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MUSEUM OF FINE ARTS.
: CATALOGUE
OF
PAINTINGS AND DRAWINGS,
With a Summary of other Works of Art,
EXHIBITED ON THE SECOND FLOOR.
AUG-UST, 1899.
-º-º-º-ººººººººººººººººººº-
B O S T ON :
A. L. R. R. E. D M U D G E & SON, PRINTERS,
No. 2 4 FR AN K1, KN S T R R. R. T.
1899 .
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FIFTH
PICTURE GALLERY.
FOURTH
PICTURE GALLERY,
DUTCH ROOM.
ALLSTON
ROOM.
JAPAN ESE
WATER-
COLORS,
DRAWINGS.
THIRD
PRINT ROOM.
FIRST
PRINT ROOM.
SECOND
ROOM.
FIRST
PICTURE GALLERY.
PLAN OF THE
CORRIDOR.
POTTERY, KAKEMONO,
SCREENS.
COIN ROOM.
WOOD CARVING,
ARMS, ETC,
TEXT LE GALLERY.
SECON D F LOOR,
JAPAN ESE ROOM.
METAL ROOM.
LAWRENCE
ROOM.
POTTERY,
PORCELAIN,
GLASS.

MUSEUM OF FINE ARTS.
CA. T A LOGUE
OF
PAINTINGS AND DRAWINGS,
With a Summary of other Works of Art.
EXHIIBITED ON THE SECOND FLOOR.
AUGUST, 1899.
B O S T O N :
A L FIRE D MUD G E & SON, PRINTER 8,
24 B' R A N K LIN St R E E T.
1899.

FIRST PICTURE GALLERY.
The names of lenders are printed in italics.
ITALIAN, FRENCH, AND SPANISH.
SIENESE SCHOOL. End of Fourteenth Century.
1. Altar-piece. The Entombment and The Assumption
of the Virgin. Gift, of Martin Brim iner.
2. Madonna and Child with two Angels.
Denman W. Ross.
3. Madonna and Child with Heads adoring.
Bequest of Miss Caroline Isabella Wilby.
SCHOOL OF GroTTo: b. Colle, 1266; d. Florence, 1337.
4. The Holy Family. Athenaeum.
NICOLAUS DA VOLTRI. Flourished in 1401.
A follower of Giotto.
5. Madonna and Child, with worshipper knecling.
Lanzi says there is no known surviving work of his. This
however, is inscribed with his name on the hangings be-
hind the head of the Madonna.
EARLY FLORENTINE SCHOOL. 15th Century.
6. Marriage of St. Catherine. Miss IIelen Griggs.
RUSSIAN SCHOOL.
7. Madonna and Child. Mrs. Thos. O. Itichardson.
7A. Head of Christ. 1Mrs. Thos. O. Richardson.
|UNKNOWN.
8. The Flight into Egypt. T. C. Feltom.
BYZANTINE SCHOOL.
9. Virgin and Child enthroned with Angels.
Gift of Mrs. T. O. Richardson.
10. St. Mark. Miss Helen Griggs,
4 Fºrst Picture Gallery,
PALMA WECCHIo. Jacopo Palma, called “Il Vecchio, the
Llder”; b. Scrinalta, 1490; d. 1560? (See 22.)
11. The Annunciation. Quincy A. Shaw.
BARTOLOMišo VIVARINI: painted at Venice between 1459
and 1498.
The precise dates of his birth and death are not known.
It is recorded of him that he painted the first oil picture
that was exhibited at Venice, 1473.
12. A Pietà, with Paintings of Saints on Panels. Signed,
and dated 1485. Quincy A. Shaw.
After TIZIANo WECELLIO DA CADORE (?): b. Friuli, Italy,
in 1477 (?); d. 1576.
13. Study of the Madonna and Child for an altar-piece
Madonna di Pesaro. James Jackson Jarves.
CARLO GAROFALO: b. Naples; d. Madrid, about 1715.
14. Vision of St. Dominic. James Jackson Jarves.
A study for his large altar-piece in the National Gallery,
London.
SCHOOL OF PERUGINO.
15. St. Sebastian. IDenman W. Ross.
ITALIAN SCHOOL.
16. Portrait of a Venetian. James Jackson Jarves.
GASPAR NIGRO, Venice, 1515.
17. Deposition from the Cross; St. Sebastian and other
figures attending. O. G. Felton.
TIMOTEO DELLA WITE: b. Urbino, Italy, 1470; d. 1524.
18. Madonna and Saints. James Jackson Jarves.
TIBALDEO DIPELLEGRINO: b. Waldelsa, Italy, 1527; d. Milan,
1598.
19. Venus Rising from the Sea. James Jackson Jarves.
SCHOOL of RAPHAEL: b. Urbino, 1483; d. Rome, 1520.
20. St. Sebastian. James Jackson Jarves.
ANTONELLO DA MESSINA: b. Messina, about 1426.
21. Ecce Homo. James Jackson Jarves.
First Picture Gallery. 5
DOMENICO PULIzo: b. Florence, 1492; d. 1527.
Pupil of Andrea del Sarto.
22. St. John. William G. Brooks.
FLORENTINE SCHOOL, 16th Century.
23. Two Angels (on canvas transferred from a panel).
Turner-Sargent Collection.
BERNARDINO PINTURICCHIO, 1454–1504.
24. Holy Family. B}state of Chas. C. Perkins.
ANDREA DEL SARTO: b. Florence, 1486; d. there, 1531.
25. The Holy Family. Quincy A. Shaw.
LUCA GIORDANO, Naples, 1632–1705.
Pupil of Pietro da Cortona.
26. The Eucharist. Gift of Mrs. Thies,
BASSANO (Giacomo da Ponte, called Il Bassano): b. at Bas-
sano, Italy, 1510; d. 1592.
A pupil of Bonifazio, of Venice.
27. The Scourging of Christ. Qwincy A. Shaw.
BERNADINO LAN.INI: b. Luino, about 1475; d. Milan, 1533.
Milanese School.
28. Madonna seated with Child. Signed 1561. B–
A copy of this painting is hung at Hampton Court, there
ascribed to Bronsino.
Gift of Mrs. S. D. Warren.
TINTORETTO (Giacomo Robusti): b. at Venice, 1512; d.
there, 1594. A pupil of Titian.
29. The Adoration of the Magi.
From the Casa Barbarigo. Similar to a picture in the
Scuola San Rocco. The kneeling figure is very simi-
lar; the Virgin and Child bear a strong resemblance
and the prominent introduction of the two doves
peculiar to Tintoretto, is the same.
T. C. Felton.
29A. Portrait of Doge Grimani. J. Russell May.
30. Sketch for the Assumption of the Virgin.
Bequest of Thomas G. Appleton.
31. Sketch of “Last Supper.”
Bequest of Miss Mary S. Felton,
6 First Picture Gallery.
JEAN BAPTISTE GREUZE: b. at Tournus, 1725; d. 1805.
A portrait and genre painter. His favorite subjects were
illustrations of the affections or domestic duties, their
obscrvance and violation. He is unique in the French
School.
32. Chapeau Blanc. Athenoewm. Dowse Collection.
33. Head of a Girl. Gift of Geo. A. Goddard.
34. Heads of Children. JMrs. Francis Brooks.
JOSEPH SIFFREIN DUPLESSIs: b. Carpentras, France, 1725;
d. 1802.
35. Portrait of franklin. This portrait was formerly
assigned to Greuze. Purchased 1828. Athenaeum.
L. DAVID: b. Paris, 1748; d. Brussels, 1825.
Pupil of Vien. Obtained the Grand Priz de Rome in 1774,
and remained in Italy six years. He became a member
of the Academy in 1783, and professor in 1792. During
the Revolution he was imprisoned and abandoned his
work. When Napoleon was proclaimed emperor, he
named David court painter, and ordered four large pic-
tures of him. After the Restoration, in 1816, he was
obliged to leave France, and settled in Brussels.
36. Hector drawn at the Chariot of Achilles. (A study.)
Gift of Mrs. E. D. Cheney.
J. B. S. CHARDIN: b. Paris, 1699; d. 1779.
37. Still Life. Gift of Martin Brimmer.
38. Still Life. Gift of Mrs. Peter C. Brooks.
JoséPH WERNET: b. Avignon, 1712; d. Paris, 1789.
39. Coast View. Mrs. Francis Brooks.
IIYACINTHE RIGAUD: b. Perpignan, 1659; d. Paris, 1743.
40. Portrait of Mme. Fourbair, wife of Mons. de Breteuil.
Mrs. F. Gordon Deacter.
JEAN BAPTISTE SANTERRE: b. Magny, 1658; d. Paris, 1717.
41. Portrait of the Duchesse de Longueville.
Bequest of Mrs. M. B. Sigourney.
FRANÇors BoucIIER: b. Paris, 1704; d. 1770.
He was self-taught. Took the first prize of the French
Academy in 1723. In 1730 he went to Italy for a sojourn
First Picture Gallery. 7
of eighteen months. Became a member of the Academy
in 1734, and afterwards professor and director. After
the death of Vanloo he became court painter, and was
attached to the tapestry manufactory of Beauvais.
42 and 43. L’Aller et le Retour du Marché.
Presented by the heirs of Peter Parker.
Polidoro DA CARAVAGGIO: b. Caravaggio, 1490 (?); d.
Messina, 1543.
Pupil of Raphael.
44. The Three Graces. From Raphael’s fresco in the
Farnesina.
J. B. S. CHARDIN. (See No. 37.)
45. Haunch of Mutton. Edward W. Hooper.
SALVATOR ROSA: b. Remella, 1615; d. Rome, 1673.
46.
46A.
GIOVANNI BATTISTA MoRONI: b. Bondo, about 1520; d.
Brescia, 1578.
47. Portrait of Count Alborghetti and Son, of Bergamo.
From the Turner-Sargent Fund.
Landscapes. John Quincy Adams.
47A. Portrait of a Man. Mrs. J. M. Longyear.
Ascribed to TINTORETTO.
48. Head of a Man. Bequest of Stephen H. Perkins.
CIMA DA Con EGLIANo: 1460–1517 (?)
49. The Entombment. Gift of Mrs. S. D. Warren.
GIO. FRANCESCo BARBIERI, called GUERCINo: b. Cento.
1591; d. Bologna, 1666.
50. Ecce IIomo. Estate of Mrs. Francis Brooks.
SIR ANTIIONY WAN IDYCK.
51. The Entombment. Francis Bartlett.
SANDRO BOTTICELLI, b. 1447, d. 1510.
52. VIRGIN AND CHILD WITII ST. JOHN. Formerly in the
collection of Alexander Barker, Esq., in London.
Of thus picture, Dr. Waagen writes (“Galleries and Cab-
inets of Art in Great Britain.” London, 1857; p. 72):
“A work of the first class by this so unequal master. The
forms have something grand about them. The expression
of the heads is that of a deep and mysterious melancholy;
8 First Picture Gallery.
the execution is of great decision and mastery, and the
whole in excellent keeping.”
IFrom a bequest of Sara G. Timmins.
SPANISH SCHOOL. -
53. A Strolling Minstrel. } JEstate of
54. Distribution of Alms. Henry Greenough.
ANDREA DEL SOLARIO.
55. Holy Family. Mrs. J. M. Longyear.
FRANCIS SNYDERS: b. Antwerp, 1579; d. Antwerp, 1657.
56. A Boar Hunt. J. Templeman Coolidge, 3d.
GIAMBATTISTA TIEPOLO, b. Venice, 1696; d. Madrid, 1770.
57. “ St. Helen presenting her son, the Emperor Con-
stantine, in Heaven.”
Albert S. Ludlow, Waukesha, Wis.
ITALIAN SCIIOOL.
58. Portrait of a Girl. James Jackson Jarves.
A scribed to LUINI.
59. Portrait of Peter Medici, brother of Pope Leo X.
Mrs. S. D. Warren.
GUIDO RENI (ascribed to): b. Bologna, 1575; d. Bologna, 1642.
60. Magdalen. Estate of Harold Whiting.
61. Head of St. Francis. Study for a figure in a group of
Saints in the Gallery at Bologna.
Mrs. Edward T. Potter.
HUBERT JACOBSz, called GRIMANI: b. Delft, 1599; d. Briel,
ab. 1628. Assumed in Venice the name of his patron
Doge, Grimani.
62. Head of a Girl. Athenoewm. Dowse Collection.
LUCIO MASSARI. Bolognese School: b. 1569; d. 1633.
Pupil of Passerotti and in the School of the Caracci.
63. The Entombment. Gift of Martin Brimmer.
SPANISEI SCHOOL.
64. Portrait. Dr. Henry K. Oliver.
TUSCAN SCHOOL.
65. Head of a Dignitary, Mrs. Drimmer,
First Picture Gallery. 9
UNKNOWN. Ascribed to ZUCCARO.
66, Portrait of Shakespeare (?).
Cut from the wall of the old Globe taverm.
Bequest of Mrs. Harrison Gray Otis.
AsCRIBED BY THE OWNER TO WAN DYCK.
67. Portrait of Lady Middleton. Mrs. F. Gordon Deacter.
J. M. W. TURNER., b. London, 1775; d. there, 1851.
68. The Slave Ship.
Purchased from the Henry L. Pierce Fund.
SIR JOSHUA REYNOLDs: b. England, 1723; d. 1792.
In 1768 he was unanimously elected president of the then
newly established Royal Academy of Arts, in London,
and was knighted by George III. on the occasion.
69. Portrait of Mrs. Palk.
From the William Wilkins Warren bequest.
70. Portrait of a Child. Mrs. J. S. Howe.
71. The Banished Lord. Bequest of Stephen H. Perkins.
SIR PETER LELY: b. at Soest, 1617; d. London, Nov. 30,
1680.
73. Portrait of Lady Falconberg. From the Collection of
Lady Harborough. Mrs. C. H. Colburn.
UNKNOWN, English.
74. Portrait of Nelson. Dr. W. S. Bigelow.
John CoNSTABLE: b. England, 1776; d. 1837.
75. Study for “The White Horse.”
Purchased from the Wm. Wilkins Warren Fund.
76. Rochester Castle. Bequest of Thomas G. Appleton.
77. Landscape with Trees. lMrs. Brimmer.
RICHARD WILSON: b. 1713; d. 1782.
78. Italian Lake. Turner-Sargent Collection.
SIR THOMAS LAWRENCE: b. 1769; R. A., 1794; P. R. A.,
1820; d. 1830.
From the time of his election as a member of the Acad-
emy, to his death, his career as a portrait painter was
unrivalled; he contributed from 1787 to 1830, inclusive,
three hundred and eleven pictures to the exhibitions.
The portraits of the Emperor Francis, of Pius VII., and
of Cardinal Gonsalvi, in the Waterloo Gallery at Wind-
sor, are among the masterpieces of the art of portraiture.
79. Portrait of Benj. West. Beq. of Stephen H. Perkins.
10 First Picture Gallery.
GEORGE RomNEY: b. Dalton-le-Furness, Lancashire, 1734;
d. Kendal, 1802.
80. Portrait of the Duke of Cumberland.
Denman W. Ro88.
SIR HENRY RAEBURN: b. near Edinburgh, 1756; d. 1823.
81. Portrait of T. P. Baillie, 1810.
From the Abbott Lawrence Fund.
John OPIE, 1761–1807.
82. Portrait of Charles Dibdin.
From the Sir John Pender Collection. In the Exhibition
of a “Century of British Art,” Grosvenor Gallery, 1888.
Purchased from the “Abbott Lawrence” fund.
SIR PETER LELY: b. in Westphalia, 1618; settled in Eng-
land, 1641; d. 1680.
An imitator of Van Dyck. “The Beauties of the Court of
Charles II.,” at Hampton Court Palace, are among the
best preserved of his works.
83, Portrait of Sir Charles Hobby.
Bequest to the Athenaeum from Mrs. Louisa Lee
Waterhouse.
CHARLEs R. LESLIE: b. 1794; d. 1859.
84. Portrait of Sir Walter Scott, painted at Abbotsford in
1824, at the request of George Ticknor.
Bequest of Miss Anna E. Ticknor.
SIR GODFREY KNELLER: b. Lubeck, 1646; d. Twickenham,
1723.
85. Equestrian portrait of William III.
J. Templeman Coolidge, Jr.
RICHARD PARKEs Bon INGTON : b. England, 1801; d. 1828.
86. A Scene from Gil Blas. Bequest of T. G. Appleton.
87. The Windmill. Josiah Bradlee,
T. S. COTMAN.
88. Landscape. Denman W. Ro88.
WILLIAM ETTY: b. York, 1787; d. there, 1849.
89. Reclining Figure. Estate of John H. Sturgis.
F. R. PICKERSGILL: b. London, 1820.
89A, Portrait of Lord Lyndhurst. Mrs. F. Gordon Deacter.
In the Hall. 11
IN THE HALL.
GIov ANNI PAOLO PANNINI: b. Italy, 1691; d. Rome, 1764.
Lived chiefly at Rome, where he attained great reputation
by his views of ruins and other architectural subjects.
90. Interior of St. Peter’s. Athenaeum.
SPANISH SCHOOL (ascribed to Murillo).
91. Rebekah at the Well. Athenaeum.
CRISTOFANO ALLORI: b. at Florence, 1577; d. 1621.
A pupil of his father and Pagani. An excellent portrait
painter and skilful landscape artist. His paintings are
not numerous.
92. Judith. (A copy.) A thenaeum.
CARLO MARATTI: b. at Camurano, Italy, 1625; d. Rome, 1713.
After the death of Cortina and Sacchi, he was for half a
century the most distinguished painter in Rome. In
1702 and 1703 he restored, with the sanction of Pope
Clement XI., the frescos of Raphael in the Vatican,
which had been suffered to fall into a state of decay and
imminent ruin.
93. Christ and the Woman of Samaria. Athenaeum.
VASSII, VERESTCHAGIN, Russia.
94. The Private Mosque of the Great Moguls in the Palace
at Delhi. Gift by Contribution.
ARY SCHEFFER: b. Dordrecht, 1795; d. 1858. (See 478.)
Officer of the Legion of Honor. A pupil of Guérin. At
first a painter of genre, but later devoted to religious
Subjects.
95. Eberhart, Count of Würtemberg, mourning over the
body of his son. Athenaeum.
WILLIAM PAGE. (See 180.)
96. Holy Family. Athenaeum.
GUSTAVE PAUL DORÉ: b. Strasburg, 1833; d. Paris, 1883.
97. Summer. Gift of Richard Baker.
LUCA GIORDANO, Naples, 1632–1705.
Pupil of Pietro da Cortoma.
98. The Flaying of Marsyas. Athenaeum.
JEAN FRANÇors HUff: b. St. Arnauld-en-Yvelines, 1751; d.
Paris, 1823.
99. The Shipwreck. Athenaeum.
FREDERIC P. VINTON.
100. Portrait of William Warren.
For Nos. 618 to 626 see page 55.
ALLSTON ROOM.
EARLY AMERICAN SCHOOL.
WASHINGTON ALLSTON : b. South Carolina, 1779; d. at
101.
102.
103.
104.
105.
106.
108.
109.
110.
111.
112.
113.
Cambridge, Mass., 1843.
Soon after graduation from Harvard College, in 1800, he
entered the Royal Academy of London. His first work
of importance, “The Dead Man Revived,” gained a
prize of two hundred guineas from the British Institute,
and was purchased by the Philadelphia Academy of Fine
Arts. In 1818 he opened a studio in Boston. (See also
Nos. 177 to 180, and 460 to 470.)
Elijah fed by the Ravens.
Gift of Mrs. and Miss Hooper.
Rising of a Thunder-storm at Sea, pilot boat going
off to a ship. Purchased.
Portrait of himself; painted at Rome between 1801–
1805. Bequest of Miss Alice Hooper.
Landscape.
Painted when at college.
Gift of Wm. H. Sumner to the Athenoewm.
Portrait of Benjamin West, P. R. A.
The head painted in London, 1814; drapery and back-
ground added in 1837, Cambridge. Athenaeum.
Isaac of York. Ivanhoe. Athemſeum.
The Witch of Endor. Edward G. Gardiner.
Moonlight. Wm. Sturgis Bigelow.
Beatrice. The Heirs of the late Mrs. S. A. Eliot
Head of a Jew. Athenaeum.
Jew’s Head. Miss Mary Amory Greene.
Portrait of William Ellery Channing,
Gift of William F. Channing.
(12)
Allston Room. 13
114. Portrait of Mrs. Allston. Lent by Mrs. J. A. Jeffries.
Nos. 115 to 124B deposited by the heirs of Washing-
ton Allston.
115. Death of King John.
116. Head of a Woman in profile.
117. Marriage Feast at Cana.
This is painted over a print of Paul Veronese's picture in
the Louvre.
118. Dido and Anna.
119. Landscape.
120. Copy of Rubens's Cupid playing with the helmet of
Mars.
122. Lorenzo and Jessica. A Study.
124. Belshazzar’s Feast. (In the Hall.)
“It is known that Mr. Allston began the picture in London before his return
to his native country, and had very nearly finished it here fifteen or twenty years
ago. Being obliged to quit the room in which he worked upon it, and unable im-
mediately to find another large enough for the purpose, the picture was rolled up
and laid aside. Various circumstances prevented his resuming the work until
within a few years before his death. At one period it was considered by himself
as requiring not many weeks' labor to complete it. In that state it was seen by
some friends, to whom it appeared a finished picture. For some reason, how-
ever, the artist thought that the effect of the composition would be improved by
a change in the perspective, and, in connection with this, an enlargement of the
figures in the foreground. With this view, the king, the queen, and the sooth-
sayers were to be repainted. He undertook the labor, and the entire figure of
the king, except the left foot, and the heads of the soothsayers, were erased.
What progress he had made in restoring these will be readily seen, as the picture
is in every respect as he left it; except that the original figure of the king, now
pumiced down so as to leave little more than the first color, was found covered
with a uniform coat of dead color, which completely obliterated even the outline
and of the new figure he had repainted, but not finished, only the right hand.”
“Upon the head of the soothsayer, who faces the spectator, are the last
touches ever made by the pencil of the artist, and but a few hours before his
death.” — 1845.
124 A and B. Studies for the above (in the Hall).
(See Nos. 460 to 470.)
FREDERICK WALKER: b. London, 1840; d. 1875.
125. Portrait of Washington Allston. Painted in London
about 1807. Bequest of John E. Allston.
14 Allston Room.
GILBERT STUART: b. Rhode Island, 1755; d. Boston, 1828.
Educated at the University of Glasgow. Pupil of Benj.
West, in London. After having practised with great
success as a portrait painter in London, he returned to
America in 1792, and settled for a time in Philadelphia.
In 1807 he removed to Boston, where he afterwards died.
126. Washington. The “Athenæum.” Head.
Painted from life, in 1796. Bought after Stuart's death,
of his widow, and presented to the Boston Athenaeum.
“A letter of Stuart's which appeared in the New York
Evening Post in 1863, attested by three gentlemen of Bos-
ton, with One from Washington, making the appointment
for a sitting, proves the error long current in regard both
to the dates and the number of this artist's original por-
traits of Washington. He there distinctly states that he
executed but three from life, the first of which was so
unsatisfactory that he...destroyed it; the second was the
picture for Lord Lansdowne; and the third, the one now
belonging to the Boston Athenaeum. The finishing touches
were put to the one in September, 1795; to the other, at
Philadelphia, in the spring of 1796. This last, it appears
by a letter of Mr. Custis, which we have examined, was
undertaken against the desire of Washington, and at the
earnest solicitation of his wife, who wished a portrait
from life of her illustrious husband, to be placed among
the other family pictures at Mt. Vernon. For this express
purpose, and to gratify her, the artist commenced the
work, and Washington agreed to sit once more. It was
left intentionally unfinished.”
This painting, in which the left side of the face is turned
to the spectator, is the third portrait mentioned above;
of it over fifty copies by Stuart's hands have been traced.
The second is now in London. Of the first, painted in
1795, and subsequently rubbed out, in which the right side
of the face was shown, only three or perhaps four copies
are known to exist.
127. Martha Washington.
Painted at the same time as the above.
Allston Room. 15
128. Washington at Dorchester Heights.
Presented to the city of Boston by Hon. Samuel Parkman,
1806. Painted by Stuart in nine days. Deposited in
the Museum of Fine Arts for safe keeping.
From Faneuil Hall.
129, Gen. Henry Knox; b. 1750, d. 1806.
Deposited at the Museum of Fine Arts.
From Faneuil Hall.
130. Portrait of Judge Stephen Jones. Mrs. Anne Richards.
131. Hon. Josiah Quincy, Mayor of Boston, 1823–1829: b.
1772, d. 1864.
Presented by his daughter, Miss Eliza Susan Quincy.
132. Portrait of John Richards. Mrs. Anne Richards.
134. Portrait of Mrs. Richard Yates.
Ascribed by the previous owner to Stuart, but this is
questionable, possibly it was painted by Ralph Earl,
1751–1801.
Purchased from the William Wilkins Warren Fund.
135. Portrait of Rev. John Sylvester Gardiner.
Mrs. John S. Cushing.
136. Portrait of himself. A sketch.
Bequest of Mrs. Harrison Gray Otis.
137, Portrait of Mrs. Oliver Brewster. William Brewster.
138 Portrait of Dr. Samuel Danforth; ob. 1829.
Massachusetts Medical Society.
139. Portrait of Councillor Dunn. Mrs. Brimmer.
G. STUART NEWTON: b. 1797, at Halifax, N. S.; d. Eng-
land, 1835.
Pupil of his uncle, Gilbert Stuart, in Boston. Went to
England in 1818, after having visited Italy, and became
a student of the Royal Academy. In 1832 became a
member of the Royal Academy; but the picture exhib-
ited in the following year, “Abelard in his Study,” was
his last Work.
140. “ Forsaken.” Bequest of Thomas G. Appleton.
141. A Spanish Girl.
Purchased from the William Wilkins Warren Fund.
16 Allston Room.
142. Portrait of himself.
Bequest of Mrs. Harrison Gray Otis.
143. Portrait of himself.
Purchased from the Turner-Sargent Fund.
144. The Farewell. Gift of S. P. Avery, New York.
JonATHAN B. BLACKBURN: b. Connecticut, about 1700; d.
after 1760.
145. Portrait of Col. Jonathan Warner, of Portsmouth,
N. H. Purchased.
JOHN NEAGLE.
146. Portrait of Gilbert Stuart. Athenaeum.
JoBN SINGLETON COPLEY: b. Boston, Mass., 1737; d. 1815.
Historical and portrait painter, of English and Irish crº-
traction. He left Boston for Italy in 1774, having already
attained eminence as a portrait painter. In 1775 he
established himself in London, where he became a mem-
ber of the Royal Academy in 1779. At this time he
executed his masterpieces, “The Death of Lord Chat-
ham ” and “The Death of Major Peirson,” both now in
the National Gallery of London.
147. Portrait of John Hancock. From Famewil Hall.
The ledger bears the date 1765.
148. Portrait of Samuel Adams. I'rom Famewil Hall.
149. Watson and the Shark.
Gift of Mrs. George von L. Meyer.
I)epicts the rescue, in the harbor of Havana, of Brook
Watson (afterward Lord Mayor of London) from a
shark, but not until he had lost a leg. Watson described
the incident minutely to Copley, when a fellow-passen-
ger on the voyage to England.
150. Portrait of the Artist and his Family.
Edward Linzee Amory.
The artist, 8tands behind. Before him is Mr. Richard
Clarke, father of Mrs. Copley, who, seated on a sofa,
caresses her Son, John, the future Lord Lyndhurst,
three times Lord Chancellor of England. In front
stands her daughter, Elizabeth, afterward Mrs. Gardiner
Greene.
Allston Room. 17
150A. Study for the Family Portrait. Lord Lyndhurst and
his Mother. Miss Mary Amory Greene.
151. Portrait of Col. Sparhawk. Frederic H. Rindge,
152. I’ortrait of General Joseph Warren. Bequest of
Buckminster Brown, M. D., Warren Putnam
Newcomb, Trustee.
153. Portrait of Mrs. Joseph Warren (Elizabeth Hooker).
Bequest of Buckminster Brown, M. D., Warren
Putnam Newcomb, Trustee.
154. Portrait of Mrs. Col. Browne. Bequest of Mrs. Elton.
155. Portrait of Mrs. Metcalf Bowler.
Mrs. J. C. Livingston, New York.
156 and 157. Portraits of Mr. and Mrs. Jeremiah Tee,
Marblehead; painted in Boston, 1769.
Bobert Ives Lee, Topeka, Kansas.
158. Portrait of Mrs. Daniel Sargent.
Mrs. Elizabeth H. McCalla.
159. Sketch of Mrs. Startin, sister of Copley’s wife.
Mrs. Brimmer.
160. Col. Fitch and his Sisters. M. Woolsey Borland.
161. Portrait of Judge Graham. Mrs. F. Gordon Deacter.
162. Portrait of John Quincy Adams; painted in 1795,
when Mr. Adams was United States Minister at
the Hague, as a present to Mr. and Mrs. John
Adams. Charles Francis Adams.
163. Portrait of Mrs. Skinner. Mrs. Brimmer.
164. Portrait of Dorothy Quincy, wife of Gov. John
Hancock. Mrs. Stephen Bowen.
165. Portrait of John Gray. Miss Frances S. Rogers.
JoHN SMIBERT: b. in Edinburgh, Scotland, 1680; d. Bos-
ton, U. S. A., 1751.
Spent three years in Italy, copying works of Titian,
Rubens, and Van Dyck; then returned to London, and
began portrait painting. He accompanied Bishop Berke-
ley to Bermuda, and settled in Boston in 1725, where he
18 Allston Room.
resided, practising portrait painting until his death. He
painted the portraits of the most eminent magistrates
of New England and New York, of his day.
168. Judge Edmund Quincy.
Gift of the Children of Josiah Quincy.
169. I’ortrait of Mrs. Hannah Gardiner McSparren.
Bequest of Mrs. Elton.
JoBIN TRUMBULL: b. Connecticut, 1756; d. New York, 1843.
A son of the first governor of Connecticut after the sepa-
ration from Great Britain. He served for quite a period
in the army of the Revolution. In 1780 he went abroad
and studied ſor some time with Benj. West. In 1786 he
produced his first considerable work, “The Death of
General Warren.” In 1794 he went to England as sec-
retary to Minister Jay, and remained there ten years,
and again lived there from 1808 to 1816, till his final
return to the United States. He then painted the four
large pictures in the Capitol at Washington. He was the
first president of the American Academy of Fine Arts,
founded in 1816. Resided in New Haven from 1837 to 1841.
172. The Sortie from Gibraltar, Nov. 27, 1781. Athenoewn.
Jºngraved by Sharp.
173. Portrait of Alexander Hamilton.
l?ainted for Col. Thomas H. Perkins; by him bequeathed
to Mr. Winthrop.
Bequest of Hon. Bobert C. Winthrop.
174. Portrait of Stephen Minot. Gift of Miss Minot.
175. I’ortrait of Mrs. Stephen Minot. Gift of Miss Minot.
THOMAS SULLY: b. England, 1783; came to United States
when 9 years of age; painted portraits in Charles-
ton, Richmond, and New York, finally settling in
Philadelphia. d. 1872.
177. The Torn Hat. Miss Margaret Greene.
BENJAMIN WEST: b. Springfield, Pa., 1738; d. 1820.
He began his career as a portait painter in Philadelphia.
In 1760 he went to Rome, and remained in Italy three
Allston Room. 19
years, at the end of which time he settled in England.
He was almost exclusively employed by George III. for
thirty years. He was one of the original members of the
Royal Academy, and 8 ucceeded Sir Joshua Reynolds as
its president in 1792. He exhibited two hundred and
forty-nine pictures at the Royal Academy in fifty years.
178. Ring Lear. Athenoewm.
WILLIAM PAGE: b. Albany, 1811; d. Tottenville, 1885.
Studied under Prof. Morse and at the National Academy.
Worked in New York and Boston, and afterwards was for
many years the leading American portrait painter in Rome
180. Portrait of John Quincy Adams. From Faneuil Hall.
FRANCIS ALEXANDER: b. Conn., 1800; painted in Boston,
then in Florence; d. 1831.
181. Portrait of Mrs. Fletcher Webster.
Bequest of J. W. Paige.
182. Portrait of N. P. Willis.
Bequest of Mrs. Harrison Gray Otis.
REMBRANDT PEALE: b. Pennsylvania, 1787; d. Philadel-
phia, 1860.
183. Portrait of Rammohun Roy. Athenaewm.
Painted in London, 1833.
184. Portrait of Washington.
Gift of Miss C. L. W. French.
CHARLEs W. PEALE: b. Maryland, 1741; d. Philadelphia, 1827.
185. Head of Washington. Sumner Bequest.
G. P. A. HEALY: b. Boston, 1808; d. Chicago, 1894.
186. Portrait of Orestes A. Brownson. Gift of Mrs. Healy.
187. Portrait of himself.
Bequest of Mrs. Harrison Gray Otis.
188. Portrait of Longfellow.
Bequest of Mrs. Harrison Gray Otis.
WILLIAM WILLARD.
191. Portrait of Charles Sumner. The Artist.
DUTCH FOOM.
DUTCH, FLEMISH, AND GERMAN SCHOOLS.
REMBRANDT WAN RYN: b. Leyden, 1607; d. Amsterdam,
1669.
195 and 196. Portraits of Dr. Nicholaus Tulp and his wife
— signed and dated 1634.
Dutuit L’OEuvre Complet de Rembrandt, p. 52.
Gift of Frederick Lothrop Ames.
REMBRANDT (School of).
197. Dange and the Shower of Gold. Mrs. Francis Brooks.
WILLEM KALF: b. 1630; d. 1693.
198. Fruit and Vegetables.
Upon a table covered with an olive cloth are grouped
fruits and vegetables, rendered with extraordinary vigor
and truth. On the left, seven quinces, some of which
are still attached to the branch; on the right, gourds
and melons, and two bunches of asparagus. Behind,
two willow baskets hold peaches, nectarines, plums,
bunches of white and black grapes, and branches of
plum-tree, figs and mulberries, loaded with fruit. Very
fine piece of painting. Engraved in L’Art by Em. Salmon.
Canvas: height, 0 m. 82 cent. ; width, 0 m. 95 cent.
From a bequest of Sidney Bartlett.
SIMON WERELST: entered in 1666 in the Association of
Artists at the Hague: d. London, about 1721.
199. Still Life.
A dead partridge is suspended by a string tied to its claw
the left wing broken; below, a kingfisher lying upon the
table. Verelst, whose principal compositions are highly
prized in the English collections, is an artist of very
(20)
Dutch Room. 21
great talent, who has been surpassed by no one in the
line to which he specially devoted himself. He repro-
duced the plumage of birds and their multiple harmo-
nies with the most extraordinary fidelity. Signed in
full upon the table.
Canvas: height, 0 m. 74 cent. ; width, 0 m. 61 cent.
Gift by subscription, 1890.
DIRR WAN DEELAN: (?) b. in Hensden about 1607; d. at
Arnemuyden, Zeeland, 1673.
200. The Lute Player.
The Turner-Sargent Collection.
John DAVID DE HEEM: b. Utrecht, 1600 (?); d. Antwerp,
1683 (?).
201. Hock Glass and Fruit.
IEstate of Mrs. Francis Brooks.
ADRIEN VAN DER WELDE: b. Amsterdam, 1635 (?); d. there,
1672.
203. Landscape, with Cattle.
The Turner-Sargent Collection.
HANs HoDBEIN (attributed to): b. Augsburg, 1498; d. in
London, 1554.
German school. A protégé at Basle of the printer Auer-
bach, whose editions he enriched with remarkable corp-
positions, and of Erasmus, of whom he made an excel-
lent portrait, he quickly acquired a great reputation.
On his going to England, Erasmus intrusted him with
his portrait for Sir Thomas More, his friend, and added
a hearty letter of recommendation. He arrived in Eng-
land in 1525. The High Chancellor received him with
distinction, lodged him in his palace, occupied him for
three years, and presented him to the king, Henry VIII.,
who appointed him the royal painter, and covered him
with honors. He died at London, 1554, of the plague,
22 Dutch Room,
204. A Donor and his two patron saints, Peter with
the keys, Paul with a sword. German school of
the first half of the sixteenth century. Attributed
to Hans Holbein the younger.
This picture was bought at Leipsic, where it had been in
the possession of one family for a couple of centuries,
by a young American, who took it to Berlin and submit-
ted it to the judgment of an expert, by whom it was
pronounced to be an original by IHolbein.
So many false attributions of pictures to famous painters
have, however, been made, even by the best connois-
seurs, that it is well to avoid positiveness in such mat-
ters. The picture is certainly a most excellent repre-
sentative of the school of IIolbein, if it be not by the
master himself. Every part, even to the most minute
accessories, is highly finished; the shadows are trans-
parent; the robe of St. Peter and the missal rich in
color; the subdued arabesques in the background charm-
ing in taste; and lastly, the hands, like those painted by
Holbein, are so literally rendered that their truth to life
can only be appreciated by looking at them with a mag-
nifying-glass.
Between the head of the donor and the heads of the
Saints, there is a strange disproportion in respect to
size, which, more than anything else in this picture,
would inspire doubt as to its having been painted by the
great artist of Augsburg and Basle. The heads of the
Saints are not unworthy of him; that of St. Paul is in-
tellectual and refined, and that of St. Peter, though of
a Somewhat common type, is full of sentiment.
Athenoewm.
HANS HOLBEIN (attributed to).
205. Portrait of a Man. Sumner bequest.
PETER PAUL RUBENS: b. Westphalia, 1577; d. Antwerp,
1640.
Studied in Antwerp: resided in Italy and Spain, 1600–
1608; afterwards settled in Antwerp, and died there,
1640. In 1625 he completed the celebrated series of pic-
tures for the palace of the Luxembourg, now in the
Dutch Room. 23
Louvre, commemorating the marriage of Marie de Me-
dicis and Henry IV. of France. In 1628 he was sent on
a diplomatic mission to I’hilip IV. of Spain by the In-
ſanta Isabella, and in the following year he was sent on
a similar mission to Charles I. of England, by whom he
was knighted in 1630. LIe died possessed of immense
wealth, and was buried with extraordinary pomp in the
church of St. Jacques, in Antwerp. His pictures are
exceedingly numerous, amounting to several thousands,
but many of them were painted from his sketches by
his scholars.
“Rubens,” says Sir Joshua Reynolds, “was perhaps the
greatest master in the mechanical part of the art, the
best workman with his tools, that ever exercised a pen-
cil. . . . His animals, particularly his lions and horses,
are so admirable that it may be said they were never
properly represented but by him. His portraits rank with
the best works of the painters who have made that branch
of the art the sole business of their lives. The same
may be said of his landscapes. Rubens’s masterpiece is
generally considered “The Descent from the Cross,’ at
Antwerp. He is still seen to great advantage at Ant-
werp ; but probably the best idea of his great and ver-
satile powers is conveyed by the collection at Munich,
in which are ninety-five of his works, several of them
masterpieces.”
206. Marriage of St. Catherine with the Infant Christ.
A study for the great altar-piece in the Church of the
Augustinians, Antwerp.
IPortraits of the artist and members of his household are
introduced.
The painting is fresh, well preserved, and bears unques-
tionable evidence of the master's hand throughout.
Purchased from the Moses Kimball Bequest.
207. Bacchus with Attendant Faun and Satyr.
Probably a copy. Purchased 1879.
208. Madonna and Child.
A study for a triptych in the Antwerp Museum; the paint-
24 JDutch Room.
ing of the flesh tints by the hand of the master, portions
of the painting probably by a pupil.
I'dward W. Hooper.
DAVID VINCEENBOOMs: b. Mechlin, 1578; d. Amsterdam,
1629.
209. A Fight with Death. Sumner Bequest.
PEETER NEEFFS,
Doubtful whether the elder, b. Antwerp, about 1580; d.
after 1656; — or the younger, b. 1620; d. after 1675.
211. Interior of a Church. Mrs. T. O. Richardson.
DUTCH SCHOOL.
212. Evening Landscape. Athenaewm.
NICHOLAS MAAS : b. at Dordrecht, 1632; d. at Amsterdam,
1693.
213. The Jealous Husband.
A middle-aged man, driven by jealousy, leaves his study
and descends the stairs softly to surprise his wife, who
is talking with a young man in a room on the ground
floor. Very fine example of the master; a picture
worthy of his two celebrated compositions of “The
Listener,” one of which is at Buckingham Palace, and
the other in the gallery of the Duke of Wellington,
I.Ondon.
On wood : 0 m. 70 cent. ; width, 0 m. 50 cent.
Gift by subscription, 1890.
ADAM PYNACKER: b. near Delft, 1621; d. Amsterdarn, 1673.
214. Landscape. I3equest of Mrs. M. B. Sigourney.
RogIER VAN DER WEYDEN: b. Tournay, 1399 (?); d. Brus-
sels, 1464.
215. St. Luke, the Evangelist, Drawing the Portrait of the
Madonna. From the collection of the Duc de Durcal.
Giſt of Mr. and Mrs. Henry L. Higginson.
GABRIEL METSU: b. at Leyden, 1615; d. Amsterdam, 1668.
216. The USurer.
In a Sombre room a widow hands a parchment, with Seals
attached, to an old man. A little basket holding papers
Dutch Room. 25
hangs upon her left arm, and in her right hand she holds
a handkerchief with which she dries her tears. The old
man, seated before a table covered with a red-striped
cloth and heaped up with money and precious objects,
wears a red cap. In his left hand he holds a piece of
money, which he was preparing to weigh in the scales
when interrupted by the entrance of the woman. He
remains untouched by the despair which she exhibits.
On the left a green curtain. This picture, of very fine
harmony, broad touch, and great Spirit of observation,
is signed in full, and has been engraved by Leopold
Flameng.
Canvas: height, 0 m. 72 cent. ; width, 0 m. 65 cent.
From a bequest of Sidney Bartlett.
D. VAN SANTVOORT: b. Amsterdam, 1610; d. there, 1680.
217. Portrait of a Lady. Gift of Denman W. Ross.
SIMON DE WLIEGER: b. Rotterdam, ab. 1600; d. Amsterdam.
ab. 1660.
218. Marine. Bequest of Chas. Sumner.
ARTIST UNIXNOWN.
219. John Eliot, the Apostle to the Indians.
Gift of Miss Rose Standish Whiting.
CORNELIS HUYSMAN, of Mechlin: b. Antwerp, 1684; d.
Mechlin, 1727.
220. Landscape. Dr. Henry J. Bigelow.
JACQUES D'ARTHOIS: b. Brussels, bap. 1613; d. after 1684.
221. Landscape with Figures.
Gift of Mrs. Francis Brooks.
DAVID TENIERS: b. at Antwerp, 1610; d. at Brussels, 1694.
222. The Interior of a Butcher's Shop.
In the foreground at the right, a young and pretty girl is
cleaning the lungs and liver of an enormous ox sus-
pended at the centre of the picture. She is seen in
profile turned to the right, and looking in the opposite
direction to watch a dog who is drinking the blood
which has fallen into a pan placed under the ox. The
butcher is passing out by a door in the background on
26
Dutch Room.
the right, where are seen near a fireplace the master of
the house and a servant. The head of the animal is
placed upon a bench. On the left the hide is thrown
in a heap upon the floor, and the tongue is hung upon
the Wall. A wild duck, a cabbage leaf, and some
household utensils complete this strikingly realistic
picture, in which Teniers shows his skill in reprodu-
cing everything with that scrupulous exactitude and
facility of execution, that delicacy, and that power of
harmony which distinguish him in such a high degree.
This vigorous painting — model of finished work — was
etched by the master himself. Signed in full below at
the right. Smith, Catalogue raisonné, Vol. III., p. 397.
No. 517.
On wood : height, 0 m. 67 cent. ; width, 0 m. 90 cent.
From a bequest of Sidney Bartlett.
223. Landscape, with Men before an Inn.
The Turner-Sargent Collection.
224. The Alchemist. “I a Grimoire d’ Hippocrate.”
Mrs. Francis Brook8.
ALBERT CUYP. (See 239.)
225. Portrait of his Daughter. Bequest of Chas. Sumner.
GASPARD NETSCIIER: b. at Heidelberg, 1636; d. 1684.
226. Lady playing a guitar.
The Turner-Sargent Collection.
227. Soap-bubbles.
Two young children are amusing themselves blowing
soap-bubbles from a window, decorated on the outside
with two allegorical caryatides of Freedom and Servi-
tude, and with a bas-relief representing cupids playing.
The little boy, sitting upon the window-seat, holds a
pipe in his hand and watches the ascent of One of the
bubbles. The little girl, inside, holds a shell with the
soapsuds. A curtain, partly lifted, discloses some
pieces of furniture in the room. Canvas: height, 0 m.
48 cent. ; width, 0 m. 40 cent. .
Gift by subscription, 1890.
Dutch Room. 27
JAN v.AN HUYSUM: b. at Amsterdam, 1682; d. there, 1749.
228. Vase of Flowers. .
A vase of sculptured marble, on which are represented
children wrestling, stands in a niche upon a griotte
marble bracket, and holds a superb bunch of roses,
narcissus, hyacinths, primroses, and peonies, with poppy
buds at the top, just ready to open. A rose upon which
rests a butterfly, and a peomy with broken Stalk, hang
over the edge of the vase. Very important work of the
master. Signed in full, on the right, upon the plinth.
Height: 0 m. 98 cent. ; width, 0 m. 79 cent.
From a bequest of Stanton IBlake.
SoLOMON VAN RUISDAEL: b. Haarlem, 1605; d. 1670.
229. The Ford. The Heirs of Mrs. B. D. Greene.
FLEMISH SCHOOL.
230. Portrait of a Man. Mrs. Chas. (J. Perkins.
JAN VAN GOYEN: b. at Leyden, 1596; d. the Hague, 1656.
231. River in Holland, with fishing boats. Mrs. McCalla.
Rosa DI TIvol.I (Philipp Peter Roos), b. Frankfort, 1655;
d. Rome, 1705.
232. Landscape with Goats.
Gift of Edward Wheelwright.
GERMAN SCHOOL.
233. Deposition from the Cross. Bequest of Chas. Sumner.
G. HoNTHORST (Gherardo dalle Notti): b. Utrecht, 1592; d.
1662.
234. Italian Mountebank. Estate of Dr. Henry J. Bigelow.
JACOB VAN RUYSDAEL: b. at Haarlem, 1625; d. there, 1681.
235. Skirt of the Forest. [1121.]
A marsh extends over all the foreground and in the distance
towards the right, enclosed by banks covered with a luxu-
riant vegetation. The forest begins on the left, and the
foliage of the beech, tinged with yellow by the rays of
the sun, detaches itself from the darker foliage of the oak
and alders A man is fishing with a rod, and some ducks
swim in the water filled with snags and weeds. Land-
Scape full of grandeur, and executed in the most skilful
manner. Sigmed with a monogram.
Canvas: height, 0 m. 57 cent. ; width, 0 m. 72 cent.
Gift by subscription, 1890,
28 Dutch Room.
JAcow van RUYSDAEL (1625–1681) and PHILIP Wouw.ER-
MAN (1620–1668). .
236. The Ruined Cottage.
In the centre of the composition, near a tumble-down cot-
tage which rises beside a sandy and rough road, a horse-
man has just alighted. A farm boy, who is looking at a
little dog, holds the horse, which is a dappled gray. Be-
fore the hut, a valet seated on the ground keeps watch
upon another dog and the baggage of the traveller. At
the left, where the road forks, a man and a woman are
resting in a meadow. On the right, a path leads to a
field and to a farm-house surrounded by trees. The sky
is filled with clouds, which seem to presage bad weather,
but the rays of the sun dissipate them here and there,
and strike upon the traveller. The figures are by Philip
Wouwerman. This picture, of high rank in the works
of the artist, figured at the celebrated exhibition of
“Treasures of Art” at Manchester, the label of which
is upon the back. Described with the greatest praise
by Burger in his “Treasures of Art Exhibited at Man-
chester.”
Canvas stretched on wood : height, 0 m. 42 cent. ; Width,
0 m. 51 cent.
From a bequest of Sidney Bartlett.
RUYSDAEL, JACOB WAN (after).
237. Copy of a Landscape by, and figures by Berghem.
Athenoewm.
WILLEM VAN DE WELDE: b. Amsterdam, 1633; d. 1707.
A pupil of Wynants.
238. Sea Piece. Bequest of Stephen H. Perkins.
ALBERT CUYP: b. at Dordrecht, 1605; d. at that place, 1691.
239. Dordrecht.
In a meadow near the Meuse, a brown cow with a white
head is Smelling of some thistles. In the centre, a yellow
cow, and a black one with white spots; beyond are lying
a red cow and two others partly concealed, with a
red cow spotted with white as keynote, turned toward
the river, which is rippled by small boats. In the dis-
Dutch Room. 29
tance, Dordrecht in silhouette, the buildings of which
are seen in proßle against a sky gilded by the rays of
a beautiful sunset. Very fine example of the master; a
painting full of spirit, luminous, and with that free yet
1oaded brush which places Cuyp above all praise.
Wood: height, 0 m, 51 cent. ; width, 0 m. 70 cent.
Athenaeum.
JAMEs KIERINCX: b. Utrecht, 1590; d. Amsterdam, 1646.
He painted landscapes of considerable celebrity, in which
the figures were inserted by Poelenburg. He went to
England in the reign of Charles I., and accompanied
that monarch to Scotland.
240. The Ferry.
Presented by the heirs of the late J. A. Blanchard.
MICHIEL JANSZEN MIEREVELT: b, in Delft, 1567; d. there,
1641.
241. Portrait of Madam van Dorp. Signed and dated 1610.
Purchased from income of a fund bequeathed by Mrs.
James.
ANTHONY WAN DYor: b. Antwerp, 1599; d. London, 1641.
242. Deposition from the Cross.
Mrs. A. B. Blodgett, New York.
Probably of the FLEMISII SCHOOL. Ascribed in Spain to
DoMENICO TEoscopoli, called IL GRECO : b. in
Greece, about 1548 ; d. in Toledo, Spain, 1625. Pupil
Of Titian.
243. Saint Luke. Mrs. Phebe A. Hearst, Washington.
REMBRANDT. (Copy of.)
244. Portrait of himself. Athenaeum.
GEERAARD SEGHERS: b. Antwerp, about 1591; d. there, 1651.
245. The Crucifixion. Bequest of Mrs. Edmund Dwight.
PETER BoëL: b. Antwerp, 1625; d. 1680.
Pupil of Snyders and of De Waal. Worked in Rome, Ge-
neva, and Antwerp. His subjects were generally fruit,
animals, and flowers. Became court painter in France
after the death of Nicasius.
246. Flower Piece. Athenaeum.
JOSEF ISRAELS: b. Gröningen, 1824.
247. Sweet Home. William R. Wilson.
FOURTH PICTURE GALLERY.
GEORGE DE FOREST BRUSH.
250. Mother and Child.
Purchased from the William Wilkins Warren Fund.
DENNIS MILLER BUNKER: b. New York, 1861; d. Boston,
1890.
251. Jessica. Gift by Contribution.
252. Meadow Lands. Gift of Miss Susan Upham.
EDMUND C. TARBELL.
253. Girl with a Teacup. The Artist.
WILTON LOCKWOOD,
254. Portrait of J. B. Tileston. The Artist.
JAMES McNEILL WHISTLER: b. Lowell, 1834; now resident
in Paris.
256. Little Rose. Painted at Lime Regis, England.
Purchased from the Wm. W. Warren Fund.
257. Head of a Blacksmith. Lime Regis, England, 1896.
Purchased from the Wm. W. Warren Fund.
258. Sea-piece. Mrs. Brimmer.
MRS. PHOEBE A. J.ENKS.
259. Portrait of Rev. Charles F. Thwing. The Artist.
JosłF ISRAELS: b. Gröningen, 1824.
260. The Convalescent. Gift of Geo. A. Goddard.
NARCISSE DIAz DE LA PENA: b. Bordeaux, 1808; d. Men-
tone, 1876.
262. Nymph Bathing. Miss Jane Hunt.
263. The Lute Player. Josiah Bradlee.
264. A Turkish Café. Bequest of Thomas G. Appleton,
(30)
Fourth Picture Gallery. 31
THOMAS CouTURE : b. Senlis, 1815; d. Williers le Bel, 1879.
Pupil of Gros and of Delaroche : Chevalier of the Legion
of Honor.
265. A Family Group. (A sketch.) Purchased from the
James Fund.
THEodor E RoussBAU : b. Paris, 1812; d. Barbison, 1867.
266. Landscape: Cows Drinking at a Pool.
Bequest of Thomas G. Appleton.
CoNSTANT TROYON: b. Sèvres, 1810; d. Paris, 1865.
267. Landscape with Sheep.
Bequest of Thomas G. Appleton.
FRANÇors SAINT Bonvin : b. Vaugirard, 1817.
268. The Little Savoyard. Josiah Bradlee.
JEAN LOUIS ERNEST MEISSONIER.
269. The Guardroom. Mrs. H. P. Kidder.
FRANCISCO Josſ, DE GOYA, b. at Fuendetodos, Aragon, Mar.
30, 1746; d. at Bordeaux, April 15, 1848.
270. A Street, Brawl. Dr. W. S. Bigelow.
JEAN LáON GáROME: b. Vesoul, 1824.
271. Greek Slave. Gift of Geo. A. Goddard.
THEODORE ROUSSEAU.
272. Landscape. F. L. Higginson.
ANTOINE WOLLON: b. Lyons, 1838.
273. River with a Bridge. Josvah Bradlee.
SARAH W. WHITMAN.
277. Portrait of Mr. Brimmer. Mrs. Brimmer,
JEAN FRANÇors MILLET. (See 261.)
278. Les Moissonneurs. Mrs. Brimmer.
279. The Knitting Lesson. Mrs. ISrimmer.
280, Washerwomen. Mrs. Brimmer.
281. Rabbits in the Early Morning. Mrs. Brimmer.
W. S. HAZELTINE.
282. A Court Yard in Taormina. Mrs. Brimmer.
*
32 Fourth Picture Gallery.
JoBIN CROME. Norwich, England, 1769–1821.
283. View Over Norwich. Mrs. Brimmer.
JoBN B. JoHNSTON, Boston.
285. The Newborn Calf.
286. Landscape, with Cattle. Gift of Artists of Boston.
WILLIAM M. HUNT (see No. 362).
287. Marguerite. JMrs. Brimmer.
WALTER GAY, Paris.
289. Monk Reading. The Artist.
290. Le Remouleur. Mrs. Brimmer.
JEAN FRANÇois MILLET.
292. Preparing the Ground.
First of a series of four — Sowing, Reaping, and Threshing.
R". L. Higginson.
WINSLow HomeR: b. Boston, 1836.
293. The Fog Warning. From the Otis Norcross Fund.
WILLIAM GRATIAM.
294, A Rainy Day in Venice.
Bequest of Miss Mary S. Felton.
R. H. FULLER: b. Boston.
295. Landscape. Gift of George A. Goddard.
MARY L. MACOMBER.
296. St. Catherine. Gift of the Artist.
CHARLES E. JACQUE.
297. Farmyard — feeding the hens. F. L. Higginson.
FERDINAND WICTOR EUGIME DELACROIx: b. near Paris,
1798; d. Paris, 1863.
298. The Lion Hunt, painted in 1858. Once in the
Borie Collection, Philadelphia.
Purchased from the Sylvanus A. Denio Fund.
299. Pietà.
A MEMORIAL TO MARTIN BRIMMER,
Fourth Picture Gallery. 33
SCIPIONE VANNUTELLI: b. Rome. Contemporary.
300. Au Incroyable. Mrs. Brummer.
ADOLPH SCHREYER: b. 1828, in Frankfort-on-the-Main, d.
in Paris, 1895.
301. The Halt at the Fountain.
Given in memory of Wm. G. Russell, by his chil-
dren, Mrs. Roger N. Allen, Marion Russell, and
Thomas Russell.
WM. BABCOCK.
302. Flowers. Mrs. Frederick Frothingham.
303. Figures. Josiah Bradlee.
304. French Peasant. Mrs. Frederick Frothingham.
ELIHU VEDDER, Rome: b. New York, 1836.
305. The Lair of the Sea Serpent.
Bequest of Thomas G. Appleton.
306. Italian Landscape. Bequest of Chas. Sumner.
307. The Sphinx.
308. The Fisherman and the Djinn. | Mº’s. Brimmer.
309. The Roc's Egg, 1868.
310. Dominican Friars. Miss Jame Hunt
T. H. HOTCEIRISS.
311. Cypresses on Monte Mario, 1868.
312. Cypresses and Convent at San Miniato, Florence.
CHARLES WALTER STETSON.
313. A Pagan Procession. Isaac C. Bates, Providence.
JoBIN LAFARGE: b. New York, 1835. .
314. Halt of the Wise Men. Gift of Edward Hooper.
NARCISSE DIAZ DE LA PENA.
315. Figure. F. L. Higginson.
W. ROELOFS.
316. Landscape, Holland. William R. Wilson.
D. J. BLOMMERS.
317. Dutch Interior. William R. Wilson.
J. J. ENNERING.
318. Landscape. The Artist.
319. Portrait of George Fuller. The Artist,
34 Fourth Picture Gallery.
PREDERIC P. WINTON,
320. Portrait of Mrs. Rufus B. Kinsley.
JMrs. Frederick H. Prince.
MRS, DORA WHEELER KEITH.
321. Portrait of James Russell Lowell. The Artist.
ELIHU VEDDER.
322. Death of Abel. P. L. Higginson.
ABBOTT H. THAYER.
324. Portrait Head of a Girl.
Miss Mary Amory Greene.
ACHILLE FRANÇois OUDINOT: b. at Damigny, 1820; d. 1891.
325. The Ferryman.
Frederick R. Sears, Jr.
MRS, LILLA CABOT PERRY.
326. Portrait of a Lady holding an Orchid. The Artist.
ADELAIDE COLE CHASE.
327. Portrait of Wm. Bliss, The Artist.
I. H. CALIGA.
328. Portrait of George Byron Gordon, the Explorer.
I. H. Caliga.
FIFTH FICTUF E GALLERY.
JEAN BAPTISTE COROT: b. Paris, 1796; d. 1875.
Studied under Michallon and Victor Berlin, and then
passed several years in Italy.
350. Dante and Virgil entering the Infernal Regions.
Gift of Quincy A. Shaw.
351. Forest of Fontainbleau.
Exhibited at the Salon of 1846. The next year Corot was
decorated with the Cross of the Legion of Honor.
Gift of Mrs. S. D. Warren.
352. Landscape after Sunset. Bequest of J. W. Paige.
353. Landscape with Willows. Mrs. Brimmer.
354, Nymphs bathing, — an unfinished landscape.
Gift of James Davis.
355. Près Gisors.
Gift of Mr. and Mrs. Frederick Frothingham.
356. Portrait of the Sculptor, Rude.
Gift of Mrs. S. D. Warren.
357. Landscape with Goats, Sunset.
I'rancis L. Higginson.
ABBOTT H. THAYER : b. Boston, 1849,
358. Formerly called “Caritas.”
This picture was awarded the prize of the William L.
Elkins Fund, at the exhibition of the Philadelphia
Academy, 1895-6. It has since in great measure been
repainted.
Purchased from the Wm. W. Warren Fund
ALEXIS WAVIN.
359. The End of the Afternoon, Antibes.
Edward W. Emerson.
EMILE LAMBINET: b. Versailles, 1815; d. Bougival, 1878.
360. Under the Willows. Bequest of J. W. Paige.
(35)
36 Fifth Picture Gallery.
JOHN W. ALEXANDER.
361. Isabella and the Pot of Basil.
Gift of Ernest W. Longfellow.
WILLIAM M. Hunt: b. Brattleboro, Vt., 1824; d. 1879.
In 1846 entered the Academy of Düsseldorf, and after-
wards studied under Couture and Millet. For three
years exhibited at the Paris Salom. During the last
years of his life his studio was at Boston.
362. Portrait of himself. 1866.
Purchased from the Sylvanus A. Denio Fund.
363. Girl Reading. Gift of Mrs. Chas. W. Dabney.
364. Portrait of himself, painted in Paris, 1849.
Gift of William Babcock.
365. Peasant Girl at Barbizon. Mrs. Brimmer.
366. Head of “Sleep ’’ for Anahita. Miss Jane Hwnt.
367. Twin Lambs. -
368. Portrait of W. H. Gardiner. Edward G. Gardiner.
370. Original Study for “Anahita " (on a tea tray).
Gift of Miss Jane Hunt.
HENRI A. L. LAURENT-DESROUSSEAUX.
373. The Morning Watch. Mrs. Lilla Cabot Perry.
JEAN FRANÇois MILLET. (See 261.)
374. The Shepherdess. Gift of S. D. Warren.
375. Portrait of Himself. Painted about 1842. See
Sensier, La vie de J. F. M., p. 76.
Gift by Contribution.
376. Homestead at Gréville.
Gift of Rev. and Mrs. Frederic Frothingham.
JOHN S. SARGENT.
378. Portrait of the Son of Augustus St. Gaudens.
Mrs. Augustws St. Gawdems.
WINSLow Homº R, b. Boston, 1836.
379. The Lookout — “All 's Well.”
Purchased from the Wm. Wilkins Warren Fund.
Fifth Picture Gallery. 37
WM. MORRIS HUNT.
380. Storm off Manchester. Quincy A. Shaw.
J. L. A. T. GáRICAULT: b. Rouen, 1791; d. Paris, 1824.
381. Study of a Cuirassier, dated 1818.
Gift, of S. D. Warren.
HENRI REGNAULT: b. Paris, 1843; died on the field of
Buzenval, Jan. 19, 1871.
Pupil of Lamothe and Cabanel.
382. Automedon with the Horses of Achilles.
Gift by contribution.
383. Also the sketch for the Automedon.
Gift of Edward Brandus.
LÉON AUGUSTIN LHERMITTE: b. Mont-Saint-Père, 1844.
384. The Supper at Emmaus, or L’Ami des Humbles.
Gift of J. Randolph Coolidge.
FRANÇors LOUIS FRANÇAIS: b. Plombières, 1814.
A pupil of C. Vernet and Gulvin.
385. Wood Interior. Gift of E. D. Boil.
HoRACE VERNET: b. Paris, 1789; d. Paris, 1863.
386. Study for Judith, painted at Rome, 1830.
Gift of Mrs. S. D. Warren.
W. L. PICKNELL: b. Vermont, 1854; d., Marblehead, 1897.
387. Sand Dunes of Essex. Gift to the Museum.
CÉSAR DE COCK, b. in Ghent in 1823.
388. On the River Epte, Gasny, France.
Dr. H. K. Oliver.
JoFIN LESLIE BRECK: b. April 10, 1860; d. Boston, March
18, 1899.
389. Autumn in Giverny. Mrs. Ellen F. Rice.
Moses WIGHT: b. Boston, 1827; d. Paris, 1895.
390. Portrait of Alexander von Humboldt at the age of 82.
Bequest of the Artist.
GEORGE FULLER: b. Deerfield, Mass., 1822; d. Boston, 1884.
391. Arethusa. A gift by contribution.
38 Fifth Picture Gallery.
LUDWIG KNAUs: b. Weisbaden, Oct. 10, 1829.
392. The Bee Farmer. Mrs. E. J. Lel'avor.
EUGENE FROMENTIN, 1820–1876.
393. Khan in Algiers. Bequest of J. W. Paige.
GEORGES MICHEL.
394. Landscape. John H. Sturgis.
THOMAS CouTURE. (See No. 265.)
395. Study for the “Volunteers of 1792.”
Presented by the contribution of several persons.
396. Head of a Bacchante. Gift by contribution.
397. Portrait of Mme. Couture.
Gift Of Mrs. S. D. Warren.
398, Portrait Head. J. T. Coolidge, 3d.
NARCISSE DIAZ DE LA PENA.
399. Wood interior. Bequest of J. W. Paige.
400. Wood interior. Gift by contribution.
GEORGE INNESS: b. Newburgh, N. Y., 1825; d. Scotland,
1894.
402. The Rising Storm. Gift of George Higginson.
ANTON MAUVE: b. Zaandam; d. 1888.
403. Cattle grazing. Mrs. Franklin, Gibbs.
THOMAS RoPINSON: b. Nova Scotia, 1835.
404. Cattle Ploughing. Gift by contribution.
JULES DUPRä: b. at Nantes in 1812.
405. Landscape with Oak Tree8. F. L. Higginson.
406. Landscape — three trees in foreground.
I'. L. Higginson.
CHARLES FRANÇOIs DAUBIGNY.
407. Au bord de la mer. Study. F. L. Higginson.
Láon Bon NAT: b. Bayonne, 1833.
408. Portrait of Henry L. Pierce.
Gift of Charles Frost Aldrich and Talbot Aldrich.
IN THE SOUTHERN CORRIDOR.
HENRI LEROLLE: b. Paris.
Pupil of Lamothe. Medal, first-class, 1880.
410. By the Riverside (1881). Gift of Francis C. Foster.
A photogravure of this painting, by Goupil & Cie, was pub-
lished in the Gallery of Contemporary Art, Gebbie & Co.
H. THOMPSON.
411. A Picardy Idyll. Itoswell Douglas Sawyer.
J. FOXCROFT COLE.
412. A Normandy Pastoral : near Honfleur.
Purchased by contribution.
JoBN S. SARGENT: b. Florence, 1856.
413. El Jaleo. T. Jefferson Coolidge.
WALTER GAY.
414. The Weaver. The Artist.
WM. MORRIS HUNT.
415. The Prodigal Son. Miss Jane Hunt.
J. FOXCROFT COLE.
416. Coast of Normandy looking towards Havre.
Mrs. S. D. Warren.
F. W. LORING.
417. Bridge at Chioggia. The Artist.
JOSEPH LINDON SMITH.
419. Sixteen Water Colors.
Lent by Denman W. Ross.
Five Water Colors. Lent by The Artist.
(39)
40 ASouthern Corridor.
E. DE BLOIS.
421. Winter Evening.
TIZIANO WECELLIO (Ascribed to).
424. Marriage of St. Catherine.
GIov ANNI PAOLO PANNINI. (See 90.)
425. Roman Picture Gallery.
CHARLES SPRAGUE PEARCE.
426. The Widow.
The Artist.
C. C. Felton.
Athenaeum.
The Artist.
RCBERT BARRETT BROWNING: b. England, 1848.
427. Solitude. Gift of Mrs. Bloomfield H. Moore.
WATER COLORS, DRAWINGS, Etc.
DRAWINGS.
WILLIAM MoRRIs HUNT. (See 363.)
Charcoals and Crayons.
Numbers 430A–H were purchased at the Hunt Sale and
430 A.
430 B.
430 C.
430 D.
430 E.
430 F.
430 G.
430 EI.
of the Estate.
The Quarry.
Washing by the River.
Study of Clouds.
Landscape, with Water.
Merrimack River.
River Landscape.
Harbor View.
Sunrise on the St. John’s River.
431 A-C. Miss H. M. Knowlton.
432.
433.
434.
435.
436.
437.
437A,
The Singers. Mrs. Hwnt.
Butterflies.
Twilight at Magnolia.
Baseball.
Horseman in Mexico.
Portrait of Milton H. Sanford.
Gift of Mrs. Geo. W. Long.
Fortune at the Helm. Gift of Miss Jane Hunt.
J. FoxCROFT Col. E: b. Jay, Maine, 1837; d. Boston, 1892.
438.
Thirty-two studies of sheep, goats and dogs.
Gift of Mrs. Adelaide Cole Chase.
DR. WILLIAM RIMMER, Milton, 1816–1879.
439, 440. Twelve Drawings in two frames. Purchased.
Young Lioness.
Young Lion.
Lion and Mouse.
Dante and the Lion.
Head of an Old Lion.
Evening — “Fall of Day.”
The Soothsayer.
Achilles, Iliad, Book IV.
(41)
42 1Water Color Room.
Warriors in Camp.
“Victory.”
A Dead Soldier.
441. Evening — “Fall of Day” (Pastel).
442. Struggle between North and South, 1860.
Gift of Edward C. Cabot,
443. Dedicated to the 54th Regiment Mass. Vols.
TVWºm. Ił. Ware.
J. B. PottER: holder of the “Paris Scholarship.”
444. Portrait Head, drawing.
H. D. MURPHY.
445. Pen and Ink Drawing.
GEORGE DU MAURIER, London: b. 1834; d. 1896.
446. Anniversary of a Wedding Day at a Suburban Villa.
Gift of Denman W. Ro88.
447. “And now let us Talk of Something Else.”
Gift of Denman W. Ro88.
F. A. MORITZ RETZSCH.
448. The Rest in Egypt. Gift of John A. Higginson.
G. STUART NEWTON. (See 140–144.)
Sketches made when a pupil of the Royal Academy, 1817.
449. Samuel Rogers.
450. H. Fuseli.
F. O. C. DARLEY: b. Philadelphia, 1822.
451. Drawing. Gift of Nathan Appleton.
SAMUEL W. B.OWSE.
452. Portrait of a Lady (charcoal).
Bequest of James Russell Lowell.
FRANÇors Louis FRANÇAIS.
453. Douarnenez Finistère, 1868. Gift of E. D. Boit.
India Ink.
DAVID Cox: b. n. Birmingham, 1783; d. 1859.
454. Landscape with Cattle. Sepia. The Athenoewm,
RAPH AEL MENGs: b. Aussig, 1728; d. Rome, 1779.
455 The Entombment. A very careful drawing in black
and white crayon, 4 feet by 5 feet 2 inches,
Water Color Room. - 43
Mengs was at work upon this drawing at the time
of his death, as the inscription records.
Mrs. Geo H. Chickering.
PAUL DELAROCHE: b. Paris, 1797; d. Paris, 1856.
456. Christ the Hope and Support of the Afflicted. A
Cartoon. See Isaiah, ch. 41, v. 13. “For I, the
Lord thy God, will hold thy right hand, saying
unto thee, Fear not ; I will help thee.”
The first drawing of this composition was made at Eisenach
in 1847, and given by the artist to the Duchess of Orleans. In
1851 Delaroche painted a sketch from a tracing of the original
drawing (6 x 8 inches), which was purchased at the sale of his
works at Paris in 1857 for $1,550, and is now in the Belmont
Gallery at New York. At the time of his death, Delaroche had
begun to put the composition upon canvas, figures life-size,
Property of the Athenaeum.
JEAN FRANÇois MILLET. (See 261.)
457–58. Twenty-one Drawings, Water Colors, etc., in two
frames. Gift of Martin Brimmer.
Pen and Ink.
Landscape, with Farm Buildings.
Landscape, “près Cusset.”
Landscape, “Vichy, 12 juin 1886.”
Landscape, with Culvert.
Water Color.
Landscape, with Rocky Stream.
Landscape, with Gate. Vichy.
Landscape — Road “près Cusset.”
Landscape, with Pool.
Landscape, with Church.
Crayon.
Landscape, – trees in foreground ; in background
figures bearing fagots.
Shepherdess and Sheep grazing.
Shepherd Girl knitting.
Water-Carrier.
Woman feeding a Child in her lap.
44 Water Color Room.
Woman churning.
Women bringing fagots from a wood.
Twilight— Going Home.
Gleaners.
The Sower.
Man with Wheelbarrow.
Pastel.
459. Boy and Girl with Bird’s Nest before a Figure of Pan.
Gift of Martin Brimmer.
460. Landscape. (Water color.) Gift of Rev. Frederick
461. gº
: Three Drawings. i. Mrs. Frothing-
464. Woman Tending a Cow.
465 Mrs. Frederick Frothingham.
9.
466. } water Color Studies. Mrs. Frederick Frothingham.
WASHINGTON ALLSTON. (See 101.)
Sketches, unfinished oils, studies in sepia, chalk, etc.
470. Storm at Sea, 1818. (Water color.)
The ship “Galen,” on which the artist returned from
Europe. Drawn on shipboard after the 8torm.
Mr. S. Franklin Deacter.
471. Tracings from the original picture of Jacob's
472. } Dream; at Petworth Castle.
473. Uriel in the Sun. Tracing from the picture at
Strafford House.
474. Una. Tracing from the outline of the painting
owned by Mrs. Hatch, Medford.
Sketches, unfinished oils, etc.
475. A Sibyl. Outline in chalk. Life size.
476. Ship at Sea. Sketch in chalk,
478. Titania’s Court. An outline.
479. “A Troubadour 7” Girl in male costume.
480. Heliodorus driven from the Temple. Sketch in chalk.
The above with a large number of drawings by Allston de-
posited with the Museum by his heirs,
TWater Color Room. 45
481. Christ healing the Sick.
482. First Study for “Christ healing the Sick.”
483. The Prophetess: an Outline.
John SINGLETON COPLEY. (See No. 137–151.)
484. Study for a portrait of a man. Athenaeum.
485, Original sketch for the portrait of Lord Mansfield.
Athenaeum.
486. Original unfinished sketch for the Death of Chatham.
Copley Amory.
487. Study for a painting. Death of Major Pier8on.
Athenaeum.
488. Study for a portrait of a lady. Athenaeum.
489. Study, Daughter of George III.
Miss Mary Amory Greene.
489A. Study of a Hand. Edward I/inzee Amory.
J. M. W. TURNER; b. London, 1775; d. there, 1851.
490. Two pencil drawings — Castle in Scotland.
491. § Denman W. Boss.
492. On the Rhine. (Water Color.) Denman W. Ross.
493. Sketch. (Water Color.) Denman W. Ro88.
JOHN RUSKIN.
494. Drawing of the Emperor's Palace, Berlin.
Gift of D. W. Ross.
495. One of the Towers of Fribourg. Pon and Ink, with
Color. Mrs. John H. Sturgis.
496. Study of Leaves. Drawing. Mrs. John H. Sturgis.
SAMUEL PROUT: b. Plymouth, Eng., 1783; d. Camberwell.
1852.
497. A Gothic Portal. Denman W. Ross.
498. Strasburg. * IDenman W. Ro88.
PAUL VERONESE.
499. The Dying Cardinal. Turner-Sargent Collection.
PASTELS.
CoNSTANT TROYon: b. Sèvres, 1810; d. 1865.
504. Oxen Ploughing. Bequest of Thomas G. Appleton.
JEAN FRANÇois MILLET.
505. The Buckwheat Harvest.
506. The Coming Storm. Mrs. Brimmer,
46 Water Color Room.
507. Shepherdess Mrs. Brimmer.
508. Killing the Hog. Gift of Mrs. S. D. Warren.
LOUIS KRONBERG.
509. Head.
510. Getting Ready for the Ballet. The Artist.
AFTER FRANCESCO BARTOLOZZI. 1730–1813.
511. Amorini, from the IFarnesina.
Chas. O. Perkins.
ANNA. E. KLUMPEE.
512. Gran’mère Barbizon. The Artist.
WATER COLORS.
|EDWARD D. BOIT.
514. Place de l’Opera. } Gift of the
515. Place de l’Etoile, Arc de Triomphe. Artist.
ARMAND THEOPHILE CASSAGNE.
516. Le dormoir du Nid de l’Aigle.
517. Le Charlemagne et le Roland.
Gift of Mrs. Caroline Tappan.
WINSLow HoMER, b. Boston, 1836.
518. Leaping Trout.
519. Indian Camp. Purchased from the Wm.
520. Trout Fishing. Wilkins Warren Fund. .
521. Quananiche Fishing.
JACOB WAGNER: b. Bavaria, 1852; d. 1898; resident of
Dedham, Mass.
522. Neponset River, Milton.
Gift of Augustus P. Loring.
EDWARD BURNE-JONES: b. Birmingham, 1833; d. 1898.
523. Le Chant d’Amour.
Helas, je Sais un chant d'Amour,
Triste ou gai tour à tour.
JOHN LAFARGE. (See No. 314.)
524. Sacred Font in the temple of Iyemitsu, Nikko.
Mrs. Brimmer.
Water Color Room. 47
525. Figure of a Girl with a torch; study for a memorial
window.
526. Old farm house, Hazard farm, Newport. Afternoon
Sunlight. Mrs. Brimmer.
GEORGE FRIPP, R. W. S., London.
527. Glen Slighan, Skye.
Purchased at the Exhibition of English Water Colors, 1885.
JOHN CONSTABLE.
528. Borrowdale, Morning. 1806.
Gift of Denman W. Ro88.
JOHN VARLEY.
529. Snowdon from Capel Curig. Sidney A. Kimber.
ARTHUR CROFT, England.
530. Chalets at Weyres, Sierre. The Artist.
WILLIAM HUNT, England, 1790–1864.
531. Sketch of a Boy. Denman W. Ross.
E. BOESSLER FRANZ.
532. Cypresses of the Villa d’Este, Tivoli, Rome.
Purchased at the Exhibition of English Water Colors, 1885
A. TFERLINK.
533. Landscape with Animals. Bequest of William Minot.
PETER DE WINT: b. at Stone, Staffordshire, Jan. 21, 1784;
d. London, June 30, 1849.
534. Mountains in Wales. Dr. W. S. Bigelow,
JACQUES MARIs, The Hague.
535. Teaching the Dog.
Purchased from the Abbott Lawrence Fund.
WALTER GAY.
536. Industry. Josiah Bradlee.
MRS. MARY E. GODDARD-WILLIAMS.
587. Staircase of the Bargello, Florence. The Artist,
538. Choir of Santa Maria Novella, Florence. The Artist.
ARTHUR IROTCH.
539. The Bridge and Citadel of Würzburg. The Artist.
LOUIS K. HARLow.
540. The Wood-chopper. The Artist.
48 Water Color Room.
JOHN W. BuſNNEY.
541. Choir and Apse of San Vitale, Ravenna, 1874.
Bequest of Stephen H. Perkins.
CAMILLE PISSARRo: b. in Normandy.
542. Shepherd in the Rain. Mrs. Lilla Cabot Perry.
543. Spring, Regent’s Park, London.
Mrs. Lilla Cabot Perry.
Anton MAUVE : b. Zaandam; d. 1888.
544. A Country Road. Josiah Bradlee.
545. The Sheepfold. Josiah Bradlee.
W. Roe Lofs: b. Amsterdam, 1822.
546. On a Canal, Holland. Miss C. L. W. French.
WILLIAM BLAKE: b. London, 1757; d. 1828.
Nine illustrations of Milton’s Paradise Lost.
550. “Father! thy word is passed; man shall find grace.”
Paradise Lost, Book iii., line 227.
551. The Creation of Eve. Book viii., line 470.
552. Satan watching the caresses of Adam and Eve.
Book iv., line 366.
553. Adam and Eve sleeping. Satan, in the shape of a
toad, close to the woman’s ear. Book iv., line 800.
554. Raphael, with Adam and Eve, Book v., line 443.
555. Lucifer and the Rebel-angels hurled into the abyss.
Book vi., line 864.
556. Eve eating the Apple. Book ix., line 791.
557. Adam and Eve taken by Michael out of Eden.
1300k, xii., line 632.
558. The Crucifixion, foretold by Michael to Adam while
Eve lies sleeping. Book xii., line 415.
Water Color Room. 49
Nine illustrations of the Bible. 1805–1810?
559. Plagues of Egypt. Famine. Eacodus ix., x.
560. { % 4 4 Plague. Eacodus ix., x.
561. 44 & 4 Death of the First-born.
Eacodus xii.
562. Moses erecting the Brazen Serpent. Numbers xxi.
563. Hell receiving the King of Babylon. Isaiah xiv. 9.
564. The Whirlwind in Ezekiel’s Vision. Bºzekiel i.
565. Lavid encountering Goliath. 1 Samuel xvii.
566. The Woman taken in Adultery. John viii. 8, 9.
567. Abraham about to sacrifice Isaac. Genesis xxii.
Eight illustrations to Comus.
The Lady lost in the wood; the Attendant Spirit is
disappearing on the right; while, on the left, Comus
accosts her disguised as a simple Villager.
Tomus, verse 92 and verse 294.
The Lady singing, seated on a bank; Comus and his
rabble-rout appearing on the hill behind.
569. 4 Werge 229.
The Attendant Spirit appearing as Thyrsis between
the two brothers. Verse 489.
“Two such I saw.” Comus, disguised as a shep-
herd, looking on the two brothers clambering up
the hill. Verse 290.
\.
ſ The Banquet. Comus standing in front with goblet
and wand in hand; the Lady sitting in the en-
chanted chair; the monstrous rabble seated around
the table. Werse 810.
The brothers rush in, with drawn swords, to save
their sister; Comus and his rout disappearing.
570. < Verge 813.
Sabrina rises, attended by water-nymphs. Verse 888.
“Noble Lord and Lady bright,
I have brought ye new delight.”
Return of the sister and brothers to their parents.
Werge 965,
571. Christ Blessing. (In tempera.)
James Jackson Jarves.
50 Water Color: Room.
J. LINDON SMITH.
572. The Arno at Pisa. Denman W. Ross.
573. Narcissus, from a bronze in the Naples Museum.
574. Andrea Loredan, from a bronze in Venice.
575. Head of a Cherub. Denman W. Ross.
576. Shield with Angels, Ducal Palace, Venice.
Denman W. Ross.
576A. The Duomo – Lucca. Denman W. Ross.
577. Madonna and Child. Fresco in the Baptistry at
Parma. The Artist.
WALTER CRANE, London.
578. Puss in Boots. Seven drawings.
579. Flora's Feast. Three drawings.
Gift of Mrs. John L. Gardner.
THOMAS BEWICK.
580. Birds. I)enman W. Ross.
CHINESE.
581. Three landscapes: painted at Canton or in the
Rwang Tung province.
Gift of Wm. Dolan of Hongkong.
MISS LAURA C. HILLS.
582. The Gold Fish. The Artist.
583. St. Elizabeth. The Artist.
584. Portrait of Beatrice Herford. The Artist.
585. Portrait of Alice Brown. The Artist.
586. Portrait of Mrs. Ellwood Hendricks. The Artist.
ROSS TURNER.
587. The Falcon. The Artist.
588. A Colonial Relic. The Artist.
589. Casa Blanco, Havana, Cuba. The Artist.
MINIATURES.
“Peint par FANEUIL DE LA CROIx son fils, 1731.”
Member of the Faneuil Family. Miss M. A. Jones.
GEORGE L. SAUNDERS.
Portraits painted about 1834. Athenoewm.
MISS CAROLINE SCHELKY.
Alexander Reinagle, of Philadelphia. 1814.
Mrs. Franklin S. Phelps.
After painting by Domenichino. 1818.
Mrs. Franklin S. Phelps.
ALVAN CLARK.
Mrs. Henry Smith (Zebiah May Gore). 1836.
Mrs. Nelsom V. Titus.
ANNA. C. PEALE. 1821.
Portrait of Mrs. John Baxter. Miss E. H. Bailey.
HENRY GERHAIRD FETTE.
F. C. Gröger, artist. M. M. Fette.
Baron von Cronstern, Jr. M. M. Fette.
MISS S. L. ALLEN.
Thorwaldsen.
After a portrait in oil.
Gift of Mrs. Charles C. Little.
Phillipe de Champagne.
After the portrait in the Louvre, by himself.
Gift of Mrs. Charles C. Little.
FREDERICK MILLET.
Napoleon I. Bought in Paris, 1852, at the sale of
Marshal Soult. J. T. Coolidge, Jr.
JUDLIN. About 1796.
Jesse Smith. Miss Sarah E. Smith.
(51)
52 Miniatures.
UNKNOWN.
Portrait of Miss Anna E. Sturgis. Painted in France
about 1824.
Rev. John Clarke. Pastor of the First Church of
Boston, 1778–1798.
The First Church of Boston.
WASHINGTON ALLSTON.
John Harris, of Cambridge. Painted when class-
mates at college.
Bequest of Miss Charlotte Harris.
UNENOWN.
Portrait of a Lady. Mrs. D. P. Kimball.
Portrait of a Lady. Mº’s. D. P. Kimball.
EDWARD G. MALBONE : b. Newport, R. I., August, 1777;
d. Savannah, Ga., May 7, 1807.
Mrs. James Carter.
Bequest of Mrs. James W. Sever.
MISS SARAH GOODRIDGE.
After a painting by Stuart.
Russell Sturgis. Gift of Mrs. Henry P. Sturgis.
SUNQUA. CANTON, CHINA. 1852.
Henry P. Sturgis. Gift of Mrs. Henry P. Sturgis.
UNRNOWN.
Marie Antoinette. Miss Helen Griggs.
R. W. Moffat. Itobert T. Moffat.
Doyle.
S. R. C. Moffat. Robert T. Moffat.
UNIRNOWN.
Miss Caroline Gore (afterwards Mrs. Charles O.
Rogers). Mrs. Nelsom, V. Titus.
E. G. MALBONE. (1777–1807.)
Portrait of Washington Allston. Purchased from
income of the Otis Norcross fund.
AFTER GERARD DOUW.
I)er Federschneider. Miss M. M. Fetter,
Minºatures. 53
UNKNOWN.
Miniature paintings of Cape Town, Africa. On
leaves of the Silver Tree. John A. Welsh.
BYZANTINE.
Miniature on Wood. Miss Helen Griggs.
MISS SARAH GOODRIDGE.
Portrait of herself.
Portrait of Gilbert Stuart.
Gift Of Miss H. S. Walker.
JoBN SUNGLETON COPLEY. (1737–1815).
S. Salisbury. Miss Elizabeth Greene.
UNKNOWN.
D. B. (Dr. Burrage or D. Burgess?) Thomas Kenny.
MISS JANE HUNT.
Napoleon. Original by Isabey. The Artist.
Madame Culaincourt. A copy. The Artist.
The following are the gift of NATHAN APPLETON:
JEAN Louis ERNEST MEISSONIER : b. Iyons, 1815,
Prince Napoleon (Plon-Plon).
UNKNOWN.
Madame Sarolta.
Miss Coffin, sister of D. N. Coffin, of Portland, Me.
Angelica Kauffman(?).
Josephine de Beauharnais, Empress of France.
OIL FAINTINGS.
IN THE PORCELAIN ROOM.
CARLO CIGNANI.
600. Hagar and Ishmael. Athenaeum.
FRANCESCO ZUCCARELLI, Tuscany, 1702, 1788.
601. Landscape. Athenaeum.
MICHAEL AMERIGA ANGELo DA CARAVAGGIO, 1569, 1609,
Rome (attributed to).
602. Itinerant Musicians. Bequest of Chas. Sumner.
PIETRO DA CoRTONA: b. Cortona, 1596; d. Rome, 1669.
603. Hercules and Omphale. J. O. Hooker.
UNKNOWN.
604. Fruit, Flowers, and Still Life. Athenſeum.
ALVAN FISHER, Boston.
605. Landscape, dated, Boston, 1828. Athenaeum.
LUCA GIORDANo. Naples, 1632–1705.
Pupil of Pietro da Cortona.
606. The Golden Age. Bought from the Council Cham-
ber, Florence. Athenſeum.
Gift to the Athenaeum, from Geo. W. Wales.
IN THE LAVVFENCE FOOM.
PANDoLFo RESCHI: b. Dantsic, 1643.
Pupil of Jacopo Borgognone.
607. Landscape with Huntsmen.
Gift of Francis Brooks.
608. Landscape with Fishermen.
Bequest of Mrs. Peter C. Brooks,
(54)
Lower Hall. 55
609. Landscape with Figures on a Road.
Bequest of Mrs. Peter C. Brooks.
GASPAR Poussin, Rome, 1613–1675 (attributed to).
Pupil of Niccolo Poussin.
609A. Landscape. Athenaeum.
KARE1, DU JARDIN: b. Amsterdam, 1640; d. 1678 (attrib-
uted to).
Pupil of Nicholas Berghem.
610. Figures at a Fountain. Athenaeum.
JoBN VAN Zoon: b. Antwerp, about 1650; d. 1700.
611–12. Still Life. Bequest of Charles Sumner.
IN THE LOVVER HALL.
JULES JOYANT.
613. Grand Canal, Venice.
CARLO MARCO.
614. Landscape. Mrs. Horatio Greenough.
CHARLES SPRAGUE PEARCE.
616. A Village Funeral in Brittany. The Artist.
IN THE NORTH HALL.
CLAUDE MONET.
618. Les Eaux Tremblantes. Miss Abby A. Bradley.
619. La Falaise des Dalles. Denman W. Ro83.
620. La Petite Creuse. Denſman W. Ross.
621. Marine. Denman W. Ro88.
622. Le Pré à Giverny. Dr. A. T. Cabot.
FRITZ TFIANLOW.
624. Evening in Venice. Dr. A. T. Cabot.
J. C. CAZIN.
625. The Cottages. William R. Wilson.
H. LEROLLE.
626. The Harvest Moon. William R. Wilson.
SCULPTUF.E.
IN THE HALL. — SECON D F LOO R.
MISS ANNE WHITNEY.
1. Le Modèle. Bust in bronze.
Gift of Mrs. Maria W. Chapman.
JOHN GIBSON.
2. Love disguised as a shepherd.
Bequest of Thos. G. Appleton.
NAPOLKON JACQUES.
3. Bronze Bust of Peter the Great, Emperor of Russia.
AUGUSTU's SAINT-GAUDENs, New York.
Pupil of Jouffroy.
4. Bronze Medallion, Bastien-LePage, Paris, 1880.
Purchased at the Ea:hibition of 1880.
GIULIO MONTEvKRDE, Genoa.
5. The first inspirations of Columbus.
Gift of A. P. Chamberlain.
HORATIO GREENOUGII.
6. The Guardian Angel. Lawrence Curtis.
7. Castor and Pollux, a relief.
8. Bust of Napoleon. Bequest of Mrs. Greenough.
A. FALGUIłRE.
9. Diane Chassereuse. Dr. Cha& G. Weld.
RICHARD S. GREENOUGH.
10. Carthaginian Girl. Athenaeum.
Gift of Miss Joy.
AUGUSTE RODIN.
21. The Flight of Love. Jas. F. Sutton.
(56)
Upper Hall. 57
AE. APOLLONI.
12. Bust of Father Grafton.
BRONZE MASK OF NAPOLEON.
13. From a cast taken by Dr. F. Antom marchi immedi-
ately after death. Athenoewm.
GIOVANNI LORENZO BERNINI: b. Naples, 1598; d. 1680.
14. Figure of Christ bound to a column.
L. TASSI.
15. Bust of Humbert I., King of Italy. 1883.
Gift of his Majesty to the City of Boston.
BARON HENRI DE TRIQUETI, France, 1804–1874.
*. Studied with Hersent.
16. Dante and Virgil, half-figures in bronze.
Gift of Mrs. Edward Lee Childe.
|UNKNOWN.
17. Bust of Raphael. } Athenaewm.
18. Bust of Rubens. Gift of Thos. H. Perkins.
AUGUSTUS ST. GAUDENS.
19. Relief in bronze of George Hollingsworth, late
teacher of drawing in the Lowell Institute.
Gift of his pupils.
GIOVANNI DUPRă.
20. Dante. Ideal figure executed in 1845.
Mrs. O. O. Perkins.
HENRY HUDSON KITSON.
22. La Musique de la Mer (bronze). The Artist.
HERBERT ADAMS,
23. Linda. The Artist.
THOMAS R. GOULD.
24. Imogen. Mrs. Gowld.
58 Iower Hall.
IN THE LOVVER HALL.
THOMAS G. CRAWFor D: b. New York, 1814; d. 1857.
25. Orpheus. Athenoewm.
26. Hebe and Ganymede. Gift of Charles C. Perkins.
27. Bust of Charles Sumner. Sumner bequest.
28. Venus as Shepherdess. (A Relief after Thorwaldsen.)
Bequest of Miss Ida Deacon.
HORATIO GREENOUGII: b. Boston, 1805; d. 1852.
29. Bust of Hamilton. Bequest of Mrs. Greenough.
30. Cupid, bound. Bequest of Mrs. Greenough.
HIRAM Powº Rs: b. Vermont, 1805; d. 1873.
31. The Greek Slave. Charles F. Bowmd, New York.
32. Faith (a bust). From Stanton Blake.
DR. WILLIAM RIMMER: d. Milton, 1879.
33. Head of St. Stephen.
The head was cut from a block of granite, without pre-
vious modelling.
Bequest of Stephen H. Perkins.
WILLIAM W. STORY, Rome: b. Salem, 1819.
34. Venus (a statuette).
35. Bacchus (a statuette).
Gift of Mrs. Russell Sturgis, London.
W. MATTHIAE ; pupil of Thorwaldsen.
36. Bust of Beethoven with decorative bracket.
(Jupiter Tonans.) Gift of Mrs. W. A. Tappan.
MODERN COPY.
37. The Venus de Medici.
The original is in the gallery of the Uffizi at Florence.
Athenaewm.
w
|N THE ROOM OF THE ITALIAN RENAISSANCE,
FRANK DUVENECK, Florence.
38. Recumbent Figure.
AFTISTS FEPFESENTED.
Alexander, Francis, 181, 182
Alexander, John W., 361
Allori, Christofano, 92
Allston, Washington, 101–124
— Sketches, unfinished oils,
470–483
etc.,
d’Arthois, Jacques, 221
Babcock, Wm., 302–304
Barbieri, Gio. Francesco, 50, 51
Bartolozzi, F. (after), 511
Bassano, 27
Bewick, T., 580
Blackburn, J. B., 145
Blake, Wm., 550–571
Blommers, B. J., 317
Boël, Peter, 246
Boit, E. D., b14, 515
Bonington, R. P., 86, 87
Bonnat, L. B 408
Bonvin, François Saint, 268
Botticelli, Sandro, 52
Boucher, François. 42, 43
Breck, John Leslie, 389
Browning, Robert Barrett, 427
Brush, George de Forest, 250
Bunker, D. M., 51, 252
Bunney, J. W., 541
Burne-Jones, Sir E., b23
Byzantine School, 9, 10
Caliga, I. H., 328
Caravaggio, M. A. A. da, 602
Caravaggio, P. da,
Cassagne, A. T., 516, 517
Cazin, J. C., 625
Chardin, J. B. S., 37, 38, 45
Chase, Adelaide Cole, 327
Chinese, 581
Cignani, Carlo, 600
Cima da Conegliano, 49
Cook, César dé, 388
Cole, J. Foxoroft, 412, 416, 438
Constable, John, 75–77, 528
Copley, John Singleton,
147–165, 484-489A
Corot, Jean Baptiste, 350–357
Cortona, Pietro da, 603
Cotman, T. S., 88
Couture, Thomas, 265, 395–398
Cox, David, 454
Crane, Walter 578, 579
Croft, A., 530
Crome, John, 283
Cuyp, Albert, 225, 230
Darley, F. O. C., 451
Daubigny, C. François, 407
David, L., 36
De Blois, B., 421
De Heem, John David, 201
Delacroix, F. W. E., 298, 299
Delaroche, Paul, 456
Diaz de la Pena, Narcisse,
262—264, 315, 399, 400
Donnino, A. di, 55
Doré, G. P., 97
Du Maurier, George, 446, 447
Dupré, J., 405, 406
Duplessis, J. S., 35
Dutch School, 212
Enneking, J. J., 318, 319
Etty, W., 89
Fisher, Alvan, 605
Flemish School, 230, 243
Florentine School, 6, 23
Franz, E. R., 532
Français, F. Louis, 385, 453
Fripp, George, 527
Fromentin, Ş. y 393
Fuller, George, 391
Fuller, R. H., 295
Garofalo, Carlo 14
Gay, Walter, 289 291, 414, 536
German School, 233
Géricault, J. L. A. T., 381
Gérome, Jean Léon, 271
Giordano, Luca, , 98, 606
Giotto, School of, 4
Goddard-Williams, Mary E
537, 538
Goya, F. J. de, 270
Graham, Wm., 294
Greuze, Jean Baptiste, 32–34
Grimani, 62
Guercino, see Barbieri.
Guido, see Reni.
Harlow, L. K.,
Hazeltine, W. S.,
540
282
(59)
60
Artists Represented.
Moroni, G. B.,
Murillo (ascribed to),
Murphy, H. D.,
Neagle, John,
Neeffs, P.,
Netscher, Gaspard,
47, 47A
91
445
146
211
226, 227
Nowton, G. Stuart, 140–144,449, *
Nigro, Gaspar,
Opie, John,
Oudinot, A.,
Page, William,
Palma, Vecchio,
Pannini, Giovanni Paolo,
Peale, Charles W.,
Peale, Itembrandt,
Pearce, C. S.,
Pellegrino, T. di,
Perry, Mrs. L. C.,
Perugino, School of,
Pickersgill, F. R.,
Picknell, W. L.,
Pinturicchio, B.,
Pissarro, C.,
Potter, J. B.,
Poussin, Gaspar,
Prout, §.,
Pulizo, Domenico,
Pynacker, A.,
Iłaoburn, Sir Henry,
Raphael, School of,
Regnault, Henri,
Rembrandt van Ryn,
Rembrandt, School of,
Rembrandt, Copy of,
Reni, Guido,
Reschi, Pandolfo,
Retzsch, F. A. M.,
Reynolds, Sir Joshua,
Rigaud, Hyacinthe,
Rimmer, Dr. William,
Robinson, T.,
Roelofs, W.,
Romney, George,
Rosa, Salvator,
Rotch, A.,
Rousseau, Theodore,
Rowse, S. W.,
Rubens, P. P.,
Ruskin, John,
Russian School,
Ruysdael, J. van,
Ruysdael, J. van (copy),
Ruysdael, Solomon van,
Santerre, Jean Baptiste,
Sargent, John S.,
Sarto, Andrea del,
Scheffer, Ary,
82
325
96, 180
11
90, 425
185
183, 184
426, 616
19
326
15
89A
387
24
542, 543
444
609A
497, 498
22
214
81
20
382, 383
195, 196
197
244
60, 61
607. 609
494–496
7, 7A
235, 236
237
229
Healy, G. P. A., 186–188
Hills, Laura C., 582–586
Holbein, Hans(attrib'd to), 204,205
Homer, Winslow, 293, 379, 518–521
Honthorst, G.,
Hotchkiss, T. H.,
Hué, J. F., 99
Hunt, William, 531
Hunt, Wm. M.,
287, 362–370, 380, 415, 430A–437A
Huysman, Cornelis, 22ſ)
Huysum, Jan van, 228
Inness, G., 402
Israels, Josef, 247, 200
It:vlian School, 16, 58
Jacobsz, Hubert, (52
Jacque, Charles E., 297
Jardin, Karel du(attributed to),610
Jenks, Mrs. Phoebe A., 259
Johnston, John B., 285, 286
613
198
321
240
512
392
Joyant, Jules,
ECalf, Willem,
Keith, Dora. Wheeler,
Ikierincx, James,
Klumpke, Anna E.,
Knaus, Ludwig,
Kneller, Sir Godfrey, 85
Kronberg, Iu, B09, 510
La Farge, John, 314, 524–526
Lambinet, Emile, 360
Lanini, B., 28
Laurent-Desrousseaux, H. A. %
Lawrence, Sir Thomas, 79
Lely, Sir Peter, 73, 83
Lorolle, Henri, 410, 626
Leslie, C. R., 84
Lhormitte, L., 384
Lockwood, Wilton,
Loring, F. W.
fluini"(ascribed to),
Maas, Nicholas, 213
Macomber, Mary L., 296
Maratti, Carlo, 93
Marco, Carlo, ($14
Maris, J., 535
Massari, Illucio, (53
Mauve, A., 403, 544, 545
Meissonier, J. L. E., 269
Mengs, R, 45.5
Messina, A. da, 21
Methu, Gabriel, 216
Michel, G., 394
Mierevelt, M. J., 241
Millet, Jean François, 278-281,
292, 374-376, 457-466, 505-508
Monet, Claude, 618-022
41
378, 413
25
95
Artists Represented.
Schreyer, Adolph, 301 || Van Goyen, Jan, 231
Seghers, G., 245 Vannutelli, S., 300
Sienese School, 1, 2, 3 || Van Santvoort, D. 217
Smibort, John, 168, 169 || Varley, John, 529
Smith, J. L., 419, 572-577 | Vavin, Alexis, 359
Snyders, Francis, 6 Vedder, E., 305-310, 322
Solario, A. del, 55 | Velde, Adrien Van der, 203
Spanish School, 53, 54, 64, 91 | Velde, Willem van de, 238
Stetson, C. W., 313 | Verelst, Simon, 199
Stuart, Gilbert, 126-139| Verestehagin, W., 94
Sully, T., 177 | Vernet, H., 386
Tarbell, E. C. 250 | Vernet, J., 39
Teerlink, A., 533 Veronese, P., 499
Temiers, David, 222–224| Vinckenbooms, David, 209
Teoscopoli, D., 243 || Vinton, F. P., , 320
Turner, Ross, 587-589 || Vite, T. della, 18
Thayer, Abbott H., 324, 358 Vivarini, Bartolomèo, 12
Thompson, H., 411 || Vlieger, S. de, 218
Tiepolo, G., 57 || Wollon, A 273
Tintoretto, 29–31 Voltri, Nicolaus da, §
— Ascribed to, 48 Wagner, Jacob, 522
Tivoli, Rosa di, 232 Walker, F., 125
Tiziano, V. da C. (after), 13 West, B., 178
Tiziano, V. da C. (ascribed to), 424 | Whistler, J. McNeil, 256–258
Troyon, Constant, 267, 504 || Whitman, Mrs., 277
Trumbull, John, 172–175 | Wight, Moses, 390
Turner, J. M. W., 68, 490–493 Willard, W., 191
Thaulow, Fritz, 624 || Wilson, Richard, 78
Tuscan School, 65 | Wint, Peter de, 534
Unknown, 8, 66, 74, 219, 604 || Wouwerman, Philip, 236
2
Van Deelan, D.,
Van Dyck, A.,
00
51, 242
Van Dyck (ascribed to), 67
Van der Weyden, R.,
215
Zoon, J. van,
Zuccarelli, F.,
Zuccaro (ascribed to)
611, 612
601
66
AFTISTS FEPRESENTED AMONG THE
MINIATU FES.
The miniatures here noted are in the Water Color Room.
Allen, Miss S. T.,
Allston, Washington,
Boze, G.,
Byzantine,
Clark, Alvan,
Coploy, J. S.,
Cotet,
Douw, Gerard (after),
Doyle,
Faneuil, de la Croix,
Fette, Henry Gerhard,
Goodridge,
Hunt, Miss Jane,
Miss Sarah,
Indian,
Judlin,
Malbone, Edward G.,
Meissonier, Jean L. E.,
Millet, Frederick,
M. W.
• v v - )
Peale, Anna C.,
Russian,
Saunders, George L.,
Schelky, Miss ūrīāle,
Sunqua, Canton, China,
Virgée, Marie L. E.,
62 Artists Represented.
SCULPTORS.
Adams, Herbert, 23 || Kitson, H. H., 22
Antom marchi, Dr. F., 13 || Matthiae, W., 36
Apolloni, A., 12 || Monteverde, G., 5
Bernini, Giovanni Lorenzo, 14 || Powers, EI., 31, 32
Crawford, T. G., 25–28 || Rimmer, W., 33
Dupré, G., 20 || Rodin, Auguste, 11
Duveneck, F., 38 || Saint-Gaudens, Augustus, 4, 19
Falguière, A., 9 || Story, W. W., 34, 35
Gibson, J., 2 | Tassi, L., 15
Gould, Thomas R., 24 || Triqueti, Baron Henri de, 16
Greenough, Horatio, 6, 7, 8, 29, 30 | Unknown, 17, 18
Greenough, Richard S., 10 | Whitney, Miss Anne, 1
Jacques, Napoléon, 3
PRINT DEPARTMENT.
During the summer of 1899 Rembrandt’s Etchings and
Dry-points will remain on exhibition in the First and Sec-
ond Print Rooms. In the Third Print Room, the most
important of the New Accessions, mostly gifts, will be dis-
played. A number of special exhibitions are in course of
preparation, dealing with a variety of subjects, such as the
History of Color-printing, principally illustrated by the col-
lection of Mrs. Kingsmill Marrs; the Iconography of Death,
being a selection from the rich collection bearing on this
Subject, brought together by Miss S. Minns, and a Dante
Exhibition, to consist of the illustrations of Dante’s works,
chronologically arranged, beginning with the plates of the
Divina Commedia, published in Florence in 1481.
The acquisition of the Parker Collection having drawn
largely on the funds of the Museum, the purchases since
then have been few in number, but among these few are
Some most excellent things, including a number of proofs
from Méryon’s “Eaux-fortes sur Paris,” and a wonderfully
fine impression of Rembrandt’s “Jan Lutma,” in the rare
first state. As the set of publications issued by the Interna-
tional Chalcographical Society, formerly in the care of the
Museum, went back to Harvard College with the Gray Col-
lection, there has been bought a set which was offered for
sale in New York.
(63)
64 Print Department.
All persons interested in this department are reminded
that the prints not on exhibition can be seen at any time
while the Museum is open, except on Saturday afternoons and
Sundays, by making application to the curator or his assist-
ants, at the Print Rooms in the basement. This applies also
to the Minns Collection and the Marrs Collection, above
alluded to, which have been deposited with the Museum by
their owners.
GALLERY OF TEXTILES.
In addition to what is shown in this room, the TExTILE
DEPARTMENT comprises some thousands of specimens of
interest to the practical designer and the student of design,
especially of Egyptian (Roman and Coptic) fabrics, of
French, Italian and Spanish brocades of the 16th, 17th, and
18th centuries, and of Peruvian and Japanese textiles.
The objects not on exhibition can be seen by designers
and students on asking in writing for an appointment.
EUROPEAN TAPESTRIES.
From the Fifteenth to the Nineteenth Centuries.
“Tapestry is neither real weaving nor true embroidery,
but unites in its working these two principles into one.
It is not embroidery, though so very like it, for tapestry
is not worked upon what is really a web, having both warp
and woof, but upon a series of closely set, fine strings.
Though wrought in a loom and upon a warp stretched
along a frame, it has no woof thrown across those threads
with a shuttle or any like appliance, but its web is done
with many short threads, all variously colored, and put
in by a kind of a needle. With the upright as with the flat
frame, the workman went the same road to his labors; but
in either of these ways he had to grope in the dark a great
deal on his path. In both he was obliged to put in the threads
on the back or wrong side of the piece, following the sketch
as best as he could behind the strings or warp. As the face
was downward in the flat frame he had no means of looking
at it to correct a fault. In the upright frame he might go in
front, and with his own doings in open view on the One hand
and the original design full before him on the other, he could
mend as he went on, step by step, the smallest mistake, were
it but a single thread.”— Dr. Iłock's Descriptive Catalogue.
“Tapestry differs from embroidery in this, that in it the
(65)
66 Gallery of Textiles.
pictures produced are an integral part of the texture, while
in the latter they are simply superimposed on a tissue already
existing. It also differs from woven brocaded fabrics by
being always the work of the hand, and not an unlimited
mechanical repetition of the same design ; So that each piece
produced is distinctly original.” M. Müntz. — La Tapis-
serie.
No. 1. In the Textile Gallery.
This magnificent tapestry of Flemºsh origin dates probably
from the middle of the 15th Century. It is in four compart-
ments, – THE CREATION OF EVE: THE BAPTISM OF CHRIST,
THE BIRTH OF CHRIST; AND THE CRUCIFIXION. Note
especially the figure of God the Father in the first. At
the foot of each compartment are two life-size figures drawn
from the Old and New Testaments, – Jeremiah and Peter,
David and Andrew, Isaiah and James, Ozias and John.
Mrs. John H. Wright.
No. 2. In the Textile Gallery.
“CROSSING OF THE RED SEA.” Dating from the close of the
15th or the early part of the 16th century. Origin, Flanders.
Silk and wool, with gold in some of the costumes for high
lights. The gold has become tarnished by time, and
shadow is produced in place of high light, but it is sparingly
used.
It bears a great resemblance to some celebrated tapestries
woven about that period, among which are “Chastity,” a
suite owned by the South Kensington Museum, dated
1507–1570.
It was probably painted by the same artist as these, and
perhaps woven by the same master, in one of those ateliers,
half industrial, half artistic, belonging to one of the great
tapestry guilds so prevalent in the Middle Ages, and which
were in full vigor at this period.
In the border, which is narrow and simple with flowers,
vines, and ribbons, the Gothic feeling is combined with that
Gallery of Teactiles. 67
of the Renaissance. In the foliage of the subject and the
massing of the Egyptians, the Gothic feeling is also evident.
The characters are Flemish, and show the influence of the
Flemish painters; but the grouping of the Hebrews into
separate pictures is more in the manner of the Italian
painters.
The costumes, as is customary in tapestry, are of the time
of the weaving of the tapestry, and not of the subject. The
Egyptians are in the armor of the 15th century, and one will
note the exaggerated plumes, which, according to Planché,
became general during the latter part of the 15th century.
Purchased from the Otis Norcross Fund.
No. 3. In the Hall,
Subject: “THE Assum PTION of THE VIRGIN MARY.”
17th century 7 Origin, Italy or Flanders ? School of
Raphael. From the Annunziata Convent, Naples, to
which it was given by Cardinal Caraffa, whose arms it
bears. Purchased from Sig. Alessandro Castellani.
Its workmanship is very delicate and beautiful, with the
color now lowered but little, the gold still bright enough to
give true value to the high lights.
Boston Athencewm. Lawrence Collection.
No. 4. In the Hall. (See also Nos. 17 and 18.)
Subject: “SUMMER.” 17th or 18th century 7 Silk, wool,
and gold.
The design and brilliancy of coloring of this tapestry
would indicate a Flemish origin. But at the time of its pur-
chase it was catalogued as made at the Gobelins. The series
of the Four Seasons designed by Lebrun was worked at the
Gobelins three times in the 17th Century and again in 1708
and 1712. -
This is one of a series of the Four Seasons, three of which
were purchased by the late George O. Hovey at a sale of
68 Gallery of Textiles.
tapestries belonging to the “Maison d’Orleans '' in 1852.
They were rescued from fire at the Chateau at Neuilly and
later from the Boston fire of 1872.
Miss Marion Hovey.
No. 5. Hall.
Subject: “THE TRIUMPH OF PEACE.” 17th century. Ori-
gin, Brussels. Painter, L. Van Schoor.
This was sold under the title of “France, crowned by
Victory and attended by Minerva.”
Van Schoor painted a number of cartoons for the ateliers
of Brussels and Antwerp. Two tapestries made at Brussels,
after his designs, are in the collection of the Garde Meuble,
Paris. Gift of Miss Deacon.
Nos. 6 and 7. In the Gallery of Textiles.
AUTUMN and WINTER. Of the same series as Summer, No.
4, which see.
No. 9. In the Gallery of Textiles.
SUBJECT UNKNOWN.— Italian 2 18th Century.
Mrs. John H. Sturgis.
No. 10. In the Gallery of Textiles.
Subject: “ALEXANDER CROSSING THE ISSUs " ? 18th cen-
tury 7 Origin, France. Wool. The design is attributed
to Charles Lebrun.
Mrs. John H. Sturgis.
No. 11. In the Gallery of Textiles.
Subject: Coat of Arms, with supports, of the class called
“Tapisseries a devises et à armoiries.” 17th century.
Origin, Flanders ?
These tapestries seem to have been in vogue at an early
period. They were at first very simple, and their usage
Gallery of Teactiles. 69
most common, though to-day they are rarely found. “The
coats of arms are generally surrounded with lambrequins,
surmounted by a helmet, and supported by figures or fan-
tastic animals.”
lMiss S. G. Pwtnam.
No. 12. In the Gallery of Textiles.
|BORDER, GOBELIN. 18th century. Semi-reclining figure
of a man playing a pipe.
The famous manufactory of the Gobelin was founded at
Paris towards the end of the 15th century by Jean Gobelin, a
native of Rheims. In 1662 Louis XIV. and his minister, Col-
bert, united in this establishment all the trades which were
under the royal protection, such as potters, weavers, etc.
Charles le Brun, the painter (born 1619, died 1690), was ap-
pointed its director in 1663. He furnished designs for many
fine pieces of tapestry, which were surrounded by rich frame-
work of fruits and flowers designed by Baptiste Monnoyer.
Athenaeum.
No. 13. In the Gallery of Textiles.
BORDER, FLEMISH. Flowers, vines, and Renaissance ara-
besque.
On the walls are hung several fine specimens of PERSIAN
or ITALIAN (in imitation of Persian design) FABRICS,
Wall Hangings, Prayer Rugs, etc., of the 16th and
17th centuries. These were exhibited by Sig. Castellani
at Philadelphia; and were purchased and presented to
the Museum by Martin Brimmer.
CHINESE HANGING. Appliqué work.
Gift of Moses Kimball.
IN THE METAL ROOM.
No. 15. VERDURE.
16th century.
Purchased from the Otis Norcross Fund,
70 Gallery of Teactiles.
No. 16. VERDURE.
16th century.
Purchased from the Otis Norcross Fund.
Nos. 17–22. In the Coin Room. SIX TAPESTRIES, Brus-
sels (?); early 17th century.
Harvest Scenes, Peasants Dancing, etc.
Lent by Mr. Arthur Hunnewell.
CASES, NOS. 1 to 4.
ITALIAN CHURCH WESTMENTS AND OTHER EMB ROIDERIES.
Collection made by Alessandro Castellanvi, of lèome. Bought
from the T. B. Lawrence Bequest. Lent by the Athenaewm.
1. HANGING OF RUBY WELVET, with ornaments embroi-
dered in color, having in the midst a shield, upon which
the Presentation in the Temple is represented in nee-
dle-work with gold thread and colored silks. Italian
work, of the end of the 16th century.
3, 4. Two others, but smaller, with children supporting the
shield ; end of the 16th century.
ALTAR COVERING, of crimson velvet, having in the
midst the figure of a saint, embroidered in gold thread
and silk, within a civic crown. The entire field of the
altar covering is covered with rich arabesques in gold.
Italian work of the beginning of the 16th century.
Hung on the wall.
5.
6. SMALL TUNIC, of crimson velvet, with embroidery like
that of No. 5, and two busts of Saints in color ; same
date.
7. SMALL ALTAR COVERING, of blue silk and gold, with
very beautiful arabesques. Italian. 16th century.
8. COVERING, of emerald-covered velvet.
9. COPE, of red silk and gold, richly arabesqued, Italian,
16th century.
Gallery of Textiles. 71
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
SMALL ALTAR COVERING, of red stuff, with beautiful
arabesques appliqué in yellow and gold. Italian.
16th century.
Another, of cut velvet, red color with arabesques.
Italian. 15th century.
CoverING, of gold brocade, with brightly colored flowers
and leaves in silk. Italian. 17th century.
ALTAR COVERING, of violet-colored cut velvet, with fine
arabesques. Italian. 16th century.
CHASUBLE, of cut velvet, with violet-colored designs
upon a yellow ground. Italian. 16th century.
LARGE BED-COVER, for a nuptial couch, of green dam-
ask, with border embroidered in bright colors. Italian.
17th century.
CHASUBLE, of cut velvet, with red arabesques on a gold
ground. Italian. 16th century.
Another, of red silk and gold, with the Barberini bees
and a belt beautifully embroidered in gold thread.
About 1595.
Another, of red stuff and gold, with fine arabesques and
the arms of Cardinal Pamphili. Italian. 17th century.
BAPTISMAL COVERING, of cut velvet, with red flowers
On a gold ground. Italian. 16th century.
CHASUBLE, of cut velvet, with yellow palms on a violet
ground. Italian. 16th century.
Ditto, of a very beautiful material, red silk and gold.
Italian, 16th century.
72 Gallery of Textiles.
22. LARGE COPE, of silken stuff, with superb arabesques in
violet and gold. Italian. 16th century.
23. SILK ALTAR CLOTH, gray and white, with gold and
silver flowers. Italian. 17th century.
24, CHASUBLE, of a white stuff, with embroideries in gold
and colored silks. It bears the arms of Cardinalite
Alri-Italian. 17th century.
25. VEST, of cut velvet, with red flowers on a gold ground.
Italian. 17th century.
26. ALTAR CLOTH, with fine embroidery of flowers and birds
in gold and silver thread and silk brilliantly colored ;
in the midst is a coat of arms with a crown embroidered
in relief. Italian. 17th century.
27, COVERING, of gold cloth, with two coats of arms of
Pope Orsini and Cardinal Anguillara. 16th century.
28. CHASUBLE, of green stuff, with rich arabesques and
flowers embroidered in gold and silk. Italian. 17th
century.
29. CovKRING, of violet silk, embroidered in gold. Italian,
18th century.
30. COPE, of cut velvet, green on green. Italian. 16th cen-
tury.
31. LETTER Pouch, with embroideries of silk and gold.
17th century, etc.
CASE 5.
EMBROIDERIES. A Bed-spread. GERMAN.
Gift of Miss Salome J. Snow.
Embroidered Cross. BELGIAN.
Gallery of Textiles. 73
A wedding dress of a SMYRNA woman and other Embroi-
deries, German, Venetian, Spanish, Greek and Rus-
sian. Gift of J. W. Paige. Bequest of Mrs. Walter
Baker, and lent by Mrs. Cleveland, Miss Deacon,
and the Estate of Alfred Greenough, etc., etc.
CASE 6.
Several specimens of MooRISH EMBR.orDERY. Long strips
to hang as panels of a room. Of 17th century? Notice-
able for color and variety of design. The tinsel centre-
pieces are of later date. Purchased at the Centennial
Exhibition.
GREEK EMBROIDERY in red silk; MOORISH, on white silk.
Bequest of J. W. Paige.
Wom AN’s GIRDLE, MOORISH, green and gold. Gift of Mrs.
Towne,
HERZEGOVINA WORK. Dr. W. S. Bigelow.
TUNIs SCARF. Gift of Edward W. Hooper.
An Abbah from DAMASCUS, and other pieces.
Miss Helen Griggs.
Embroideries and Weavings. Gift of Mrs. Henry P. Sturgis
and Mrs. L. T. Bayley, and lent by the Estate of
Alfred Greenough and Miss Sarah M. Spooner.
The dress of a young girl and other articles from NUBIA,
Egypt. Miss Sarah M. Spooner.
The dress of a ZULU girl, bought at Estcourt, NATAL,
South Africa. John A. Welsh.
CASES NOS. 7 to 12.
A rare and superb collection of JAPANESE EMBROIDERIES
and woven fabrics. Dr. W. Sturgis Bigelow.
Others from the Estate of Alfred Greenough,
74 Gallery of Textiles.
CASE 13.
DAMASCUs DRESS, PERSIAN COAT, VELVETS AND BRO-
CADEs, PERSIAN AND NORTH ITALIAN from Oriental
designs.
CASE 14.
A number of BROCADE DRESSES, WESTS, SHOES, etc., worn
in New England in the last century.
CASE 15.
}HINESE DRESSEs, from the Estate of Alfred Greenough, by
Charles H. Parker, Ea:ecutor, H. Gilbert Frost, Mrs.
M. F. Fowler. Other pieces lent by Miss Elizabeth
C. Ward, Mrs. Jas. S. Cwmston. Also gifts of Miss
Salome H. Snow and Miss Prudence C. Delano.
CASE 16.
ROYAL CAPE AND CLOAK OF FEATHERS. A gift of the
RING OF THE SANDWICH ISLANDS.
Mrs. Charles H. Joy.
CAPE OF FEATHERS from MALACCA. Mrs. D. A. Russell.
CASE 17.
CHINESE EMBROIDERIES.
Lent by George P. Meservy, Salem.
LACES-
CASEs 17 To 27 AND ROTATING FRAME. B.
The place of manufacture and approacimate date are indicated on the label8.
CASE 18.
A COLLECTION. Miss Sarah M. Spooner.
CASES 19, 20, 21, 22, and 23.
A RICH AND WALUABLE COLLECTION OF SIxTY-SEVEN
PIECES OF LACE, mostly of 16th, 17th, and 18th
Centuries. Gift of Mrs. Geo. W. Wales.
Gallery of Textiles. 75
UASE 24.
A VEIL of BRUSSELS PoſNT : Modern.
Mrs. Charles K. Cobb, Jr.
CASE 26.
Three flounces of ITALIAN lace and a veil of FRENCEI
appliqué. Mrs. H. P. Quincy.
CASE 27.
A RICH COLLECTION OF FIFTEEN PIECES.
Mrs. Gardner Brewer.
CASE 28. -
CASHMERE SHAWLS, etc. Lent by Miss Newell, Miss
Griggs, Mr. Bailey and the Estate of Alfred Greenough.
CASE 29.
DRAWN WORK.
IFR AME 3.0.
Back of a Stole. SICILIAN BROCADE. 13th Century. A rare
and remarkably fine piece.
Gift of Denman W. Ross.
JR RAME 31.
Border embroidered in silk and gold with doves and fruit.
SICILIAN, 14th Century.
Gift of Denman W. Ross.
JFRAME 32.
Hanging, ITALIAN, pale blue ground of “satin stitch,” em-
broidered with arabesque, in silver thread and coral.
FRAME 33.
PERSIAN RUG. — In the upper half is pictured a hunt with
the tamed leopard, the Cheetah, before high personages in
Kiosks. In the lower a mythological subject. In parts the
influence of Chinese art is strongly felt. Border of
masques and grotesques with exquisite arrangement of
flowers.
76 Gallery of Teactiles.
The rug was purchased through William Morris of London,
who ascribes its date to about the middle of the 16th century.
A rug in many points quite similar to this was recently
shown in Paris and described by Georges Marye in the
Gazette des Beawa; Arts as of the 15th Century.
This superb specimen was the gift of Frederick Lothrop
Ames.
FIR AME 34.
PERSIAN RUG, formerly belonging to the French Minister
to Persia. Gift of George B. Dorr.
IR OTATING FRAMES A.
EGYPTIAN. 1st to 6th century. Gift of Denman W. Ross.
EOTATING FR AM E. S. B.
LACES. From Various Donors.
WOOD CARVING-
THE EIGHT PANELS OF OAK, GILDED, 12 ft. x 2 ft. 8 in.,
were taken from the HôTEL MONTMORENCY, and
subsequently built into the Deacon IIouse. They date
from the time of, and were probably executed by
Jean Goujon. Purchased in part by the Museum, part
by the Athenſeum.
IN THE HALL.
CASE 35.
ALTAR CLOTH. Of Byzantine design. Birds drinking at
fountains. Silk and gold. IHollis Hwn newell.
BROCADE DRESSES of a figure of the Virgin from a church
in SPAIN.
Mrs. John H. Wright, Mrs. Hall and Lyman Nichols.
Gallery of Textiles. 77
CASE 38.
EMBROIDERIES, ETC. Lent by Mrs. Thomas O. Richardson,
from the Collection of Mrs. Richard Baker.
CASE 39.
Fifty baskets from Indian tribes of North America. —
Alaskan, Chillcat, Tulare, Pima, Sioux, Navajo, Moki,
Pueblo, Apache, Tuckapaw, Mission Indians of South-
ern California; dwellers on the Western Lakes, Choc-
taw, Penobscot, and other tribes are represented.
Since it has been shown that weaving takes its origin from
basket-working this primitive art has acquired additional
interest.
Miss Jane Hunt, Mrs. Rufus S. Frost.
E’OTTERY AND FORCELAIN.
THE interest in fictile wares has always existed, and it
always must exist. From time to time it reaches a sort of
high tide when all the world consents to look and to know
something about it. Within the last twenty years this in-
terest has been great, and it is likely to continue.
The fact that pottery and porcelain belong to the daily
business of life, and that they are indispensable to the great
event of that life, – a man's dinner, — make them indeed
objects in which all may take a living interest.
Among the very first works which the hand of man has
formed are pots and dishes; and one of the first machines
was the potter’s wheel, which is in use to-day as it was in the
days of the pyramid builders. One other reason why pottery
is among the most interesting of the works of man is, that
it most easily receives the impression which the taste, the
skill, the art of the workman can give it.
We thus get in the pot not only the useful thing, but what-
ever of form, of decoration, of beauty, of art, the soul of the
workman may strive to express. The study of pottery, there-
fore, is, in some degree, the study of a part of man’s soul.
From the very outset, even as far back as the “Stone age,”
there were attempts at beauty of form and fitness of decora-
tion. We find this expression of the artistic feeling in its
pottery among all nations, from the Egyptians, through the
Assyrians, the Greeks, the Moors, the Italians, the Germans;
everywhere, and in all nations.
The Incas of Peru and the Toltecs of Mexico had their
peculiarities of form and of decoration, though it must be
observed that these earliest forms have a close likeness to the
earliest attempts of all other peoples.
But when we get to a higher style of expression, we find
the peculiarities most marked; and in such nations as the
(78)
Pottery and Porcelain. 79
Chinese and the Japanese they reach art of the highest
quality, and most especially in COLOR and decoration.
There seems to have been, and to be, in the Asiatic races,
this genius for color quite marvellous and quite superior to
anything the white races have done. This is seen not only
in its porcelains, but as well in its carpets, its shawls, its
Stuffs.
The loan collections in the Museum show excellent and
varied examples of this.
It may be observed that the Chinese and Japanese artists
did not sit down to copy a flower, or a tree, or person. There
is a certain something which we choose to call the ideal which
they caught. May it not be called the soul of the object
rather than its body? And yet their work is not slovenly and
careless, but is marked above all others by thoroughness and
C2F0.
The Greek artist appears again to have found his highest
expression in FoEM; so that in the Greek vase we look for
and find what we feel to be grace, beauty, and use in perfect
combination. The collection in the Museum presents good
illustrations of this; while the paintings upon them do not
always reach a high standard of art. Nor must we claim
that every Greek amphora or kylix is perfection even in
form. It is not so. Nor is every picture of Raphael perfect;
nor every play of Shakespeare divine. Only among the
multitude of Greek vases, etc., which the tombs have pre-
served for us, are to be found examples of form which have
not been and cannot be surpassed.
The visitor should notice the collection of Etruscan vases
in the Museum; and should observe that they are quite
different from the Greek, which for so long a time have been
miscalled Etruscan. This collection of Etruscan fictile work
is most rare and valuable, as illustrating the art of pottery.
We find, again, among the Arabs and Moors, and espe-
cially those of Spain, another expression of art in pottery,
which is beautiful and peculiar to them. Their decorations
did not include the human figure, but were geometrical and
Whimsical, sometimes including plant forms and animals in
80 Pottery and Porcelain.
great variety, — what have come to be termed Arabesques.
Some excellent examples are in the collection. But the
coloring of those made in Spain bore a shimmer, called a
lustre, which is peculiar, and seems to have been original. It
was produced by the use of mineral salts or oxides.
This Moorish ware was the parent of the Italian Maiolica,
of which some good and very valuable examples have been
presented to the Museum. When these Maiolica wares were
first made in Italy (about A. D. 1500), they all had this
lustre, and it was greatly enhanced in beauty above the work
of the Moors by Mastro Giorgio at Gubbio, fine examples
of whose work Bell for enormous prices; but most of what is
now called Maiolica does not bear the lustre, as the examples
in the Museum make apparent. Both the Moorish and the
Maiolica wares will repay attention, as they were the pre-
cursors of the porcelains and Faiences which afterward
reached such great perfection in Europe.
Of European porcelains, the Dresden or Meissen and that
of Sèvres reached the greatest perfectness, and have com-
manded most attention and most money. Examples of these
can be studied at the Museum. But following the discovery
of the true Kaolinic or China clay in Europe, Böttcher, about
1710, succeeded in making true porcelain in Saxony. During
that century, porcelain manufactories were started in nearly
all the countries of Europe, in which porcelain of greater or
less perfectness was made. The study and collection of these
has now become important, enlisting much mind and much
money. These collections are of great value, and it is not
uncommon that as much as $10,000 is paid for a single vase
or dish. Growing out of all this art and this interest comes
the porcelain and pottery used in daily life. In these, within
this half-century, have been great improvements, and to this
every household bears its testimony. For thus helping to
beautify and perfect our household life we may willingly
thank the lovers and collectors of pottery and porcelain, and
We may and do look to collections in Museums of Art, also,
to help on the good work. C. W. E.
Pottery and Porcelawn. 81
Porcelain was made in Europe as early as the year 1581,
under the patronage of Francis I., Duke of Tuscany. The
manufactory had but a brief existence of about ten years.
The next known attempt was made at St. Cloud, in the year
1695, by the Chicanneau family, where soft paste porcelain was
made. In the year 1710 Böttcher had the honor to be the
first to discover the art of making hard porcelain in Europe.
Böttcher, born in Schleitz, in Prussia, received his education
as an apothecary in Berlin, and in the year 1710, suspected
of being an alchemist, fled to Saxony. Augustus II. hearing
of him in Dresden, and supposing that he possessed the
secret of making gold, took him under his patronage. It was
while searching for the “philosopher's stone” that, in making
a crucible in 1705, he discovered the nature of the clay to be
Kaoline.” From that time he continued his experiments until
hard porcelain was made.
The manufacture in Vienna was begun under one Stölzel
who fled from Meissen, in 1720 The Höchst pottery, in
Mayence, began to make porcelain, under the direction of a
workman from Vienna, named Ringler, in 1740. In Fürsten-
berg, the porcelain manufactory was established in 1750, by
Bengraf, who came from Höchst. The establishment in
Berlin was first attempted in 1751, but obtained little success
until 1761, under Gottskowski.
The Frankenthal manufactory was established in 1755, by
Paul Hanniig, who had been forced to leave Sèvres, and was
a88isted by Ringler, who, finding his secret had been stolen
from him in Höchst, quitted that place and offered his
Services to Hanniig.
* KAOLINE, the Chinese name for porcelain earth, is composed of silica, alu-
mtna, and water (hydroug Bilicate of alumina). It is produced by the disintegra-
tion of the crystalline mineral, felspar, through the action of the atmosphere on
granite and other rocks that contain it.
Feldspar, the Petuntze of the Chinese, consists of silica, alumina, and potash or
soda, or both, and in the disintegration referred to it lobes all the potash and
Boda and part of the Bilica, leaving only the remaining silica and the whole of
the alumiña, with which a small amount of water becomes combined. The
kaoline resulting has an average composition as follows:–
Silica . . . . . . 47 per cent.
Alumina . © º wº & º 40 GG
Water . . . . 13 **
A block of pure kaoline from South Carolina can be seen in Case 38.
82 Pottery and Porcelain.
The Ludwigsburg factory was established in 1758, by
Ringler, under the patronage of the Duke of Wurtemberg.
In the same year the first manufactory in Thuringia was
commenced.
In Russia, two manufactories were begun about the year
1756. In Holland, porcelain manufactories were established
at Weesp, in 1764; at the Hague, in 1778; and at Amstel,
1782.
The Copenhagen works were begun in 1760. In Swe-
den they began to make porcelain, in the old manufactory
of pottery, in Rörstrand, in 1735, and at Marieberg, in
1759.
Porcelain was made in France, after the first attempt at
St. Cloud, in Vincennes, in 1740–1745. The works were
removed to Sèvres in 1756. The Chantilly works were
commenced in 1735; Sceaux, 1751; Strasbourg, 1752; Ni-
derviller, 1765; Marseilles, 1766; Lille, 1785; Belleville,
1790.
In Italy, after the manufacture under the Medici ceased
there was no porcelain made until 1726, when one Francesco
Vezzi established a manufactory in Venice, and was followed
in 1735 by the Marquis Ginori, at Doccia, near Florence. In
1736, at Naples, the Capo di Monti manufactory was begun,
under the patronage of Charles III.
In Spain, the only manufactory was that of Buen Retiro,
near Madrid, established by Charles III, with workmen
brought from Naples.
In England, the first porcelain works were erected at Bow,
about 1740; the Chelsea, in 1745; Derby, 1750; Worcester,
1741; Caughley and Lowestoft, 1756; Plymouth, 1760; Bris-
tol, 1772.
Josiah Wedgwood began his pottery works in 1752, but
never made porcelain.
The collection here exhibited, though not large, is rich,
especially in specimens of Chinese art. It is indebted to
Mr. and Mrs. George W. Wales for the gift of six hundred
and ninety-two pieces, and to Mrs. Bichard Baker for a be-
quest of one hundred and thirty-three pieces of Wedgwood.
Pottery and Porcelain. 83
The visitor will find full and varied collections of antique Egyptian,
Cyprian, Cretan, Etruscan, Grecian, and Graeco-Italian vases and other
pottery, including a large number of terra-cotta figures and heads, on
the first floor in the “Egyptian * and “Greek Vase ’’ rooms. In this
room are, in Cases 1 to 4, and on adjoining wall, specimens of Maiolica
and Robbia ware; 5, Capo di Monti; Scandinavian, etc.; 6, Dresden
and Vienna; 7, 8, 9, French; 10, 11, 12, 13, English; 14, 15 (flat cases),
Maiolica and Faience; 17, Spanish; underneath, Bombay; 18, Delft,
Grès de Flandres; 19 and 20, American pottery, Chelsea, Mass., Cin-
cinnati, etc.; 21, pottery of the American Mound Builders; 22, Zuñi;
23, Chiriqui; 24 and 25, Mexican, San Salvador; 26, Peru; 27, 28,
Kabyle, Moorish; 29, Terracottas; on the walls, Spanish, Persian tiles,
and from Damascus and Jerusalem; 32 to 35, Japanese; 36, English
figure pieces; 37 to 41, Chinese; 42, Persian ; 44 and 45, Enamels; 46,
Chinese; 48, Wedgwood; 49, Figure Pieces. In the corridor will be
found the unrivaled collection of Japanese pottery made by Mr. E. S.
Morse, cases 1 to 40.
CASE 1.
MAIOLICA WARE,
In what is called Hispano-Moorish ware, we find the
original source of this beautiful art-manufacture. Moorish
potters were established in the island of Majorca (in the
Tuscan dialect Maiolica) at a very early period, and fab-
ricated earthenware plates distinguished for the beauty of
their metallic oxide glaze. They adorned them with Arabic
patterns and fantastic animals. The oldest establishment of
this sort of pottery was at Malaga, where it was introduced
by the Arabs or the Moors, who perhaps derived the secret
of making it from Persia. The Pisans, who conquered the
Balearic Islands in the twelfth century, are said to have
brought the manufacture of Maiolica to Italy from Majorca.
In the fifteenth century it was chiefly made at Faenza, under
the names of pietra or terra di Faenza, whence the French
derived the name of “faience,” which they applied to it.
Unlike porcelain, it is made of common clay, and being only
vitrified upon the surface retains a certain degree of porosity.
That which was covered with a plumbiferous glaze, silicate
of lead, was called “Mezza Maiolica.” Thanks to the pat-
romage of the Dukes of Urbino, the Maiolica made at Urbino,
84. JPottery and Porcelain.
Castel Durante, Pesaro, and Gubbio attained a high degree
of perfection during the first half of the sixteenth century,
after which it began to decline under the growing taste for
porcelain. The names of such distinguished artists as Giorgio
Andreoli of Pavia, sculptor and potter established at Gubbio
in 1498, whose plates are distinguished for their beautiful,
iridescent glaze; of Francesco Xanto da Rovigo, of whose
artistic skill the plate No. 7 (signed and dated 1532) is an
example ; and those of Guido and Orazio Fontana, who
worked for Guidobaldo, Duke of Urbino (1540–1560), are
connected with the great manufactories above mentioned.
The largest platter, No. 6 (subject, the Triumph of
Bacchus), and the two richly adorned and painted bottles
(gourds), Nos. 8 and 9, are probably the work of Orazio
Fontana.
The erroneous idea that Raphael made designs expressly
for the Maiolica of Urbino and Castel Durante (whence the
name Raphael ware, often given to it) may have arisen from
the fact that some of the designs were taken from his works,
or, as has been conjectured, from the substitution of his
name for that of Raffaelino del Colle, a painter who worked
for Guidobaldo I. della Rovere.
There is little doubt that the great reverence felt for the
name of Raphael has contributed to the preservation of many
of these fragile treasures, which were greatly valued by the
principal families of Urbino and the Romagna. -
The Duke Alfonso d’Este, who was himself an amateur
potter, contributed not a little to the general use of Maiolica
for domestic purposes by supstituting it upon his own table
for the plate which he was obliged to pawn to meet the
expenses of the war which he and the Venetians waged with
Pope Julius after the League of Cambray, in 1510. The
Ferrarese factories were, for the most part, inactive from this
time until 1522, when they again flourished, for we know
that the celebrated painters, Giovanni and Battista Dossi,
made designs for them in 1524. Duke Alfonso then wrote to
Titian to procure for him a number of pieces of Maiolica
from Murano. Among them were many Spezieria jars used
Pottery and Porcelain. 85
to hold drugs. Of such jars we have specimens in Nos. 14
and 15, probably of Florentine manufacture.
No. 2 is an excellent example of the plates called “ama-
torii,” or marriage plates. Upon these plates lovers caused
the portraits of their betrothed to be painted, with such in-
scriptions as “Camilla bella,” “Lucia diva,” etc., etc., and
sent them as presents, laden with fruits, sweetmeats, or con-
fectionery.
CASES 1 and 3.
MAIOLICA.
Nos. 1 to 9 lent by the Athenaeum.
1. MAIOLICA PLATE. Subject, a woman, with a drawn
sword, about to slay a sleeping man. In the sky a deity
in a chariot drawn by griffins. No mark. Attributed
to Francisco Xanto. Lawrence Collection.
2. MAIOLICA MARRIAGE PLATE, with portrait and in-
scription. Iridescent glaze. No mark. Lawrence
Collection.
3. Ditto. Coat of arms. A crouching sphinx in the centre,
supporting a shield with her paw. Rich border.
Iridescent glaze. Lawrence Collection.
4. HISPANO-MOORISH WARE. Iridescent glaze. Lawrence
Collection. -
5. MAIOLICA BOWL. Yellow ground, and lines, with green
ornaments. Lawrence Collection.
6. MAIOLICA PLATE. The triumph of Bacchus.
Attributed to Orazia l'ontana, painter to Guidobaldo, Duke
of Urbino. (1540–1560.) Lawrence Collection.
7. MAIOLICA PLATE. Pyramus and Thisbe. Signed, F.
X. AIR., and dated 1532. Francisco Xanto Avelli de
Rovigo. Made at Urbino. Lawrence Collection.
Two lustre dishes by this artist brought £144 at the recent
sale of works of art belonging to Prince Napoleon at Paris,
8, 9, MAIOLICA BOTTLEs (Gourds), with richly orna-
mented handles and stoppers. Orazio Fontana (1540).
A woodcut of one of these bottles is given in Burty’s “Chef
d’CEuvre des Arts Industriels,” p. 84. £125 was paid for a
Maiolica bowl by this artist at Prince; Napoleon’s sale. Law-
rence Collection.
86 Pottery and Porcelain.
Nos. 14 to 30. Gift of Mr. and Mrs. Geo. W. Wales.
14, 15, 16. SPEZIERIA JARS, for drugs, dated 1620.
18, 19. CASTELLI PLATES.
20. PLATE, RUBY LUSTRE. By MAESTRO GroRGIo, 1519–
1541. Signed on back.
21 to 27. MAIOLICA. JARS, SALTS, etc.
29. HISPANO-MORESQUE PLATE.
30. SIX CASTELLI CUPS. Painted by Grue, 1749.
And several pieces lent by A. B. French, Mrs. Wm. M. Hunt,
Miss Helen Griggs, and Miss S. M. Spooner.
OASIES 2 and 4.
ANGEL, by MAESTRO GIORGIO. Mrs. R. Baker.
MoDERN ITALIAN POTTERY. By Tomaso Castellani, Rome,
Cantagalli, Florence. Scagnamiglio, Naples, etc. Also
by Giustiniani, Naples. Turelli, etc. Lent by Miss
Griggs, Mrs. D. N. Spooner, and others; also gifts of
Mr. and Mrs. Geo. W. Wales.
See also CASES 14 and 15. Maiolica and Falence,
ROBBIA WARE. (By the Side of Case 1.)
We now come to the works of a celebrated artist who com-
bined sculpture and painting with the Keramic art, and ori-
ginated a new and beautiful branch of decorative art This
was Lucca della Robbia, one of the most eminent of the many
great Florentine artists of the fifteenth century. After long
practising as a sculptor, he devoted himself to the discovery
of a hard enamel which would give terra-cotta the durability
of marble, and after repeated failures at length attained the
desired result about the year 1443. With the true feeling of
an artist, Lucca long used a pure white enamel upon the
figures which he modelled, and preserved their sculptural
feeling by keeping color in his backgrounds and accessories.
Thinking, however, that his works might, if more highly col-
ored, be used as substitutes for fresco painting, he afterwards
added other hues than pure blue and green to his palette, and
began to color the flesh parts and draperies of his figures.
His nephew, Andrea, carried this still further, and under
Pottery and Porcelain. 87
his hands and those of his four sons the distinctive
character of pure Robbia ware was gradually lost, until it
became an enamelled picture not much above the level of
wax-work. The difference between the art in its purity
and its decline may be judged of by the “Madonna and
Child” attributed to Lucca, and the “Madonna adoring
the Infant Jesus,” by Andrea or one of his sons. The first is
a pure and charming work, which, though by no means one
of his best, will give the visitor some idea of the great talent
of the artist and the plastic propriety of his work. The
second will show him how, by overstepping the bounds
which should separate painting from sculpture, a hybrid
species of art was produced which had the merits of neither.
MADONNA AND CHILD. Luca della Robbia. From the
Campana collection. Gift of C. C. Perkins.
THE VIRGIN ADORING THE INFANT JESUS. Andrea della
Robbia. From the Campana collection. Gift of C.
C. Perkins.
The two preceding numbers have temporarily been moved to the
room of the Italian Renaissance, and are there shown with other
works of the same period, lent by Mr. Quincy A. Shaw.
HEAD WITH HALO. Lent by Mrs. T. O. Richardson.
ADORING MADONNA. Modern imitation. Gift of the
Rev. Mr. Washburn.
O ASE 5.
COPENHAGEN, THE HAGUE, ST. PETERSBURG, FüRSTEN-
BURGH, AND NYMPIIENBURGH, SWISS, GERMAN,
HUNGARIAN. Lent by Mrs. Gray, A. B. French, Miss
Griggs, and also gift of Mr. and Mrs. Geo. W. Wales,
Miss C. L. W. French, Mrs. Geo. W. Hammond.
CAPO DI MONTI. Lent by Mrs. D. N. Spooner, and gift
of Mr. and Mrs. Geo. W. Wales, Mrs. Geo. D. Howe,
and A. B. French.
CASE 6.
DRESDEN. Lent by Miss C. L. W. French.
Gift of Mr. and Mrs. Geo. W. Wales.
DRESDEN GROUP, Adam and Eve. Gift of Sypher & Co.
88 Pottery and Porcelain.
DRESDEN CUP AND SAUCER, flowers in high relief. Mrs.
R. C. Greenleaf, Jr.
CUP AND SAUCER, by Böttcher 1707. Gift of the Royal
Porcelain Manufactory of Saxony. Meissen.
G|ASE '7.
FRENCH, BERLIN, AND VIENNA. Lent by Mrs. T. O.
Richardson. Gift of Mr. and Mrs. Geo. W. Wales.
BERNARD PALISSY (1510–1580). Two specimens.
CASES & and 9.
FRENCH.
Si, VRES TEA SERVICE. Gift of the Committee of the “Fair
in Aid of Sufferers in France.” This service was pre-
sented by the President of the French Republic to a
lady who generously served as distributing agent of a
portion of the funds sent over to relieve the suffering
in France consequent upon the war of 1870.
SièvrES PLATES. Plaques, Cups, etc. Gift of Mr. and Mrs.
GeO. W. Wales.
SłVRES BREAKFAST SET. Miss O. L. W. French.
S㺠VRES AIGUIièRE. Gift of Mr. and Mrs. Geo. W. Wales,
Siev BES CUP AND SAUCER. Given by Miss H. Stevenson.
CILANTILLY, RUE DE Bonpy, ETC. Gift of Mr. and Mrs.
Geo. W. Wales.
OLD ROUISN. Gift of Mr. and Mrs. Geo. W. Wales.
Above the Case.
SièvKES WASE. L. O. Garrett.
CASE 10 and 11. g
ENGLISH.
THE PORTLAND WASE. Copied in Jasper ware. Gift of the
makers, Josiah Wedgwood & Sons.
WEDGWOOD, one piece lent by Miss Parkman. Six pieces,
gift of Miss C. L. W. French. A number of fine
specimens of Jasper ware by Wedgwood, Turner,
Mayer, and Adams. Lent by Mrs. S. D. Warren,
and others, and gift of Mr. and Mrs. Geo. W. Wales.
Also Whieldon, Voyez and Burslem Ware.
Pottery and Porcelain. 89
CASE 12.
ENGLISH.
BRISTOL, CHELSEA, SALOPIAN, WORCESTER, CROWN
DERBY. Lent by Miss S. M. Spooner, and gift of Mr.
and Mrs. Geo. W. Wales. .
LARGE WASE, decorated by SoDON. Mrs. H. P. Kidder.
THE delicate PLATE, “Påte sur pâte,” designed and
decorated by Solon, at the MINTON Works, Stoke-
upon-Trent, was one of a half-dozen exhibited at
Vienna. The others were bought for European mu-
seums. This was presented by G. W. Wales.
On a pedestal opposite is a large Vase, with incised figures,
by Miss Barlow. Gift of the manufacturer, Jas. D.
Doulton.
ROYAL WORCESTER, a loving cup presented to the Massa-
chusetts Society of the Sons of the Revolution by
William L. Chase.
CASES 14 and 15. --
URBINo, GUBBIO, FAIENZA, Pesaro. Gift of Mr. and Mrs.
GeO. W. Wales.
CASE 16.
SNUFF BOTTLEs, CHINESE. Gift of Mrs. Geo. W. Wales.
On Wall. By side of Case 17.
HISPANo-MooRISH THES, Gift of J. W. Paige, Miss Helen
Griggs, Mr. and Mrs. G. W. Wales and Edward W.
Hooper, and lent by Estate of Alfred Greenough.
In front of Cases 19 and 20.
Two MooRISII JARs, 14th and 15th centuries. Gift of Miss
Annette P. Rogers.
CASE 17.
SPANISII AND IIISPANo-MooRISHI. Lent by Geo. B. Upton,
and Estate of Alfred Greenough. Gifts of Miss Annette
P. Rogers, Denman W. Ross, and of Mr. and Mrs.
Geo. W. Wales.
SPANISH POTTERY. From Malaga. Fifteen pieces. Lent
by Miss S. Loring.
SPANISH (from Triana). Lent by Miss Helen Griggs.
90 Pottery and Porcelain.
Underneath.
BoMBAY POTTERY, fourteen pieces, reproduction of ancient
Scinde work. Gift of Geo. W. Wales.
CASE 18.
DELFT. Lent by H. W. C. Browne. Gift of Mr. and Mrs.
Geo. W. Wales.
GRAES DE FLANDRES. Gift of Mr. and Mrs. Geo. W. Wales.
CASE 19.
AMERICAN POTTERY from J. & J. G. Low’s Art Tile
works, Chelsea, Mass. A variety of glazed tiles and
other wares. Head of Bryant and other pieces, in
biscuit. Also on wall adjoining, a number of tiles.
AMERICAN POTTERY, pieces from the Rookwood Pottery,
Cincinnati. Gift of Mrs. M. Longworth Nichols, and
(one) of Miss M. Louise McLaughlin.
NEWCOMB POTTERY, New Orleans, three pieces.
MUG AND JAR by Miss A. Lee.
Underneath.
A number of pieces of early English ware, printed.
CASE 20.
JARS AND WASEs with various glazes, by Hugh C. Robert-
son, Chelsea, Mass.
GRUEBY POTTERY in case and on stand adjoining, twelve
pieces. Lent by the Grueby Faience Company. Mostly
designed by George P. Kendrick.
Also underneath, in various glazes, from the factory of
James Robertson & Sons, Chelsea, Mass., four from
the hands of G. W. Fenely. Gift of the makers.
CASE 21.
PottERY OF THE MOUND-BUILDERs. An interesting collec-
tion of ancient American pottery, presented by Mrs.
Gardner Brewer and Miss Brewer.
Nos. 1 to 18. Water Jars, flask-shaped, some of very
graceful formas.
Nos. 25 to 47. Pots and Dishes, with and without
handles. No. 31 is curious, the handle being in shape
of a bird’s head turned in towards the dish.
Pottery and Porcelain. 91
Nos. 35 and 36 give the outline of a fish; the head and
tail are the handles; on one side the long dorsal fin,
on the other four pectoral and ventral fins.
Nos. 48 to 56. Water Jars with human or animal
heads.
They are of dark clay, often mixed with finely powdered
shells. These were excavated at Diehlstaat, Missouri, by Dr.
Geo. J. Engelmann, from a series of mounds on a peninsula
which could have been cut off for defence, fortified by wall and
ditch.
The date of the mound-builders has not been determined, and
no resemblance can be traced in their skulls to those of modern
tribes of Indians. Prof. F. W. Putnam, in the eighth annual re-
port of the Peabody Museum, Cambridge, p. 45, quotes Prof. G.
C. Swallow in reference to some similar mounds as follows:–
“The six feet of stratified sands and clays formed around the
mounds since they were deserted, the mastodon’s tooth found
in these strata, and other facts indicate great age. These six
feet of thin strata were formed after the mounds and before the
three feet of soil resting alike on the mounds and on these
strata.”
Also nine specimens of similar pottery dug up near
Cairo, Illinois. Gift of Mr. and Mrs. Geo. W. Wales.
CASE 22.
POTTERY OF THE ZUNIS.
CASE 23.
CHIRIQUI POTTERY. Fifty pieces. Gift of J. B. Stearns.
CASE 24.
MEXICAN subsequent to the Conquest. Many pieces. The
gift of Denman W. Ross.
From BoliviA and the uplands of PERU, showing traditions
of the style of workmanship of the Peruvians before
the Conquest. T. Q. Browne, Jr.
CASE 25.
CENTRAL AMERICAN POTTERY. (Upper Shelf.) Found at
Sonsonate, Republic of San Salvador, Central America.
Samuel H. Savage.
MEXICAN POTTERY. A number of masks, faces, little
figures, children's necklaces, jars, etc. Found chiefly
in the ruins of houses,
92 Pottery and Porcelawn.
CASE 26.
PERUVIAN POTTERY. Jars in animal and vegetable forms,
with human faces, etc.
CASES 27 and 28.
MOORISET POTTERY. Purchased at the Exhibition at Phila-
delphia.
KABYLE POTTERY. Painted by the women of the tribes
inhabiting the mountains of Algeria. Six pieces.
Given by Miss A. N. Towne. Also eighteen pieces,
gift of Thornton K. Lothrop.
CASE 29.
TERRA-COTTA.
BUST OF MADAME DU BARRY: by AUGUSTIN PAJOU,
1775. Bought from the collection of M. Thiers at
Trouville, France. Gift of Geo. W. Wales.
ST. JoHN, a half length, 16th century. C. C. Perkins.
CLAUDE MICHEL CLODION, born at Nancy, 1738; d. 1814.
Statuette of a nymph bearing a young faun.
Gift of Nathan Appleton.
F. X. DENGLER. Tall vase. Two boys swinging from a
bough. Gift of A. C. Wheelwright.
MISS L. B. COMINS. Jar decorated with poppies.
GEO. W. FENETY. Jar decorated with morning glories.
PRESSED BRICKS. Dutch (?), date 1611.
HEAD, NEAPOLITAN. Gift of Miss Griggs.
On Wall adjoining.
PERSIAN TILES. Some purchased, others lent from the
Alfred Greenough estate.
CASES 30 to 34.
JAPANESE.
PORCELAINS AND EARTHENWARE, mostly modern.
OLD SATSUMA VASE, dragon in red and gold; the lip
bends over, forming a fringe.
KIOYAKI WASE, eagle and pine. Gift of Mr. and Mrs.
Goo. W. Wales.
LACQUER ON PORCELAIN. Mrs. Greenleaf.
A curious WASE, BLUE AND WHITE, in shape of an ex-
Pottery and Porcelain. 93
panded flower. HANGING VASE for flowers, resembling a
mediaeval drinking-horn. Several fine specimens of EGG-
SHELL PORCELAIN, presented by E. Cunningham. Two
SATsUMA CUPS, bought of the maker, Kumasuke Seshirna,
Kagoshima.
ARITA VASE. Gift of Miss French.
SEVERAL FINE PIECES JAPANESE PORCELAIN, especially
CUP AND SAUCER decorated with the tea-flower.
Gift of Mr. and Mrs. Geo. W. Wales.
LARGE KAGA BOWL. From the Estate of A. D. Weld French.
Two PIECES OF EMBROIDERY. Dr. W. S. Bigelow.
One from S. K. Bayley.
PAIR JARS. The fiery dragon in high relief in gold; figures
of Yamato Taki No Mikoto, prince-warrior of old
Japan, and his wife, Tachibana Hime. Ground richly
shaded with gold. On cover the conventional Chinese
lion, Kara Shishi. Gift of Mr. and Mrs. Geo. W. Wales.
PAIR JARS. Arita, decorated by Knaido. Gift of Miss
C. L. W. French.
PAIR OF KIOTO JARS. Athenoewm.
CASE 35.
CIIINESE PORCELAINS. Lent by Mrs. T. O. Richardson.
CASE 36.
CIIELSEA, Bow, CROWN DERBY, and other ENGLISH figure
work. Gift of Mr. and Mrs. Geo. W. Wales.
Undermeath.
ENGLISH POTTERY, nine pieces Doulton ware. Three the
gift of Sir Philip Cunliffe Owen, Director of the South
Kensington Museum.
Leeds, Shelton, Herculaneum, Staffordshire, Davenport, Silver
Lustre, and other English wares. Lent by LI. W. C.
Browne, Miss Griggs, Mrs. Frost, and others, and gift
of Mr. and Mrs. Geo. W. Wales.
CASE 37.
CHINESE, BLUE AND WHITE.
Gift of Mr. and Mrs. Geo. W. Wales.
HAWTHORN JAR of remarkably fine color.
94 Pottery and Porcelain.
PLATE, of deep blue, representing a hunting scene, dates
from Ching-Wha, 1465–1468.
CASES 38 and 39.
THE ROGERS COLLECTION OF CHINESE PORCELAINS.
103 pieces lent by Dr. G. O. Rogers, formerly of Hong
Kong. These are catalogued separately.
Under Case 38,
Four blocks from the PAGODA OF NANKIN known as the
PORCELAIN TOWER. Tradition ascribes a fabulous
age to the original tower; it was rebuilt for the second
time in the fifteenth century, and was destroyed in the
Taeping rebellion. A BRICK, plain white glaze,
gift of D. O. Clarke. Two CAPITALs, lent by A.
B. French. WHITE ELEPHANT IN HIGH RELIEF,
presented by M. Brimmer.
CASE 40.
CHINESE PORCELAINS. Mostly the gift of Mr. and Mrs.
Geo. W. Wales. Five pieces lent by Brooks Adams.
Especially worthy of notice are, among others, –
CKLADON FLEUR6 (in centre).
WASE, form of water-bottle, very dark and rich, SANG-DE-
BCEUF color.
WHITE OvIFORM JAR, incised.
FIVE-FINGERED ROSADON VASE.
PITCHER, dark peacock-blue.
POT YELLOW.
Tall vase, ring handles, ground TEA-LEAF glaze, Seal mark.
BOWL, grains of rice, white ground,blue border (centre of side).
POT, lavender fleuré.
WATER—BOTTLE, robin’s-egg glaze.
WASE, jet black color, on the neck lizards in relief.
BOTTLE, red bats.
WASE, bottle shape, gold metallic glaze, rich blue decoration,
metal mountings top and bottom.
PILGRIM BOTTLE, pale apple-green, Kien Lung mark (above
Case).
PALE BLUE WASE. This exquisite color is blown through
a tube covered with fine gauze. The bubbles of color
burst on striking. Gift of Geo. B. Dorr,
Pottery and Porcelain. 95
MoTTLED BLUE JAR, RED DRAGON ON LIP. This fine
specimen was given by Mr. Geo. B. Dorr.
YELLow HAWTHORN BOWL. Gift of Henry L. Higginson.
CASE 41.
CFIINESE.
Two jars, OLD MING. Boston Athenoeum.
Two VASEs, WITH FLOWERS IN HIGH-RELIEF.
ALTAR. CUP, white, very old and rare. Gift of Mr. and Mrs.
Geo. W. Wales.
GREEN DRAGON BOWLS. Gift of Mr. and Mrs. Geo. W.
Wales.
JAR, CURIOUSLY MOTTLED. Gift of D. O. Clarke.
Other pieces lent by Mrs. Swett, and gift of Mr. and Mrs.
Geo. W. Wales, Mrs. Henry P. Sturgis.
CUP AND COVER, white, imperial dragon in red. The surface
is especially noticeable. From the emperor's summer
palace. Gift of Mr. and Mrs. Geo. W. Wales.
ROSE CRACKLE CUP AND COVER. Gift of Mr. and Mrs.
Geo. W. Wales.
| Also several fine pieces. Fred L. Ames.
CHINESE PENCILLING. Gift of Mr. and Mrs. Geo. W.
Wales, and lent by Mrs. J. P. Quincy.
OASIE 42.
PERSIAN AND REIODIAN WARE. Gift of Mr. and Mrs. Geo.
W. Wales and of Henry L. Higginson, and lent I./
George B. Upton.
CASE 43.
ENAMELS.
SPECIMENS OF LIMOGES ENAMEL, purchased at Paris by
the late Baron de Triqueti. Athenaeum.
1. Pitcher (Aiguière) made by Leonard de Limoges
(born 1532, died 1574).
96 Pottery and Porcelain.
2. A very beautiful hollow plaque made by Jean Cour-
tois (fl. 1568). Subject, Goliath going forth to Battle.
Enamels of this kind are called “Bu-paillon or clinquant,”
from the gold or silver leaf placed under certain parts of the
draperies and accessories. The metal Bhining through the
translucid enamel produces great brilliancy of effect.
3. A plaque by Nardon Penicaud (fl. 1550). Subject.
The Descent from the Cros3.
Also, CAESAR AND VESPASIAN, Limoges enamels. Sum-
ner bequest.
Bow L, ENAMELLED. Modern French. Athenaeum.
Plaque, St. Peter, signed I. LANDIN, 1693. Mrs. R. Baker.
Two Dresden Enamels. Miss Fisher.
Snuff Box, Battersea Enamel. Edward H. Greenleaf.
Also, modern CHINEBE and JAPANESE Enamels.
Snuff Boxe5. From the Collection of Mrs. Itichard Baker.
CASE 44.
cLoisonNE AND OTHER ENAMELs.
In Cloisonné the foundation for the enamel is generally cop-
per, on which a thin thread of metal (“cloison,” a partition) is
soldered, giving an outline for the design. Within these
walls the enamel i8 fused.
A number of fine specimens lent by Mrs. Fred L. Ames,
E. W. Hooper, and others.
The CLoISONNK. BRAZIER was taken from the Emperor's
bedside at the sacking of the Summer Palace, with the coals
yet living. Mrs. Fred L. A mes.
The square panels of CLOISONNK are among the earliest
examples known.
LARGE JAR. Lent by Mrs. Wadsworth, as also a box and
two candlesticks.
Five Rooks on a plant growing from the sea. Gift of Mr.
and Mrs. Geo. W. Wales.
Pieces lent by the Athenoeum, Dr. Geo. O. Rogers, and others.
In front of this case, large CLOI80NNſ, INCENSE-BURNER,
bequest of Mrs. Gardner Brewer; two large CLOI-
SONNE GARDEN LAMP8.
Pottery and Porcelain. 97
CASE 45.
GLASS.
A box containing four pieces of finely engraved glass. Ger-
man? Mºrg. Wadsworth.
A bowl with ornaments colored, gilded, and in relief, bought
at Prince Napoleon's sale. C. C. Perking.
18 pieces of old Venetian glass. Mrs. Wadsworth.
An old Venetian drinking-glass. Ditto.
3 pieces of German glass, colored. Gift of Mr. and Mrs.
Geo. W. Wales.
1 cup, highly colored Venetian, and several pieces old Vene-
tian glass. Gift of Mr. and Mrs. Geo. W. Wales.
1 tazza, old Venetian, and a cup, modern English.
Gift of Thomas Gaffield.
Spanish. Gift of Denman W. Ro88.
4 pieces modern Venetian. A. B. French. Eight from Mise
Helen Griggs. Two Venetian and one German (1622).
Gift of Nathan Appleton.
Old French glass. Miss Smith.
Several pieces. Miss Sarah M. Spooner.
Tiffany Favrile glass, two pieces purchased from the Otis
Norcross fund.
CAS E 46.
A superb collection of JADES, CRYSTALS, etc., lent by
Mrs. Fred. L. Ames.
CRYSTAL BALL, seven and a quarter inches in diameter; also
a large and remarkable specimen of fei-tsui jade. Gift
of Frederick L. Ames.
CASE 48.
WEDGwooD, TURNER, ETC. 133 pieces. Bequest of Mrs.
Richard Baker.
CASE 49.
Figure pieces: Bow, CHELSEA, DRESDEN, FRANKENTHAL,
CAPO DI MonTI, HoHST, ETC. Seventy pieces,
given by Mrs. T. O. Richardson in the name of Mrs.
Richard Baker.
ROOM OF WOOD CAFVING, AFMS
AND ARMOR.
On Worth Wall.
PULPIT-Doo R, INLAID witH Ivory AND EBONY, from a
mosque at Cairo. It bears at the base the inscription,
“Honor to our master, the Sultan, El-Malek E°2aher
Barqouq, and may God make glorious his reign!”
Sultan Barqouq, founder of the dynasty of Circassian Mem-
looks, reigned from 1382 to 1398. He twice marched into Syria
and repulsed the Tartars under Tamerlane. On the frame
above the door (the moucharabieh) is the inscription in large
Cufic characters, “Of a surety God commands to reign by
power and goodness.” This admirable specimen of Saracenic
art was purchased in the Egyptian Department of the Exhibi-
tion at Philadelphia and presented to the Museum by Martin
Brimmer.
MooRISE DOOR, panelled, from Algiers. A balustrade and
cupboard door, also from Algiers. Gift of J. W. Paige.
ALABASTER FOUNTAIN for ablution, from Cairo. A. Cuſic
inscription is on the base. Athenoewm.
ARMS, PADDLES, etc., from the PACIFIC ISLANDS, twenty
pieces. Gift of John H. Sturgis.
ARMS AND SHIELDS, from the CONGO. Gift of Rev. Her-
bert Probert.
ARMS AND SHIELDS AND HORSE-TRAPPINGS OF THE SO-
MALI. Dwight Moore.
Lent by Frederick Skinner: — -
CUIRASS OF CHAIN, mounted with buffalo horn; an almost
unique specimen. From the Philippine Islands.
HIELD AND LANCE captured from the Jgorrotes, Luzon,
P. I.
(98)
Carving, Arms, and Armor. 99
ARMS, SHIELDs, etc., from the Philippine Islands. Lent by
Joseph Earle Stevens.
KREES taken from a Zulu chief.
Various smaller arms, mostly Zulu.
ZULU ASSEGAIS, SHIELDS, DRESSES, etc., lent by Capt.
F. P. Crockett.
Above CASE A and ON WALLS.
EIGHTEEN PANELS carved oak. Belgian. Gift of J. W.
Paige.
A large number of PANELS and other specimens of carved
wood.
CARVED WOOD.
Collected by A. Castellani. Athenaeum.
Bought from the T. B. Lawrence bequest. Nos. 1, 6, and 10
are in the Lawrence Room; the others are on the walls
or in Cases A and B.
1. MARRIAGE CHEST, of the 16th century, to contain a
bridal trousseau. It is adorned with allegorical bas-
reliefs, caryatides, and marine monsters. The back-
ground is gilded and punctured. Italian work.
CABINET, of fine style. 16th century. Italian work.
3. BAS-RELIEF, with many figures sculptured by Tasso, of
Florence. 16th century.
4. FIVE FRAGMENTS OF A PIECE of FURNITURE, rep-
resenting children and arabesques. Italian. 16th
century.
5. COAT OF ARMS, supported by children carrying a bas-
relief of little figures. Italian. 17th century.
6. MARRIAGE CHEST of 14th century, with incised and
inlaid (certosine) work. Venetian.
7. SMALL FIGURE OF AN OLD MAN, by Giovanni da Nola.
1600.
8 and 9. CARYATIDEs, by Giovanni da Nola.
10. MONK's FOLDING CHAIR. 14th century.
11. WRITING-CASE, decorated with Certosina work. Italian.
15th century.
100 Carving, Arms, and Armor.
12. CHARITY; small Venetian group of the 17th century.
13. SMALL MODEL OF AN ALTAR. Intaglio, in wood.
Italian. 15th century.
14. HoLY-WATER WASE, gilded. Venetian. 17th century.
15. THREE MASKs. Italian. 16th century.
16. Two MASKS AND TWO CARYATIDES, with slight gilding.
Italian. 16th century.
17. EBONY TABLE, with ivory inlays of superb designs.
Italian. 16th century.
18. FRAME, with chimeras, birds, and arabesques painted in
many colors. In the midst a picture represents the
Madonna and Child. By Barili, of Siena.
19. CRADLE, with the Orsini and the Anguillara arms,
* covered with friezes and arabesques, slightly gilded.
Italian. 16th century.
CASE A.
ST. GUDULA, patron saint of Brussels. Rising early for devo-
tions at church, she guided her steps by a lantern,
which as often as Satan extinguished was relighted by
her prayers. J. W. Paige.
CHINESE INLAID AND CARVED WORK. F. W. Loring.
JAPANESE PRESSED PAPERS.
MOORISEI LEATHER WORK.
ITALIAN STAMPED LEATIILR.
MANDOLIN. Spanish. Miss S. M. Spooner.
A PIANO, made for Caroline Marie Bonaparte, wife of Murat,
and youngest sister of Napoleon. Miss J. W. Little.
CASSONE, ITALIAN, panels painted with the story of Paris.
The Bride bears the arms of the Bartolini-Salimbeni
family. Lent by Mrs. Ed. M. Wheelwright.
IVORY CARVINGS.
CASE B.
ST. JAMES OF COMPOSTELLA. Ivory statuette. Fifteenth
century. Spanish.
IVORY ELEPHANTS, Chinese. Ed. Cunningham. Ceylon
S. K. Bayley.
Carving, Arms, and Armor. 101
MADONNA AND CHILD. Ivory statuette. Beginning of
fourteenth century. School of Giovanni Pisano. O.
C. Perkins.
TWO IVORY TRIPTYCEIS. Gift of Mrs. Gardner Brewer.
Shakespeare at the Court of Elizabeth; and Henry IV.
giving the Government of the Kingdom to Marie de
Médicis on his departure for Germany, 1610.
Ivory BALL, with several balls cut one within the other.
Athenaewm.
Another. Gift of Mrs. H. P. Sturgis.
Several pieces. Frederick L. Ames, W. S. Appleton, S. K.
Bayley, and others.
IVORY BOX. Athenoew'm.
CASE C.
THE ORIENTAL ARMs on the left, were purchased at Phila-
delphia and presented by a former citizen of Boston.
The helmet, shield, and arm-pieces are of the richest
PERSIAN work, carved in high relief and engraved.
An enamelled poignard is especially noticeable.
Those on the right are from the bequest of T. B. Lawrence.
The PERSIAN helmet shield and arm-piece are damas-
keen work (steel inlaid with gold) of great beauty.
Athenæum.
CASE D.
Nos. 3, 12, and 13, mentioned above.
WooD CARVING. Arabesques. By Frullini, of Florence.
STATUETTE OF KING ARTHUR OF ENGLAND. Copied
from the statue belonging to the tomb of Maximilian
at Innspruck, by a Tyrolese wood-carver. C. C. Perkins'
Box-WooD CRoss. Open-work carving. Byzantine.
ST. FRANCIS. Carved in boxwood. J. W. Paige.
Numerous specimens of CHINESE and other Eastern
carvings.
102 Carving, Arms, and Armor.
INDIAN MOSAIC, wood inlaid with silver, ivory, etc.
THE CRUCIFIXION. Carved boxwood. Thos. F. Richardson.
CASE E.
Casts from ivory and carved wood-work in the Museums of
Munich, Nuremberg, etc. Gift of Mrs. and Miss
Brewer.
CASE IF,
Vase of CINNABAR LACQUER. Gift of Francis C. Foster.
CASE G.
Model in Alabaster of the TAJ MAHAL, Agra, India.
Gift of Charles J. Prince.
A SEDAN CHAIR. 18th century. H. W. C. Browne.
A New England CHEST and DRAWERs, “ M. F., 1696.”
Miss Gertrude Clark.
WENETIAN CHAIR. 17th Century. One of a set of twenty-
four. Gift of John L. Gardner.
AN OLD FRIESLAND SLED. The colored bas-relief repre-
sents Solomon and the Queen of Sheba.
Gift of Edward W. Hooper.
CASE EI.
Reduced models of portions of the ALHAMBRA by D. B.
Contreras. Lent by John Healey Childe. Also three
fragments of the original Stucco work of the Alhambra,
one of them preserves the original color.
CASE I.
ARMS and PIPES. Gift of Mrs. T. O. Richardson from the
Collection of Mr. Richard Baker.
LA WFENCE FOOM.
LINING OF A Roomſ. Carved oak, of the sixteenth century.
English or Flemish. Consisting of upper and lower
panels, ceiling, mouldings, cornice, brackets, pendants,
pilasters, carved figures; six bas-reliefs representing
the history of the Prodigal Son; a pair of gates; and
nine portraits on panels. Over the mantel are those
of Henry VI., Elizabeth of York, consort of Henry
VII., holding the white rose, and Elizabeth Woodville,
queen of Edward IV. Over the east door are those
of Henry VIII., Edward VI., and Cardinal Woolsey,
after Holbein. Opposite are Elizabeth, Sir Walter
Raleigh, and one other.
Purchased in London at Mr. Wright's, in Wardour
Street, in 1871, by Mrs. T. B. Lawrence. Athenæwm.
The mantel-piece is a modern reproduction.
AN ITALIAN CHEST, OR CAssoNE, of carved oak, 16th
century. Presented by Mrs. Lawrence. Athenaeum.
Such chests, often decorated with paintings by eminent
masters, were used for the preservation of wearing apparel.
EBONY CABINET inlaid with colored marbles. 16th century.
Italian. Lawrence bequest. Athencewm.
SMALL BOULE CABINET, decorated with ornaments in
brass. Italian. Lawrence bequest. Athenaeum.
Two NEGRO Boys, colored and gilded. Venetian. Pre-
sented by Mrs. Lawrence. Athencewm.
MARQUETRY LINEN PRESS from Haarlem. C. A. Wellington.
(103)
104. Lawrence Room.
LARGE BOULE CABINET. 17th century. Italian.
Athenoewm.
At the close of the sixteenth century, carved furniture gave
place to furniture decorated with inlays of different colored
woods (Marquetry, Intarsia), marbles, and other stones; or
metal on wood or tortoise-shell, called Boule or Buhl, after
Boule, who brought this sort of work to perfection in France
under Louis XIV. Gift of Mrs. T. B. Lawrence.
TREASURE CHEST OF IRON. 16th century. Panels painted
with scenes from Bible history. C. A. Wellington.
Two SUITS OF ARMOR. Electrotype reproduction of suits in
the Tower of London stand in the corners.
ARMOR OF HENI II. Reproduction. Gift of Mrs. J. B. H.
James.
ARMS AND ARMOR, lent by Mrs. Chas. B. Porter. On the
west wall, BURGUNDY HELMET, about 1550. SPEARs,
16th century, on one pair the arms of Nuremberg
are engraved. GAUNTLETS, same date. SHIELD
of the Thirty Years' War. Above are two Morions.
Early in 17th century the fleur-de-lis was the crest
of Munich.
On the east wall. CROSS Bow AND ARROWs; 17th
century.
CUIRASS AND SABRE. From the field of Waterloo.
Athenoewmv.
In Centre Case.
CHINESE, INDIAN, PERSIAN AND CINNABAR LACQUER.
Loans by Mrs. F. L. Ames, Mrs. It. C. Greenleaf,
Mrs. Chas. C. Perkins, and gifts of E. W. Hooper,
bequest of Mrs. Gardner Brewer.
SPECIMENS OF CARVED TALC, SOAPSTONE, ETC.
Various lenders.
ORIENTAL RIFLED GUN. Damascus barrel inlaid with
gold; stock inlaid with silver.
Bequest of Mrs. J. A. Browne.
METAL FOOM.
CASES 1 and 2.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
ITALIAN BRONZES OF THE RENAISSANCE PERIOD.
Collected by Sig. Castellani. Athenoewm.
GILDED PROCESSIONAL CROSS, with figures and rich
ornaments. 15th century.
GILDED RELIQUARY, of Venetian style, in shape of a
bellfry. 15th century.
SALT-CELLAR, of enamelled copper, white and blue
with gold ornaments. Venetian. 15th century.
SMALL BUCKET, of the same style and time, with white
and green enamels.
Ditto, but larger.
GILDED CROSS, with triangular base and translucent
enamel on silver. Decorated with arabesques in
“criblé'’ work. Italian. 16th century.
GILDED CHALICE, with six transparent enamels and a
silver cup. Italian. 15th century.
GILDED RELIQUARY, shaped like a temple, with four
caryatides. Italian. End of 16th century.
SMALL POLYGONAL TEMPLE, with six colonnettes and
a cupola with pierced ornaments. A watch or com-
pass case. 16th century. [;
GILDED RELIQUARY, with foot and little cupola of
Venetian style. Inscription in enamel, with the name
of St. Lawrence. Italian. 15th century.
GILDED WOTIVE CROWN, with silver pearls, niellated
bands, adorned with gems and colored glass. Inscribed
with the names of the donors. Italian. 16th century.
GILDED WATCH CASE, with very elegant pierced orna-
ments. 16th century.
Ditto, smaller.
(105)
106
Metal Room.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
49.
CASE to hold the Eucharist. On the cover a bas-relief
representing the Last Supper. 15th century.
GILDED CROSS, with three busts of saints and of Christ,
adorned with elegant arabesques and embossed work.
Italian. 15th century.
GILDED RELIQUARY, with rich leaf work. Venetian
style. 15th century.
CHALICE OF SILVER, gilt, covered with coral ornaments
in relief. Italian. 17th century.
GOLDSMITH's PLAQUE. In the midst a Roman triumph,
and about it a hunt. Italian. 16th century.
Ditto. Cupid asleep. Italian. 16th century.
A PELICAN. 16th century.
GOLDSMITH's PLAQUE, with beautiful arabesques. 15th
century.
Another, gilded. Madonna and Child, flanked by two
angels. Italian. 16th century.
Another. Christ crucified. Grandiose and fine com-
position. Italian. 15th century.
GILDED WASE, with two handles and chiselled in relief.
17th century.
BUST OF THE SAVIOUR. The left hand rests upon a
globe, the right gives the benediction. The beard and
hair are gilded, as are also the fringe of the robe and
the surface of the globe. Very fine. Italian work of
the 16th century.
POLYGONAL RELIQUARY, gilded. Venetian style.
Cover of rock crystal. The stand is adorned with fine
graffites. Italian. 15th century.
A GILDED LOCK, with figures, trophies, and the arms
of the Orsini in relief. Italian. 16th century.
CoPPER WASE of a very beautiful form, covered with
chiselled arabesques in relief. Italian. 16th century.
BUST OF THE “ECCE Homſo,” gilded, in relief on a
background of white and black jasper. The ebony
frame is adorned with stone cameos, lapis lazuli, and
applied work of gilt metal. Florentine work of the 17th
century. From the Medicean workshops.
JMetal Room. 107
50. TABLE CLOCK, in the form of a little temple, with chis-
elled ornaments in relief. Italian. 17th century.
TWO BRASS-MOUNTED EWEIRS. French. G. V. Foac.
Relics from St. Augustine, Florida, 1721. W. H. Keith.
PROCESSIONAL CROSS. Horatio G. Curtis.
FOURTEEN SILVER PLAQUES. Stations of the Passion.
Also silver Bowl and Salver, old German. Thos. F.
Richardson.
WASE OF IRON INLAID WITH GOLD AND SILVER. Spanish,
a fine specimen of modern damaskeening, by Zuloaga.
Purchased at the Exhibition.
BOWL, PLATE, AND LADLE. Russian, niello work, purchased
at Philadelphia in 1876.
FRONT OF A BRONZE CASKET. On either side of the cen-
tral medallion, which contains a head, is a Centaur
bearing a woman on his back. Italian. Fifteenth
century. C. C. Perkins.
Several pieces. Thomas F. Richardson.
THIRTEEN WATCHES. Miss Sarah M. Spooner.
GOTHIC RELIQUARY. Gift of Mrs. Chas. H. Joy.
ELECTROTYPE REPRODUCTIONS.
From objects in the South Kensington Museum.
THE MARTELLI MIRROR. By Donatello. 15th century.
JAMNITZER CUP (silver).
GERMAN BEAKER (gilt).
CELLINI TAZZA (gilt).
BEDFORD TANKARD (gilt).
TAZZA, MELEAGER, AND ADONIS (gilt).
SIX SALT-CELLARS (gilt).
PYx (gilt).
BAS-RELIEF OR THE ENTOMBMENT (bronze).
VENETIAN SALVER.
BAS-RELIEF (silvered). By Jean Goujon. 16th century.
CAS ES 3 and 4.
INDIAN METAL-WORK.
BRASS AND COPPER WARE FROM CASHIMERE, IIYDERABA D,
108 Metal Room.
PoonAH, MADRAs, etc. Collected by Lockwood de
Forest. Gift of Miss Brewer.
ORIENTAL METAL-WORK.
BENARES BRASS WAIR.E.
PERSIAN BRAss Work. Pair of vases and a pair of candle-
sticks, inlaid, presented to the Museum. Several pieces
lent by J. W. Paige. Notable among them a tall CAN-
DLESTICK and a BOWL, of perforated work.
PERSIAN VASE of perforated brass work.
LARGE PERSIAN PLAQUE of brass, engraved and inlaid with
silver.
PERSIAN DRUM of brass.
COPPER WATER JAR, from Tunis; modern.
CAS ES 5 to 10. Also 11 and 12.
A Collection of arms and armor. Of these a separate
Catalogue will be issued.
CASE 15.
FORGED IRON WORK. Flowers from top of a grille, cinque
cento work, Spanish; lock from Nuremberg; knocker
and door-pull, German; twisted candlestick, French;
a variety of keys. J. W. Paige.
POWDER HORN. Turkish, copper engraved Athenaeum.
Several pieces. H. W. C. Browne.
MALACHITE Box. Gift of the City of St. Petersburg, with
diploma of citizenship, to the late Assistant Secretary
of the Navy, Gustavus V. Fox.
BRASS PLATES. Hammered work, German, 15th and 16th
centuries. Ilent by Denman W. Ross and J. Lindow
Smith.
Case of PATTERNS of BRONZE manufacture, Japanese.
The variety of tone and texture, of inlaid, raised, and en-
graved work and the imitation of the antique are very
interesting.
Metal Room. 109
ON THE WALLS ADJOINING. — WROUGHT-IRON WORK.
ToRCII or BANNER-BEARER, from Siena. BELL-PULL,
decorated with flower-work, from Nuremberg. Lent by J.
W. Paige. As also are the HINGES from Nuremberg, the
German chest with remarkable LOCKand the iron Spanish
MONEY-BOx.
Thirteen Locks and other pieces of wrought iron. Belgian
German. Gift of J. W. Paige.
A number of HANDLES, BELL-PULLS, HINGES, EscuT-
CHEoNs, NAIL-HEADs, etc. Belgian wrought-iron of 16th (?)
century. Gift of Dr. Wm. S. Bigelow. Also lent by him, a
wrought-iron CANDELABRUM from Antwerp.
HINGES, LoCKs, KEYs, and a MONEY Box, wrought-iron of
XVI. and XVII, centuries. From the Alfred Greenough
estate. Gift of the Executor, Chas. Henry Parker.
Blton ZE GONG, inlaid with dragons in gold. Fine, bold work,
the inscription records that it was made over a century
ago of a parcel of coins found in a half-corroded state and
then several centuries old. The tone is deep and
SODOTOUIS,
CASE 13.
CHINESE BRONZES, Mrs. Fred L. Ames, Mrs. E. M.
Stevens and Dr. Geo. R. Hall. Bequest of Mrs. Gard-
ner Brower.
CASE 14.
BRONZES.
By L. A. BARYE. Elephant Crushing a Tiger. Gift of Mrs.
S. D. Warren. Tiger Marching; Two Hares; Gazelle.
Lent by Robert H. Monks.
By E. FREMIET. Joan of Arc; Duc d’Orleans; Wounded
Dog; Two Bassets; Cats; Dog Reclining. Robert H.
Monks.
COIN FROOM.
CASES 1 to 7.
ELECTROTYPE REPRODUCTIONS OF COINS. Selected from
the collection of the British Museum.
Five of these cases lent by the Athenaeum.
CASES 8 to 14.
Part of the RINDGE COLLECTION OF GREEK AND ROMAN
COINS. Frederick H. Rindge.
CASES 15 to 21.
MEDALS, chiefly Papal. These are catalogued.
John H. Storer.
CASE 22 and 23.
COINs, modern. Bequest of Miss Rebecca Salisbury.
CAS E. 23. -
A collection of 214 RINGS, principally Italian, German, and
French. Mrs. Wm. D. Boardman.
CASE A.
GOLD AND SILVER WORK.
THE LONGEVITY WASE, of China. The word “longevity”
repeated sixty times in characters formed of rubies
and emeralds, set in pure gold. Part of the loot of the
Teen-Tih rebellion. JE. Francis Porker.
Three pieces of Silver, Gilt, Niello-ware from SIAM. Gift of
the U. S. National Museum through Dr. G. Brown
Goode.
CoFFEE-PoT with coral handle, and a covered box, Silver Fil-
ligree. ALGERIAN. Gift of Mrs. Roland C. Lincoln.
SILVER GILT Box, once a present from Napoleon to Jose-
phine. Made with other articles for the toilet table by
Odiot of Paris. Gift of Miss Salome J. Snow.
SILVER SHRINE, from Tartary.
ONE GOLD ALEXANDER. Mrs. Geo. Hurter.
SILVER SURAIS, Cashmere.
ALGERINE HEAD-DRESS, cut from a sheet of silver. Gift
of Mrs. Richard Sullivan.
CUP OF CRYSTAL. Gift of Mrs. G. D. Howe.
(110)
Coºn Room. 111
THREE PIECES. ALGERIAN. Mrs. Arthur Croft.
CRYSTAL CROSS, with emblems of the passion, from the
shrine of the Virgin del Pilar. Saragossa.
SMALL SILVER PLAQUE from the outside of a missal. Saint
praying. Repoussé work. C. C. Perkins.
SCARABS, Egyptian and Gnostic. Mrs. Chas. B. Porter.
TOPAZ SEAL from Nineveh. Mrs. George Hurter.
ASSYRIAN CYLINDER, engraved.
SILVER PITCHER. Chinese. E. Cunningham.
ENAMELLED WATCH, in the form of a double heart. Gift of
the Misses Delano.
CASE B.
AMERICAN SILVERWARE.
SILVER WASE. A gift to Dr. Asa Gray, on his seventieth
birthday, by the botanists of America.
A TEA SERVICE of four pieces made by PAUL REVERE.
Presented in 1799 to Edmund Hart, constructor of the
Frigate “Boston,” by his “fellow-citizens.”
Gift of James Longley.
GOLD RACING CUP, San Francisco. The stand is of concen-
tric rings of native porphyry, lapis lazuli, silver quartz,
and gold quartz. Hamilton W. Cary.
SNUFF-BOX of Gilbert Stuart. Gift of Sidney Brooks.
SILVER PITCHER. Inlaid copper, richly decorated. Made
by Tiffany & Co., New York. F. H. Smith.
CoFFEE POT, made by Paul Revere.
Bequest of Dr. Buckminster Brown.
TANKARD, PORRINGERS, TRAY, ETC. Loans by Miss Lom-
bard, Mrs. Slater, Mrs. Hammond, Mrs. Morgan and
Mr. Lawrence Bradford.
CUP AND SPOONs, once owned by Washington.
lMrs. G. W. Hammond,
112 Coin Room
CASE C.
On the north side, gold work and jewelry, chiefly from
INDIA; on the east, from ALGIERS and TURKEY; on
the south, EUROPEAN; above, modern RUSSIAN
enamels and some reproductions of antique ORIENTAL
work. - M. S. Arthwr Croft.
JADE CYLINDER, MONTMORENCI NECKLACE, BRACELET
OF ETRUSCAN SCARABS, INDIAN PENDANT.
Bequest of Mrs. Gardner Brewer.
CASE D.
A superb collection of WATCHES, RINGS, FANS, etc. The
watch, surmounted by the double-headed eagle, was
a gift from the Emperor of Russia, and was taken in
the loot of the summer palace, Pekin.
Mrs. Arthwr Croft.
CASE E.
Pair WENETIAN CANDLESTICKS. Lenſman W. Ross.
Several pieces. Bequest of Mrs. Turner Sargent.
SILVER-WARE. A number of pieces, chiefly of Norway and
Sweden, also English and American. Mrs. Geo. W.
Hammond.
A collection of SILVER. Mostly RUSSIAN. Miss Sarah M.
Spooner.
CASE IF.
A collection of SPOONS. GERMAN, DUTCH, ITALIAN,
POLISH, RUSSIAN, etc.
Chiefly the bequest of J. W. Paige, also lent by Miss
Sarah M. Spooner, Mrs. Geo. W. Hammond, and
others.
CASE G.
MOSTLY WOMEN'S ORNAMENTS.
EARRINGS, BRACELET and RING, from tombs in Smyrna.
Gift of a class of ladies.
SILVER DISH, from excavations at Pompeii. Lotus-leaf pat-
tern, with gilt boss at the centre. Gift of H. P. Kidder.
Coin Room. 113
Reproduction of an ANTIQUE NECKLACE.
Bequest of Mrs. Turner Sargent.
An ETRUSCAN NECKLACE.
Twelve EARRINGS from Greece, Damascus, etc.
J. W. Paige.
HEAD-DRESSES, EARRINGS, BRACELETs, etc., worn by
Kabyle women.
Gift of Mrs. Richard Sullivan and J. W. Paige.
EARRINGS OF FEATHER. Encased in gold filigree. Mrs. R.
C. Greenleaf, Jr.
GOLD AND SILVER ORNAMENTS from Abyssinia and the
Soudan. Athenaewm.
NORWEGIAN SILVER-WORK and ORIENTAL ornaments.
Miss Helen Griggs.
WATCII and Chatelaine set with brilliants, a wedding gift
to Queen Charlotte, wife of George III. Bequest of
Sara G. Timmins.
BRACELETS from China, Algeria, Italy, Germany, etc.
Mrs. R. C. Greenleaf, S. K. Bayley, J. W. Paige, and
Miss E. W. Healey.
A Collection of Silver Ornaments, etc., from INDIA, EGYPT,
MONTENEGRO. Miss Sarah M. Spooner.
CASE HI.
SILVER COMMUNION SERVICE of the Old West Church.
Gift of the Society.
CASE I.
ENGLISII SILVERWARE.
URN, ENGLISH, 1786–7. Bequest of Mrs. Margaret Allen
Elton.
URN. Copper and silver. H. W. C. Browne.
TANICARDs. Alfred E. Burton and Daniel Berkeley Updike.
OTHER TABLE WARE. Loans by Mrs. Hammond and Miss
Bealy and bequests of Mrs. Margaret Allen Elton and
Dr. Buckminster Brown,
114 Coºn Room.
FANS.
CASES J and JK,
FRENCH and SPANISH. Miss S. M. Spooner.
CASE L.
By VERNIS MARTIN. Miss Mary Rivers.
Of the time of Louis XVI. Mrs. Thomas F. Richardson.
FRENCH, about 1793. Miss Isa E. Loring
FAN painted for Gov. HUTCIIINSON, of Boston, with por-
traits of himself and family. J. W. Paige.
Three FRENCEI. Mrs. Kingsmill Marrs.
CASE M.
Four FRENCEI and one CHINESE.
Gift of Mrs. George W. Wales.
CASE N.
Cups, goblets, tankards and plaques of silver and silver gilt.
Nautilus shell set in silver. Enamelled fish, etc. Lent
by Mrs. T. O. Itichardson, from the Collection of Mrs.
Richard Baker.
CASE O.
A Collection of Boxes, Silver, Lacquer, Enamel, etc.; of
Watches; Indian goldsmith work; Armenian Head-
dresses, etc. Lent by Mrs. Kingsmill Marrs.
JAFAN ESE FOOM.
The objects in this room, with few exceptions, are lent by
Dr. William Sturgis Bigelow and Dr. Charles G. Weld.
CASES 1 to 10.
Figures in wood and bronze of BUDDHA and his hierarchy
of attending divinities. Many of these are of great
age and delicacy of workmanship.
One gift of Henry C. Warren, others lent by Dr. Bigelow.
CASES 11 a.m. d. 12.
BRONZES, also in Case 11 a SEIRINE of chiselled brass of rare
workmanship. Lºr. Bigelow.
Against the Wall.
BRONZE ELEPHANT supporting a column, a very fine old altar
piece, intended for floral offerings. On the hexagonal
base are the twelve signs of the zodiac. On the column,
figures of sages, Buddhist saint seated on a lotus. On
reverse, the stork, pine-tree, and Chinese sages crossing
a bridge, emblematical of longevity, green old age, and
the path through life. Dr. W. S. Bigelow.
BRONZE CYLINDER, flower vase, from a temple, inlaid with
silver dragons and mythical birds fighting over the sea.
CASE 13.
SILVER and GOLD work — some of marvellous delicacy.
Drs. Weld and Bigelow,
(115)
116 Japanese Room.
CASE 14.
NETSUKE, Japanese Carvings in ivory and wood.
- Dr. Bigelow.
CASE 15.
SWORD8. Dr. Bigelow.
CASE 16.
SworD GUARDs and Sword Mountings. Note the delicacy
and beauty of some of this metal work.
Drs. Bigelow and Weld.
CASE 17, 18, 19, 20.
SWORDS. Dr. Weld,
In one is placed for comparison a sword once belonging to
the royal family of Naples.
CASE 21.
PAGODA SHRINE, showing also the construction of temple
roofs. Gift of Dr. Henry J. Bigelow.
CASE 22,
LACQUERS. Dr. Weld.
CASE 23.
GOLD ORNAMENTS of tobacco pouches, and sword mount-
ings, pipes, etc. Dr. Weld.
CASES 24 to 29.
An unrivalled collection of LACQUERS. Dr. Bigelow,
CAS ES 30 d/mol. 31.
LACQUERS lent by Mrs. Kidder, Mrs. Edward Cunningham,
from the bequest of Thos. G. Appleton, etc.
CAS ES 32 to 41.
BROCADE and GAUZE DRESSES, made for use in the No
dances, Dr. Bigelow.
Japanese Room. 117
A1BO VE CASES 1 to 10.
LACQUER SCREENS. Bequest of Mrs. Gardner Brewer.
CABINET, inlaid wood. Mrs. W. B. Swett.
CABINET, inlaid with mother-of-pearl.
Gifts of Francis Amory and Geo. A. Goddard.
On South Wall.
Twenty-one panels WOOD CARVING, illustrating, among
other subjects, Stories in the life of Buddha. These
superb Carvings are from the wall of a temple of about
the 16th Century. Dr. Bigelow.
CORFIDOF.
CASES 1 to 40.
THE MORSE COLLECTION OF JAPANESE POTTERY. —
In bringing the collection together, Mr. Morse has en-
deavored to secure specimens of every province in which
pottery has been made, including work of every age, also
the work of every maker and every variety of mark; and,
further, to secure every kind of object made in pottery. The
collection thus far embraces over four thousand five hundred
specimens, nearly six hundred kinds of wares, over a thou-
sand different marks, and nearly two hundred and fifty differ-
ent objects made in pottery.
It is arranged by provinces, of which there are fifty-six
represented.
Most of the original specimens figured in the famous work
of Ninagawa belong to the collection, and these will be indi-
cated by special labels.
At the earliest moment the specimens will be properly
labelled, and an extensive catalogue, with marks, will be
published. #
Above these cases are twenty panels of CARVED WOOD,
chiefly flower subjects, of bold execution and great beauty.
Dr. W. S. Bigelow.
CASEAS 41 to 84.
Selections from the collections of SCREENS and KAKEMONO
lent by Dr. Charles G. Weld and by Dr. Wm. Stur-
gis Bigelow, are hung in rotation.
CAS ES A, B, and C.
A fine collection of illuminated MSS., and other miniature
painting. Thomas F. IRichardson.
(118)
Corridor. 119
CASE D.
Case of ILLUMINATED MISSALS, ARABIAN KORAN, speci-
# * mens of OLD BINDINGS, etc., lent by Mrs. C. C.
Perkyns, Mrs. Wm. G. Weld, Mrs. R. Baker, and
othars.
MAIOLESQUE BINDING, 1530–1550 A. D.
Thos. G. Appleton.
CASES E, F, G, and H.
JAPANESE PRINTS, lent by Dr. W. S. Bigelow and Denman
W. Ross. -
CA SES I, J, K, and L.
JAPANESE PAINTINGS and PRINTS.
C. A SE MI.
JAPANESE ARMOR. Eleven suits lent by Dr. Weld, one, that
of a standard-bearer, imperial crest; the gift of Benj.
R. Curtis.
CASE N.
JAPANESE ARMOR. Two lent by Dr. Charles G. Weld, one
by Lieut. Holmes, U. S. N.
CASE O.
ILLUMINATED CHOIR BOOK, 1559.
Estate of Phillips Brooks,
CAS E. P.
Two of the ANTIFONARI of the Cathedral of Lodi. Exe-
cuted, 1455–1497, for the Bishop of Lodi, Carlo
Pallavicina.
The bindings of solid stamped leather, with brass mount-
ings bear the arms of the Bishop.
Lent by Angelo del Nero.
UNIVERSITY OF MICHIGAN i \
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3 9015 08132 8067 .* \
CONTENTS. \
w PAINTINGS. PAGE
First Gallery tº 3
Lower and Upper Halls * & © e º o & 11
Allston Room º º & e e * º º & 12
Dutch ROOm tº º fe & º º o © & 20
Fourth Gallery . º º º de tº * º º 30
Fifth Gallery e º ſº º cº e Ya © * 35
Southern Corridor * * º - º º º e 39
Water-color ROOm o º º º Q º & & 41
Miniatures . º º tº º * * e º g 51
Other ROOms e º º e * e © º º 54
SCULPTURE,
Upper Hall . * º º º º 56
Lower Hall . • e º e º & 58
Index to Painters and Sculptors . e e º º & 59
PRINTS.
First, Second, and Third Print Rooms tº • . e 63
TEXTILES.
Textile Gallery and Upper Hall . © e º * sº 65
POTTERY AND PORCELAIN.
Pottery and Porcelain Room º G * º º º 78
WOOD CARVING, ARMS AND ARMOR.
Wood Carving Room . ſº º º g º º º 98
Lawrence ROOm . º º e º º º º ... 103
METAL WORK.
Metal Room . © º Q º * te º tº ... 105
Coin Room . sº º e e º * e - . 110
JAPANESE ART.
Japanese Room . sº º e © e º º . 115
Corridor º * wº º Q & * º º * 1 18