prestige in 
 the eighteenth century and after. The earlier pieces 
 of Sevres in the Morgan Collection, that is, those in Cases 
 H and I, are of soft paste similar to that of Vincennes, 
 but about 1770 the manufacture of true or hard paste 
 porcelain was introduced at the factory and superseded 
 the soft paste there, as elsewhere on the Continent. Most 
 Cases J to Y of the specimens in Cases J to Y, dating after 1770 
 are of hard paste. The two white statuettes on the top 
 Case H shelf in Case H deserve particular attention, as they 
 are among the notable productions of the Sevres factory. 
 They are made of biscuit, that is, unglazed soft paste, 
 and represent Madame de Pompadour and Louis XV. 
 The figure of the Marquise bears the title “ L’Amitie au 
 Cceur, ” and was probably one of the nineteen figures 
 made in 1755 at that distinguished lady’s order, for gifts 
 to her intimate friends. The statuette of Louis XV was 
 not originally intended as a companion piece, although 
 it is on the same scale as that of his favorite. The 
 figure of the King is the reduction of his statue at Rheims 
 by Pigalle, and was executed a little before 1770 as a part 
 of a huge porcelain table decoration made for the marriage 
 banquet of the Dauphin, later Louis XVI, and Marie 
 Antoinette. Both figures are mounted on decorated 
 bases of fine quality. The rest of the Sevres porcelain 
 
 124 
 
GALLERY TWENTY 
 in this gallery is ornamental or table ware, and shows 
 the various styles of shape and decoration popular until 
 the Empire. 
 
 125 
 
GALLERY TWENTY-ONE 
 THE COLLECTION 
 OF WATCHES 
 
 The COLLECTION OF WATCHES,' 
 both in quality and quantity, is the greatest collection of 
 such material ever gathered together. It is composed 
 for the most part of specimens from two large private 
 collections, that of Carl Marfels, one of the most 
 expert students of horology in Europe, and that of the 
 late F. G. Hilton Price, a most enthusiastic collector. 
 This collection gives the student a complete illustration 
 not only of the gradual and steady progress of horological 
 art, but also of the beauty of some of the finest examples 
 of it in existence. 
 
 The industry of watchmaking was begun shortly 
 after the dawn of the sixteenth century. Peter Henlein 
 (Hele), a locksmith of Nuremburg, invented a clock with 
 a Mainspring, which permitted its use in traveling, and 
 the demand for smaller portable timepieces was soon 
 created. These timepieces were made of iron and steel, 
 
 ■The Numbers on the individual labels refer to the J. Pierpont 
 Morgan Catalogue of Watches. 
 
 127 
 
THE MORGAN COLLECTION 
 due, no doubt, to the fact that they were the works of 
 locksmiths. The watches were inaccurate, owing to the 
 variation of the motive power of the mainspring. This 
 defect was gradually overcome through the invention by 
 Jacob Zech, in 1525, of the Fusee. This equalizing device 
 is in use to the present day and most watches after 1525- 
 1550 are so made. No. 103 belongs to the first period, 
 having been made about 1530 in Nuremburg, and is 
 consequently one of the earliest watches in existence. 
 
 Brass was next substituted for iron and steel, the dials 
 being made of different metals, elaborately decorated by 
 chasing or engraving. 
 
 In the year 1585 watchmaking was introduced into 
 GEN EVA by one Charles Cusin (No. 3) who, though 
 he cannot be asserted to have been actually the first person 
 who made watches in that city, nevertheless was respon¬ 
 sible for the establishment of the industry which now 
 gives employment to so many people and world-wide 
 fame to the city. 
 
 About 1600 occurs the earliest mention of the oval 
 Nuremburg watch known as the Nuremburg Egg, 
 represented bv Nos. 5, 102 and others. 
 
 The WATCH- AND CLOCKMAKERS 
 OF PARIS were granted a charter by King Francis I 
 in the year 1544, and from that time formed a Guild 
 with close and rigid restrictions. The collection, 
 unhappily, does not contain any of the works of the 
 
 128 
 
TABLE WATCH 
 GERMAN, NUREMBERG 
 XVI CENTURY 
 
 THREE-SIDED WATCH 
 FRENCH, LYONS, XVI 
 CENTURY 
 
 WATCH SET UPON A 
 FINGER RING 
 MADE FOR THE DUKE OF 
 MANTUA ABOUT I 560 
 GERMAN, AUGSBURG, XVI 
 CENTURY 
 
 LIMOGES ENAMEL WATCH 
 MADE BY DAVID RAMSAY, 
 
 16 I 0-2 5 
 
 ENGLISH, XVII CENTURY 
 
ENAMELED WATCH 
 
 PORTRAIT OF FREDERICK WILLIAM, ELECTOR OF BRANDENBURG 
 THE WORK OF JEAN PIERRE HUAUD 
 GERMAN, BERLIN, XVII CENTURY 
 
 CIRCULAR ENAMEL WATCH WATCH 
 
 ONE-HALF INCH IN DIAMETER SET IN A LARGE 
 GERMAN, AUGSBURG, XVII METAL CLASP KNIFE 
 CENTURY FRENCH, XVIII 
 
 CENTURY 
 
 GOLD WATCH 
 SET WITH PEARLS 
 PROBABLY SWISS OF THE 
 XIX CENTURY 
 
GALLERY TWENTY-ONE 
 original members of the Paris Guild, as it does of 
 the English Clockmakers’ Company. However, among 
 the French watchmakers of importance and interest 
 are Julien Le Roy, circa 1750 (No. 55), clockmaker to 
 Louis XV; Pierre Le Roy, circa 1780 (No. 56), his son, 
 of great note after him; Judith Lalement, circa 1660 
 (No. 4), one of the rare instances of a woman watchmaker; 
 B. Cuper, circa 1600 (No. 7), a member of the renowned 
 family which introduced watchmaking into Blois; Nicolas 
 Bernard, circa 1580 (No. 23), a famous Parisian maker, 
 and many others. 
 
 Following the lead of their Parisian fellow-craftsmen, 
 the ENGLISH WATCH- AND CLOCK- 
 MAKERS obtained a charter in 1631, from King 
 Charles I, which gave the Clockmakers’ Company compre¬ 
 hensive powers for ruling and protecting the craft. 
 David Ramsay (No. 129) was appointed first Master of 
 the Company and among the Assistants who were mem¬ 
 bers at the time of incorporation were James Vautrolier 
 (No. 132), Samuel Linaker (No. 133), Edward East (Nos. 
 1 34~37), John Midnall (No. 140), and Simon Bartram 
 (No. 141). 
 
 The Balance Spring was first introduced by Dr. 
 Robert Hooke, in 1659, but the next improvement was 
 one more generally appreciable, namely, the addition of 
 the Concentric Minute Hand in 1691. Daniel Quare 
 (Nos. 164-66), clockmaker to King George I, not only 
 
 129 
 
THE MORGAN COLLECTION 
 first used this, but had also, in 1676, invented the re¬ 
 peater action. One other important watchmaker, in the 
 field of invention and improvement, was George Graham, 
 represented in the collection by the dial of watch No. 
 163. He was the inventor of the mercurial pendulum 
 and the “dead beat” escapement, and also improved the 
 horizontal cylinder escapement. 
 
 Other English makers of prominence were Thomas 
 Tompion, 1638-1713, watchmaker to King Charles 11 , 
 called the father of English watchmaking, who was buried 
 in Westminster Abbey (Nos. 155-60); John Ellicott, 
 circa 1760, inventor of the compensation lever pendulum 
 (Nos. 187-88); William Anthony, circa 1571, one of the 
 earliest of British makers (No. 125); Thomas Alcock, 
 circa 1635, one of the petitioners for the incorporation 
 of the Clockmakers’ Company in 1630 (No. 138); Nicolas 
 Vallin, circa 1650, maker of watch No. 143, and many 
 others. 
 
 GERMANY AND AUSTRIA are not as ex¬ 
 tensively represented as either Great Britain or France, 
 but the examples are quite as interesting. David Busch- 
 man, circa 1640, an important maker in Augsburg (No. 
 89); Jan Jansen Bockeltz, circa 1640, an early watch¬ 
 maker of Aix-la-Chapelle (No. 86); Nicolaus Rugendas, 
 circa 1620, first of an illustrious line of Augsburg makers 
 (No. 94); Racine, circa 1686, the single Berlin watchmaker; 
 Johan Bock, circa 1620, a leader in the Frankfort trade, 
 
 130 
 
GOLD REPEATER AND MUSICAL WATCH 
 PRESENTED BY NAPOLEON TO MURAT ON THE 
 FETE DAY AFTER THE BATTLE OF MARENGO IN l800 
 FRENCH, XIX CENTURY 
 

 
 
 
 
GALLERY TWENTY-ONE 
 among others, have all contributed to the collection 
 examples of their craft. 
 
 SWITZERLAND AND ITALY put forward 
 as spokesmen. Diet Meye, circa 1570, of Basle, maker of 
 an interesting watch in the shape of a book (No. 228); 
 Jean Rousseau, circa 1640, of Geneva, of the same family 
 as the philosopher Jean Jacques Rousseau and Jaques 
 Rousseau the landscape painter (No. 230), and J. 
 Tramieri, circa 1600, of Turin (No. 242). 
 
 When it comes to HOLLAN D and F LA N D E R S 
 the number is indeed limited, but from them we select for 
 mention No. 218, made by Jacob Ducimin, circa 1640, of 
 Amsterdam; No. 220, made by P. Landre, circa 1630, of 
 Brussels; and No. 222, made by Johannes Van Ceulen, 
 circa 1680, of The Hague. 
 
 No. 227 resembles two watches in the Kremlin 
 Museum to such an extent that it too may be called 
 RUSSIAN, and assigned to the middle of the sixteenth 
 century. 
 
 To protect the enamel and other decorations, outside 
 cases came into use about 1640. These were made of 
 shagreen, tortoise-shell, snake-skin, etc., a large number 
 of which may be found in the present collection. 
 
 About 1780 the S econ d- H an d was introduced 
 and shortly after Stop-Watches are found. 
 
 In 1704 M. Facie, of Geneva, discovered the art of 
 piercing jewels for the bearings of watch-pivots and other 
 
 >3i 
 
THE MORGAN COLLECTION 
 friction points. The Detached Lever Escape¬ 
 ment was invented by Thomas Mudge in 1765, and is 
 practically the only movement now in use. Watch 
 C a s e s in repousse, both gold and silver, appeared about 
 1650, the inner case of plain metal, the second in re¬ 
 pousse, and often a third of shagreen or some other 
 material to protect the decoration. Sometimes a glass 
 back was installed for the same purpose. 
 
 In the NINETEENTH CENTURY the out¬ 
 side cases and repousse work were abandoned and single 
 cases substituted. These gradually came to be without 
 ornamentation of any sort—some engine-turned and others 
 quite plain. 
 
 Among the Enameled Watches are three of 
 the rare painted Limoges, of which there are said to be 
 only twelve in all the European [museums, and of these, 
 six only in their original condition. The three in this 
 collection are: No. 24, by Suzanne de Court; No. 30, 
 attributed to Martial Reymond the younger; and 
 No. 129 to some other member of the Reymond fa¬ 
 mily. 
 
 Of the later style of enameling (temp. Louis XIII), 
 there are many excellent examples: Nos. 10, 38, 41, all 
 by unknown artists; No. 48, by Robert Vauquer, one of 
 the cleverest craftsmen in the school of Blois; and Nos. 
 77 and 78, by Christophe Morliere, also of Blois, whose 
 work is rare. 
 
 132 
 
GALLERY TWENTY-ONE 
 
 In considering the work of the brothers Huaud, last of 
 a dynasty of Poitiers goldsmiths, it must be stated that 
 the three do not show equal talent. The highest place 
 must be given to the eldest; his taste is more refined; he 
 is nearer than the others to the Golden Age. One may 
 search in vain among the works of Jean Pierre or of Ami 
 for anything to match Pierre IPs best enamels. Even 
 between the productions of the younger brothers there is a 
 distinction to be made. The watches bearing the two 
 names together reach a much higher standard than those 
 signed by Huaud le puisne alone. It is, therefore, to 
 the collaboration of Ami that we must impute the su¬ 
 periority of these pieces of work. 
 
 No. 43 Enamel by Pierre (II) Huaud. 
 
 No. 59 Enamel by Ami Huaud or atelier. 
 
 No. 61 Enamel by Brothers Huaud. 
 
 No. 98 Enamel by Jean Pierre Huaud. 
 
 No. 187 Enamel by one of the brothers at the end of his career. 
 
 No. 219 Enamel by Jean Pierre Huaud. 
 
 No. 235 Enamel by Brothers Huaud. 
 
 Among the watches of historical interest are the 
 following: 
 
 No. 17. Commissioned by the town of Besanjon as a gift to 
 Cardinal Granvelle, circa 1564. 
 
 No. 55 Made for the Regent Philip of Orleans. 
 
 No. 64 Made by D. Vauchez of Paris in 1783, one of the twelve 
 made in commemoration of the ascent of the first 
 Montgolfier balloon (only one other known). 
 
 133 
 
THE MORGAN COLLECTION 
 
 No. 87 Made in 1608 for the Duke of Mantua. 
 
 No. 131 Case of a watch presented by King James I to the first 
 Lord Brooke, circa 1620. 
 
 No. 137 An “ East” watch, one of a type often given as a prize in 
 the tennis tournament by King Charles II. 
 
 No. 143 Presented to a Duke of Bavaria, probably the famous 
 Prince Rupert of the Great Civil War, on the occasion 
 of his creation as a Knight of the Garter in 1663. 
 
 No. 177 Bears the arms of the Payler family. 
 
 No. 179 Bears the arms of Thomas Windsor, Viscount Windsor 
 (Ire., 1699) and Baron Montjoy (Gt. Britain, 1711). 
 
 No. 193 Watch made in England for the Turkish trade. 
 
 No. 207 Belonged at one time to the Emperor of China. 
 
 No. 244 Watch carried by Sir Walter Scott, Bart. 
 
 No. 246 Shows the monogram of Marie Antoniette. 
 
 B. M. D. 
 
 9 
 
 1 34 
 
GALLERY TWENTY-TWO 
 GERMAN 
 PORCELAINS 
 
 1 HE eighteenth century material is continued in the 
 corridor (Gallery 22) to the east of the court-yard, although 
 the walls here are hung with tapestries of much 
 earlier date. Beginning at the south end are three Gothic 
 pieces, of which that in the middle is the earliest, dating 
 from the fifteenth century, the other two being some fifty 
 years later. On the same wall to the north of the central 
 door are two other late Gothic tapestries, with a third of 
 seventeenth-century workmanship. These hangings, like 
 those in the opposite corridor, were included in the lot 
 secured from Knole. 
 
 The cases in this corridor are given over wholly to hard 
 paste porcelain manufactured throughout the eighteenth 
 century at Meissen near Dresden, in Saxony, and known, 
 therefore, either as Dresden, Meissen or Saxe. 
 The secret of true or hard paste porcelain, similar to the 
 Chinese, was discovered, as briefly described above, at 
 Dresden about 1707 by J. F. Bottger, an alchemist in the 
 service of Augustus the Second, the Elector of Saxony. 
 
 135 
 
THE MORGAN COLLECTION 
 After producing various experimental wares, Bottger was 
 established at Meissen in 1710, where he began under royal 
 protection the regular manufacture of hard paste porcelain, 
 decorated in the Chinese manner. Under various directors 
 the factory continued to produce ornamental and useful 
 pieces throughout the century and down to the present 
 time, always with the sanction and support of the govern¬ 
 ment. The Morgan collection contains little besides 
 examples of the decorative figures characteristic of the 
 best period of the works, although the tea set in Cases A 
 and B is a fine and early specimen of the table ware made 
 by the factory. There is, however, no other private 
 collection in existence which approaches this assemblage 
 of ornamental statuettes or figurines, which were the most 
 characteristic Meissen production, and one of the most 
 typical expressions of the age. These tiny, impertinent, 
 and frivolous bits of sculpture represent more completely 
 perhaps than any other phase of art the thought and feeling 
 of a period which made artificiality a supreme virtue, folly 
 a fine art, and the inconsequential the chief end of exis¬ 
 tence. The miniature ladies in flowered crinolines, 
 attended by irresponsible gentlemen, equally gay, are the 
 most expressive pieces in the entire collection, although 
 the fanciful and grotesque subjects in Case E, the pastoral 
 in Case C, the allegorical in Case K, the Italian comedies 
 in Case P, and the Rococo extravagancies in Case O all 
 illustrate phases of the thought and fashion of the day. 
 
 136 
 
STATUETTE AND TWO FLOWER POTS 
 GERMAN, MEISSEN, XVIII CENTURY 
 
 GROUP OF PHEASANTS AND A BASKET OF FLOWERS 
 GERMAN, MEISSEN, XVIII CENTURY 
 
GALLERY TWENTY-TWO 
 The pieces have been arranged in a general chronological 
 order, although such arrangement is only appoxrimate, 
 owing to the fact that older types were frequently repeated 
 at later periods, and a piece originally modeled in the first 
 part of the century may in actual workmanship date from 
 the end of the epoch. 
 
 A few specimens of German porcelain made at other 
 factories than Meissen are placed in the wall case (R) at the 
 right of the door leading into the Miniature Room. Over¬ 
 head hangs a Persian rug of the type called Ispahan, 
 but really manufactured at Herat early in the seventeenth 
 century. 
 
 137 
 
GALLERY TWENTY-THREE 
 
GALLERY TWENTY-THREE 
 THE COLLECTION OF MINIATURES 
 
GALLERY TWENTY-THREE 
 THE COLLECTION OF 
 MINIATURES 
 
 1 HE numbers on the labels refer to the catalogue of 
 the collection of miniatures prepared by Dr. G. C. Wil¬ 
 liamson, and the attributions of subjects and artists fol¬ 
 low this catalogue in all cases. In it the anecdotal and 
 personal side is generously treated, and those who have 
 the desire will find that this information will add to the 
 pleasure and interest of the collection. One of the de¬ 
 lightful aspects of this art is its close connection with 
 history and manners, the intimacy with sitters and owners 
 which these little portraits reveal. This is particularly 
 the case, as in the present instance, when many of the 
 works represent historical characters or were owned by 
 famous people. 
 
 The collection contains, with a few exceptions, examples 
 of all the well-known practitioners of portrait miniature 
 painting from the time when it became an independent 
 expression down to the middle of the last century, and in 
 most cases the artists are represented by works of first 
 importance. Nothing earlier than the sixteenth century 
 
 •39 
 
THE MORGAN COLLECTION 
 is included. The portrait miniatures made before that 
 time occur as incidental parts of pictures whose principal 
 themes were not concerned with portraiture, or else were 
 painted as decorations in illuminated manuscripts. The 
 early stages of the art may be traced in the devotional 
 books of the middle ages. Portrait miniatures begin to 
 appear in the Psalters, the Breviaries, the Books of Hours, 
 as far back as the latter part of the thirteenth century, 
 a manifestation of the naturalism which was the supreme 
 characteristic of the Gothic period, when the 
 portrait, whether of persons or things, was rediscovered by 
 Modern Art. The Credo, executed about 1287, at the 
 direction of the Sire de Joinville, contains a likeness of 
 Saint Louis, and from this time onward, living people serve 
 as models and features were individualized with increasing 
 power and more careful finish up to the summit of the 
 illuminating art with the great Netherland masters and 
 Jean Foucquet. Miniatures in books disappeared with the 
 introduction of printing, but at the same time was invented 
 the miniature in the modern sense—which might be de¬ 
 fined as a portrait on a small scale, combined with some¬ 
 thing of the ornamental quality of a jewel—a quality often 
 enhanced by the goldsmith’s setting of precious metals, 
 enamels, or rare stones. Holbein, the greatest of them 
 all, and the Clouets were the first consistent exponents 
 of the modern miniature, and at this point the Morgan 
 collection begins. 
 
 140 
 
HENRY VIII 
 HOLBEIN, I497-I543 
 
 CHARLES DE COSSE 
 MARECHAL DE BRISSAC 
 JEAN CLOUET 
 EARLY XVI CENTURY 
 
MRS. PEMBERTON 
 HOLBEIN, I497-I543 
 
GALLERY TWENTY-THREE 
 
 The earliest examples are found in the cases and frames 
 at the center of the north wall opposite the columns. 
 Being so close to the common source, the miniatures of 
 the sixteenth century, in either England or France, dis¬ 
 close no great divergence of general intention or tech¬ 
 nical methods. Soon after, however, the national traits 
 begin to make themselves felt, and this fact is emphasized 
 by the arrangement of the collection, the English 
 school proceeding from the center toward the right, and 
 the French toward the left. In the middle of the north 
 wall is a small frame (No. 18) containing twelve mini¬ 
 atures, ten by Holbein or his contemporaries. Here is 
 a famous portrait of Henry VIII (No. 2), supposed to 
 be the miniature painted for the King and given by him 
 to Anne of Cleves in 1539. With it is its ivory case 
 engraved with the Tudor rose. Other works of extreme 
 importance in this frame are No. 4, a portrait of a lady 
 of the Pemberton family, set in a black and white enamel 
 frame with pearl pendants, the portrait of Sir Thomas 
 More, and the interesting though somewhat damaged 
 Thomas Cromwell, all by Holbein. 
 
 At this time the miniatures in water color were painted 
 on vellum, paper, or cardboard. The backs of playing 
 cards were often used, as is seen in many cases where the 
 reverse is visible. 
 
 The miniatures of Nicholas Hilliard are 
 distinguished for the cleanness and precision of the work- 
 
 141 
 
THE MORGAN COLLECTION 
 manship, qualities inherited from Holbein. He is essen¬ 
 tially a craftsman. Excellent examples by him are 
 Frame 18 shown in Case 18. A portrait of Mary Queen of Scots 
 by an unknown painter is in the center of this case. 
 According to the inscription on either side of the head, 
 the work was painted in 1564 in the lady’s twenty- 
 third year. It is in its original frame of carved oak, and 
 has on its back the C. R. of Charles II, showing that it 
 at one time belonged to that monarch. Miniatures by 
 Lavinia Teerlinc are also shown here. She was the 
 daughter of Simon Benninck, the famous illuminator, and 
 for many yearsAvas a popular artist in London. 
 
 Case 16 Isaac Oliver was the next prominent miniaturist. 
 
 His work is marked by stronger characterization than 
 Hilliard’s, from whom, and Zucchero, who visited Lon¬ 
 don in 1574, his work derives. He is splendidly rep¬ 
 resented in this collection, seven or eight of the works 
 by him being of extreme importance. Among these 
 may be mentioned No. 41, Philip II, King of Spain, 
 in a rock crystal locket enameled on the sides; No. 
 43, Queen Anne of Denmark; No. 47, Sir Philip 
 Sidney; No. 48, Lord Brooke; Nos. 49 and 54, portraits 
 of Robert Devereux, Earl of Essex. Of this favorite of 
 Queen Elizabeth’s old age, there are five portraits. In 
 this case also are works by Simon van de Passe, the well- 
 known Dutch engraver, who went to London about 1615. 
 
 Peter Oliver, who was highly praised by Walpole, 
 
 142 
 
VISCOUNT CAMPDEN 
 AFTERWARDS EARL OF GAINSBOROUGH 
 SAMUEL COOPER, 1609-1672 
 
GALLERY TWENTY-THREE 
 was the pupil of his father, Isaac Oliver. He was em¬ 
 ployed by Charles I to make copies in miniature of 
 the pictures in the royal collection at Whitehall. What 
 is evidently one of these (No. 70) is shown in Frame 
 15. It is a reproduction of a Marriage of St. Catharine 
 which has not been traced, but evidently by Titian 
 or one of his school. Examples of his portraiture, in 
 which he displays less vitality than his father, are also 
 shown. An excellent work in this frame is No. 76, by 
 an unknown painter, a German probably. 
 
 In John Hoskins’ work the influence of Van 
 Dyck begins to make itself felt. In the ease of posture 
 and the fuller modelling with which he endowed his 
 portraits are evidences of the polish and suavity which 
 was taking the place of the cruder manners and more 
 austere taste of Tudor and Jacobean times. His name 
 must be placed among the best of his craft, as is 
 proved by No. 83, the Earl of Callender; No. 87, Sir 
 Charles Lucas; No. 90, Portrait of a Gentleman, and 
 others. His work prefigures the greater accomplishment 
 of his famous nephew and pupil, whose art will be next 
 considered. 
 
 Peter Cooper, of whom Walpole said, “If a glass 
 could expand Cooper’s pictures to the size of Van Dyck’s, 
 they would appear to have been painted to that pro¬ 
 portion,” is generally considered to be the greatest English 
 exponent of miniature portrait painting. None of those 
 
 >43 
 
 Frame 15 
 
 Frame 14 
 
 Case 13 
 
Frames 
 
 12-11 
 
 Frames 
 
 10-9 
 
 Frame 8 
 
 THE MORGAN COLLECTION 
 who came after can approach him in virility—it is only 
 with the Olivers and Hoskins that he can be compared, 
 Holbein being not English and as a matter of course in 
 a class quite apart. Cooper’s miniatures are frankly 
 founded on Van Dyck’s paintings, but he has succeeded 
 in conveying to us something of the sternness and de¬ 
 cision of the men of the Commonwealth, and was able 
 also to portray ladies without falling into insipidity—a 
 rare quality indeed among his successors. Among so 
 many excellent specimens of Cooper’s art, it would be 
 difficult to select the most important, so the visitor’s 
 attention is confidently recommended to the consideration 
 of all. 
 
 After Cooper, miniature painting deteriorated rapidly. 
 Greenhill, Flatman, Dixon, Lawrence Crosse, and Bernard 
 Leus are the best known names of the late seventeenth and 
 early eighteenth century. 
 
 These frames (Nos. 10 and 9) contain examples of 
 various artists of lesser reputation of the eighteenth cen¬ 
 tury. Ivory now takes the important place as the 
 material on which miniatures were painted. 
 
 The work of Ozias Humphrey fills this frame, 
 and several examples are also in Frame 5. These are 
 mostly portraits of the Sackville family, some done from 
 life and others from old portraits. Humphrey was aided 
 in his practice by the advice of Reynolds, and his work 
 is more vigorous than that of his fellows. 
 
 144 
 
GALLERY TWENTY-THREE 
 
 The miniaturist who won the greatest popularity in 
 this time and who has kept it to our day is RichardCos- 
 way. This popularity is inevitable, given the qualities 
 of his art, a great facility in the combination of vaguely 
 idealized forms, pleasing colors, sweet expressions, and 
 pretty clothes. It cannot be claimed that his likenesses 
 are ever convincing, but no one knew better than he how 
 to put liquid and sparkling eyes in a soft face surrounded 
 by fluffy hair, or creamy, tinted necks escaping from deli¬ 
 cate tulle and gauzy ruffles, or how to confection back¬ 
 grounds of pale opal or pearly sky. These are the founda¬ 
 tions on which, for one hundred and fifty years, his fame 
 has rested immovable, and so long as the love for these 
 things lasts will Cosway remain one of the great favorites. 
 Of the large number of Cosway’s productions, it is difficult 
 to single out any for particular comment, so even and 
 regular is their accomplishment. Attention might be 
 called to the pencil drawings slightly tinted (Nos. 293, 
 294, 295, 297) in Frame 6, which testify that it was not 
 alone his use of ivory that he depended upon for his 
 delicate shades and velvet finish. Several Cosways are 
 also in Frame 5. 
 
 The followers of Cosway’s style and success were the 
 Plimers and Engleheart, though they never equaled their 
 model’s skill. ANDREW PLIMER is the most 
 famous. His sitters are sweetly similar; they are all 
 sisters, one would say, with a strong family resemblance. 
 
 145 
 
 Frame 6 
 Case 7 
 
 Frame 4 
 Case 3 
 Frame 1 
 
THE MORGAN COLLECTION 
 ENGLEHEART has comparatively more vitality, but 
 characterization was not popular with any of these fashion¬ 
 able artists. Two miniatures by Lawrence and one by 
 Raeburn are in Frame i. 
 
 ******* **** 
 
 The history of miniature painting on the Continent 
 does not present the same continuity of record as in 
 England, where its patronage has persisted pretty regu¬ 
 larly from the time of Henry VIII. The Clouets at about 
 the time of Holbein introduced the art into France, but 
 it was not until the seventeenth century with the enamelers 
 of the region of Louis XIV that France produced anything 
 which could be called a national school. Miniatures 
 were produced in the early time in Germany, the Nether- 
 land countries, Italy, and Spain, but as a rule these were 
 not done by specialists, but by painters who were prac¬ 
 tising other branches. 
 
 Case 19 Early miniatures executed on the Con¬ 
 tinent are shown in Case 20, where they har¬ 
 monize satisfactorily with the Hilliards and the Isaac 
 Olivers, their neighbors. Here are interesting examples 
 by the Clouets and others. One of the gems of the 
 collection is Charles de Cosse, Comte de Brissac 
 (No. 383), ascribed to Jean Clouet, to whom is also 
 attributed the excellent portrait of the Comte de la 
 Rochefoucault (No. 390). Two portraits by Ludger 
 
 146 
 
GALLERY TWENTY-THREE 
 Tom Ring (Nos. 402 and 403), enclosed in an ivory box, 
 are shown in this case. 
 
 Paintings in enamel by the Petitots, father and 
 son, miniaturists of importance in the reign of Louis 
 XIV, are shown in Frames 20 and 21. As was 
 customary, these enamels are frequently copies of 
 other portraits. Jean Petitot’s work is in Frame 21 
 in the center of which is a miniature in water color 
 which is attributed to him. The enamels, however, 
 particularly the smaller ones, are more characteristic, 
 Enamels by the son, Jean Louis Petitot, are shown in 
 Frame 19, which exhibit about the same grade of accom¬ 
 plishment. 
 
 Works by or after Larcilliere, Nattier, 
 and J. B. Van Loo are exhibited in Frame 22. 
 
 The fashion of making presents of decorated snuff boxes 
 and bonbonnteres stimulated the patronage of the minia¬ 
 ture painters, and the number of them in France in 
 the eighteenth century was fully as great as in England. 
 Prettiness and charming frivolity were the qualities 
 most in demand for the decoration of these little gift 
 boxes. Several are shown in Case 23, all decorated 
 with portraits of ladies, one of which, representing Marie 
 Antoinette, is attributed to Hall, the Swedish artist who 
 occupied in France the same position of popularity that 
 was Cosway’s in England. Most of the works by Hall, 
 which the collection contains, are placed in Frame 24. 
 
 Frames 
 19- 21 
 
 Frame 22 
 
 Case 23 
 
 Frame 24 
 
 147 
 
THE MORGAN COLLECTION 
 His contemporary fame was enormous and justly so, 
 as he was far superior to his professional competitors. 
 In his day he was called, like Cooper the Van Dyck of 
 the miniature, and the critics thought his portraits 
 of men even more successful than those of ladies—no 
 mean distinction among the professional miniaturists of 
 the eighteenth century. Most of his sitters were ladies, 
 however, and the portraits here exhibited of Mme. Favart 
 (No. 497), A Lady (No. 498), Mme. Elizabeth (No. 499), 
 and several others testify to the extent of his talent. 
 
 Frame 25 A successful male portrait is in Frame 25, Rabbi Ben 
 Israel (No. 512). 
 
 An outcome of the demand for decorated snuff boxes 
 was the form of miniature painting which took landscapes 
 or festivals crowded with tiny figures for subjects. The 
 van Blarenberghe family of Franco-Flemish origin were 
 the chief exponents of this branch. Four examples of 
 these microscopic pictures, representing park scenes, are 
 in Frame 25. Two other pictures by these artists are 
 shown elsewhere, of which the Village Festival, No. 517 in 
 Frame 27, is the most interesting on account of its subject. 
 
 Fragonard’s miniatures are the most distin¬ 
 guished of the eighteenth century. He was unhampered 
 by the petty traditions which seemed inseparable from 
 the art in that time, and painted his little portraits 
 in the same manner as he did the large ones. His 
 miniatures are very rare, but several examples are 
 
 148 
 
GALLERY TWENTY-THREE 
 shown in Case 29, and these display the piquancy and 
 spontaneity of his style. The Young Man (No. 542), 
 A Boy (No. 538), A Young Girl (No. 540), A Young Girl 
 (No. 547), might be suggested as worthy of particular 
 attention. 
 
 Examples by Dumont, who is regarded as one of 
 the important miniaturists, are in Frame 36. In his 
 work, that of his pupil Isabey, and in that of Augustin, 
 the influence of David is manifest. They belong to the 
 Revolution and the Empire, and the classicism that these 
 times adopted in reaction against the frivolity of the 
 Ancien Regime is apparent in their productions. Isabey 
 lived until 1855, and during his long career he painted 
 many celebrated people, as will be shown by the names 
 on the labels of these examples. Paper was for him a 
 more sympathetic medium than ivory, and though his 
 finish is not broad, his work is never petty in concep¬ 
 tion. Some of the excellence of David as a portraitist 
 is retained in the output of these three artists. 
 
 One of the distinctions of the Morgan collection is 
 its representation of J. B. Augustin, by whom it 
 contains 75 examples, including paintings, drawings and 
 sketches; so that the progress of his work may be traced 
 from the first rough sketches through the elaborate draw¬ 
 ing, the start of painting, to the completed portrait. 
 These drawings elucidate his methods, as volumes of ex¬ 
 planation would fail to do. Such an important showing 
 
 149 
 
 Case 29 
 
 Frame 36 
 
 Case 34 
 
 Cases 
 38, 39, 40 
 
THE MORGAN COLLECTION 
 of one of the greatest exponents of the latter phase of 
 the art, who practised according to its inherited con¬ 
 ventions, should prove of especial value to those artists 
 of to-day who are striving so earnestly to win back for 
 their craft the consideration with which it was regarded 
 during more than two centuries of its history. 
 
 Six pictures of the eighteenth century are hanging in 
 this room. They are as follows: 
 
 Mademoiselle Helvetius, later Comtesse de 
 Mun, by F. H. Drouais. She was Elizabeth Char¬ 
 lotte, daughter of Claude Adrian Helvetius. The picture 
 was acquired from the Marquis de Mun, the great-grand¬ 
 son of the sitter. 
 
 A Lady Ironing, by Henry and George 
 Morland. In the catalogue of the Morland Gallery, 
 which was sold by its owner, Charles Chatfield, in 1807. 
 this picture is entered as follows: “Woman Ironing. 
 The admirers of (George) Morland will feel a particular 
 interest in this portrait commenced by his father and 
 finished by himself.” 
 
 Duchess of Gloucester, by Reynolds. 
 Mary Walpole, Countess of Waldegrave, afterwards 
 Duchess of Gloucester, was born in 1736. This portrait 
 was painted about 1764, after the death of Earl Walde¬ 
 grave, and Walpole comments on “the picture of the fair 
 widow leaning her head on her hand and looking upward 
 as if for consolation and strength.” 
 
 150 
 
GALLERY TWENTY-THREE 
 
 Madame de Pompadour, by Carle Van Loo, 
 
 Jeanne Antoinette Poisson was born in Paris in 1721, and 
 
 married to C. G. Borromee le Normant in 1741. In 1745 
 
 she was installed at Versailles as the mistress of Louis XV 
 
 with the title of Marquise de Pompadour. The portrait 
 
 was painted in 1750, and belonged to Abel Francois 
 
 Poisson, Marquis de Marigny, the brother of the sitter, 
 * 
 
 and was sold at auction in 1782 for 144 livres. The 
 Marquise is represented in a pretended rustic costume, 
 and holding a basket of flowers. The engraving by 
 Anselin after this picture was called La Belle Jardiniere. 
 The portrait shows a woman past her youth, and not¬ 
 withstanding the painter’s evident flattery, the face is that 
 of one who tries to hide the effects of age. 
 
 La Devideuse, by J. B. Greuze. This picture 
 was exhibited at the Salon of 1759 under the caption: 
 La Devideuse appartenant k M. le Marquis de Bandol. 
 At one time it formed part of the noted collection of 
 Monsieur La Live de Jully. 
 
 Madame de Mondonville, by Maurice 
 Quentin de la Tour. Madame de Mondonville 
 was born in 1708 and married Jean Joseph Cassanea de 
 Mondonville, the superintendent of music at the chapel 
 of Versailles. In the portrait she leans on a clavichord, 
 and the book of music back of her is inscribed: Pieces 
 de Clavecin de Madame de Mondonville. The picture 
 comes from the collection of M. Eudoxe Marcille, a 
 
 151 
 
THE MORGAN COLLECTION 
 connoisseur of the last century, who with the de Goncourts 
 and a few others interested himself in the then despised 
 art of the eighteenth century. The portrait of Madame 
 de Mondonville is painted in pastel. It was one of the 
 eighteen exhibits of La Tour at the Salon of 1753. 
 
 The tapestry which is placed on the north wall is one 
 of a set of three Beauvais tapestries, of which the two 
 others hang in Gallery 18 under which heading it is 
 commented upon. 
 
 152 
 
BIBLIOGRAPHY 
 
CATALOGUES OF THE 
 J. PIERPONT MORGAN 
 COLLECTIONS 
 
 Al RTIN , Yacoub Pasha. Description de quatre lampes 
 en verre emaille et armoriees, appartenant & J. P. 
 Morgan. (From Bulletin de l’Institut egyptien. 
 5 e ser. v. i, p. 69-92. 6 pi. and col. pi.) 
 
 Bode, Wilhelm. Collection of J. Pierpont Morgan: 
 Bronzes of the Renaissance and subsequent periods; 
 introduction and description by Wilhelm Bode. 
 Paris 1910. 
 
 Folio. 2 v. 162 pi. and col. pi. 
 
 Bush ell, Stephen Wootton. Catalogue of the Mor¬ 
 gan collection of Chinese porcelains, by S. W. 
 Bushell and W. M. Laffan. N. Y. 1907. 
 
 Octavo. 82 + 195 p. 77 pi. 
 
 Chavagnac, X. comte de. Catalogue des porce- 
 laines francaises de M. J. Pierpont Morgan; [pub. 
 sous la direction de M. le comte X. de Chavagnac.] 
 Paris 1910. 
 
 Folio. 7 + 163 p. 50 col. pi. 
 
 155 
 
THE MORGAN COLLECTION 
 Froehner, C. E. L. W. Collection Julian Greau, 
 appartenant h J. P. Morgan. Paris 1903. 
 
 Folio. [6] + 309 p. Recueil des planches, 5 v. 
 363 col. lith. pi. 
 
 James, M. R. Catalogue of manuscripts and early 
 printed books from the libraries of William Morris, 
 Richard Bennett, Bertram, fourth earl of Ash- 
 burnham, and other sources now forming portion 
 of the library of J. Pierpont Morgan. Manuscripts. 
 London 1906. 
 
 Folio. 19 +210 p. 44 photogravure and col. pi. 
 Johns, C. H. W. Cuneiform inscriptions. Chaldean, 
 Babylonian and Assyrian collections contained in 
 the library of J. Pierpont Morgan. N. Y. 1908. 
 Octavo. 61 p. ill. 1 pi. 
 
 Johns, C. H. W. Ur-Engur, a bronze of the fourth 
 millennium in the library of J. Pierpont Morgan 
 N. Y. 1908. 
 
 Duo-decimo. 38 p. 21 pi. 
 
 Jones, E. Alfred. Catalogue of the Gutman collec¬ 
 tion of plate, now the property of J. P. Morgan. 
 London 1907. 
 
 Folio. 23 p. 53 lithog. pi. 
 
 Jones, E. Alfred. Illustrated catalogue of the collec¬ 
 tion of old plate of J. Pierpont Morgan, Esq., by 
 E. A. Jones. London 1908. 
 
 Folio. 54 p. + 108 f. 97 pi. 
 
 156 
 
B I BLIOGRAPHY 
 
 K o n o d y , Paul George. Die kunsthistorische sammlung 
 Pierpont Morgans. (In Kunst und kunsthandwerk. 
 1903. v. 6, p. 148-160, ill.) 
 
 La ffan, William Mackay. Catalogue of the Morgan 
 collection of Chinese porcelains, by W. M. Laffan, 
 with the collaboration of S. W. Bushell, and Thomas 
 B. Clarke. N. Y. 1904-11. 
 
 Octavo. 2 v. 158 col. pi. 
 
 Murray, C. Fairfax. Collection of J. Pierpont Mor¬ 
 gan; two Lombard sketch books in the collection 
 formed by C. Fairfax Murray. London, n. d. 
 Folio. [10] p. 75 pi. 3 facsim. 
 
 Perate, Andre, and Brie re, Gaston. Col¬ 
 lections Georges Hoentschel, acquises par J. P. 
 Morgan; notices de Andre Perate et Gaston Briere. 
 Paris 1908. 
 
 Sixteen mo. 4 v. 268 pi. and col. pi. 
 
 Pollard, Alfred William. Catalogue of manuscripts 
 and early printed books from the libraries of William 
 Morris, Richard Bennett, Bertram, fourth earl of 
 Ashburnham, and other sources now forming por¬ 
 tion of the library of J. Pierpont Morgan.London 19 
 3 v. ill. 5 pi. and col. pi. 
 
 Ricci, Seymour de. Catalogue of a collection of Gallo- 
 Roman antiquities belonging to J. Pierpont Mor¬ 
 gan; compiled by Seymour de Ricci. Paris 1911. 
 Quarto. 43 + [12] p. 28 pi. 
 
 157 
 
THE MORGAN COLLECTION 
 Ricci, Seymour de. Catalogue of a collection of 
 
 Germanic antiquities belonging to J. Pierpont 
 Morgan; compiled by Seymour de Ricci. Paris 
 1910. 
 
 Quarto. 36 p. 32 pi. 
 
 Ricci, Seymour de. Catalogue of a collection of 
 
 Merovingian antiquities belonging to J. Pierpont 
 Morgan; compiled by Seymour de Ricci. Paris 
 1910. 
 
 Quarto. 50 p. 20 pi. 
 
 Roberts, William. Mr. J. Pierpont Morgan’s pic¬ 
 tures; the English school. (In The Connoisseur. 
 1906. v. 16, p. 67-74, 1 35— 143; 1907. v. 17, p. 
 71-77, 215-221.) 
 
 Roberts, William. Pictures in the collection of J. 
 Pierpont Morgan at Princes Gate and Dover House, 
 London; with an introduction by T. Humphry 
 Ward and biographical and descriptive notes by 
 W. Roberts. London 1907. 
 
 Folio. [3] v. 89 photogravure and col. pi. 
 
 Williamson, George Charles. Catalogue of the 
 collection of jewels and precious works of art, the 
 property of J. Pierpont Morgan; com, i! 1 by G. C. 
 Williamson. London 1910. 
 
 Folio. 27 + 183 p. ' 94 pi. (inch 46 col. ph). 
 
 .58 
 
B I BLIOGRAPHY 
 
 Williamson, George Charles. Catalogue of the 
 
 collection of miniatures, the property of J. Pierpont 
 Morgan; compiled at his request by G. C. William¬ 
 son. London 1906-08. 
 
 Folio. 4 v. 187 pi. (inch 88 col. pi.). 
 
 Williamson, George Charles. Catalogue of the 
 
 collection of watches, the property of J. Pierpont 
 Morgan; compiled at his request by G. C. Wil¬ 
 liamson. London 1912. 
 
 Folio. 62 + 244 p. 92 photogravure and col. pi. 
 
 159 
 
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