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of Art Bulletin www.jstor.org

from the werechosen in thisBulletin Thewortsof artpresented thoseshownin to parallelor complement collections Museum's isgrouped Thematerial of Turkey. Art Treasures theexhibition madeby people to objects theJirstis deroted in two sections: theymayharetnown though wholivedin whatwe call Turkey, Thesecond Empire. or the Ottoman it as Lydiaor Byzantium worts that depictthe Turts or to Western sectionis deroted theirart. imitate

From thepointof viewof simple logistics it is infinitely moreefEcient to transport 300-odd works of artfrom,say,Turkey to New Yorkthanto moveseveral hundred thousand NewYorkers to a dozen sitesin AsiaMinor. Thisis theobvious justification for traveling shows, andthe immediate reason for the opening at the Metropolitan, laterthismonth, of an exhibition of masterpieces fromTurkish museums. There areotherreasons, lesspragmatic andmore interesting. Works of art,likehuman beings, havea wayof getting stuckin the amber of their surroundings. Theirgeneral fateis to be placed in caseA of gallery B on floor C, and thereto staylikeprecious remains, oftenseenbutunnoticed, embedded in theoverall configuration of thegallery. Human beings periodically shake themselves loose by "gettingaway." It maynotbetoofarfetched to suggest thatthepsychology of thevacation as,not vacuous fun,butrefreshment andrenewal, applies aswellto objects of art.At the moment Gallery 43 on the second flooris takenup by seventeen landmarks of modern art-paintings andsculpture by Leger,Delaunay, Picasso, Kandinsky, Arp, andGiacometti, borrowed fromtheGuggenheim, thelikes of which cannot ordinarily be seenin the Metropolitan. At the Guggenheim they areat home;heretheyhave an added vitalityin theirproximity to ourManets, Seurats, Gauguins. The traveling loanshow,big or small, whenit is imaginatively conceived andorganized, is a tellingexperience. It brings aboutan alchemy in the viewer's response. Thisis perhaps least difficult to accomplish whenthematerial is unknown orunfamiliar or exoticand,mostimportant, first-rate, but it is nevereasy.One canimagine the world of artasa kaleidoscope, allof whose bitsandpieces remain constant, butalign themselves in countless successions of patterns, interrelations, analogies, insightful juxtapositions. Everyloanshow should shake that kaleidoscope intoa newstatement about manor, if not new,a freshly retold statement. Some do andsomefrankly don't. Ourtouchstone, always, is excellence. Excellence of the kindseenin thisart from Turkey, andto be seenin March in a surprising showof the fabled viceregal silver fromPeru. Themostexotic (intheword's original, literal sense) exhibition of them allmayprove to beHarlem on My Mznd, because solittleis really known about thatremarkable community. Afterit opens herenextfallwe intend to sendit throughout the nation. Todaytheveryideaof whatconstitutes anexhibition is being challenged andbroadened,as is the wholestructure of museums andtheirrelevance to contemporary life. I believe, forexample, thatwe aregoingto seeanunprecedented movement toward a world community of museums andinstitutions. I canforesee thepossibility of the joint purchase (andownership) of single great works of artby twoor more museums. There will be a loosening up of the "national treasures" concept, a willingness to share and exchange. It willno longer be important whoownswhatwhere. Theimportant thing will be that the world's artgetsseen- by means of extended loans, including the exchange of curators andscholars. We areon the way to implementing the ideathat the world's art has,indeed, no
. * .

domlnlons.

THOMAS P. F. HOVING, Dzrector

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ANATO LIA

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I In thethird millennium B.C. there were several peoples and cultures in Anatolia. One of thesecultures of the Early Bronze, orEarly Anatolian, period wascentered in thenorth central area around Alaca Huyuk.It extended northto the BlackSea,southto Cilicia, andpossibly as farwest as the Sakarya River.Somescholars connect thisculture with a peoplecalled in the Hittiterecords theHatti. Thisewerreputedly camefroma site nearAmasya, south ofSamsun ontheBlack Sea. Theshape was achieved by raising, beating thegoldovera form, andthedecorationwasapparently madeby repousse andchasing. This ewer is verymuch likeoneexcavated byTurkish archaeologists at Mahmatlar, alsonearAmasya. Similar gold ewers andalsoothers in silver andterracotta werefound in someof the well-known graves at Alaca Huyuk;the dateforall these ewers andtherichmaterial found with them is thelatethird millennium B.C., and theMuseum's eweris datedon the basis of its resemblance to those foundat thesesites.Themouthof the ewerwasapparentlycutoffwhen it was found bypeasants, perhaps inan

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LateIII millennium B.C. Height 7 inches. Harris Brisbane Dtst Fund,57.67

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THE METROPOLITAN VOLUME XXVI,

MUSEUM
5

OF ART JANUARY

Bulletin
I

NUMBER

968

Published monthly fromOctober to June andquarterly from Julyto September. Copyright ( I968by The Metropolitan Museum of Art,FifthAvenueand82ndStreet,New York, N. Y. Io028.Second class postage paidat New York,N. Y. Subscriptions $s.ooa year.Single copies fiftycents.Sentfree to Museum members. Fourweeks' noticerequired forchange of address. Backissues available on microfilm from University Microfilms, 3I3 N. FirstStreet, AnnArbor, Michigan. AssociateEditorin Charge of Publications: LeonWilson. Editorin-chief of the Bulletin: Katharine H. B. Stoddert; Editors of the Bulletin: Suzanne Boorsch, JoanK. Foley,andAnne Preuss; Designer: PeterOldenburg.

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2 This standard, alongwith other objectsincluding the sistrum (4), wassaidto have beenfoundin a large earthenware vesselat a site calledNallihan, southwest of Bolu and just northof the Sakarya River. Some Turkish scholars, however, suggest it mayactually have comefromHoroztepe, farthereast. Similarbullsare known fromHoroztepe andAlacaHuyuk,several also on pedestals. Comparison with these bullsand other bronzes foundat the sitessuggests an EarlyBronze, or EarlyAnatolian, datefor thisstandard. The standard is castin several pieces. The long,thin stylized bullsweremadeseparately andareheldto the diskby elongated outerlegs,whicharepulledthrough andbentback.A rodsecured by pinsjoinsthe animals at theirnecks. The diskis casttogether witha pierced tang, which wasplaced in a socket, perhaps of a different material. Thestandard probably served a religious function, sincebullsare often shownin representations of religious ceremonies as platforms uponwhichthe gods communicated to theirworshipers.
Late III millennium B.C. Copper or bronze. Height634 inches. Purchase, Joseph Pulitzer Bequest, 55. I37.5

3 Heavychariots, thosewithfourwheels, wereknown in Mesopotamia as earlyas the thirdmillennium B.C. Theyarementioned in textsandrepresented in art,the best-known representations being those on theStandard of Ur,nowin TheBritish Museum. Evenactual chariots havebeen preserved, aswellasmodels made of terracotta orcopper. Thesignificance of themodels is elusive. They mayhavebeen made forchildren orforwarriors, orperhapstheywereusedin religious rites. Thismodelcould depicta contemporary military chariot, a vehiclefor front-line attack thatusually carried twomen,a warrior anda driver. It is alsopossible that the modelis of a vehiclethat carried a deity,since it is drawn by a pairof bulls. Asses

oronagers aremore usually seendrawing chariots, butin Anatolia bullsareshown carrying deities on theirbacks or pulling themin chariots. The deitymighthavebeen the sunor a weather god, represented as a statuette of human formor by another symbol.At leasta dozen modelchariots pulledby bullsandof the sametype as the Museum's areknownto exist,andaresaidto have comefromsouthcentral Anatolia. Unfortunately, none wasscientifically excavated, so thecontext in whichthey werefound,whichwouldperhaps have clarified their function, is lost.
III or early II millennium B.C. Copper or bronze, height 35S6 inches. EdithPerry Chapman Fund,66.If

4 Thissistrum is in the formof a handle andtwo uprightprongs, which aredecorated withprojecting bulls' horns andcapped withstylized plants. A crossbar at the top is adorned with a standing bird,possibly a hawk, whosewingsare outstretched. The fork,crossbar, and ornaments appear tobecasttogether, butthethree wires, eachholding loosedisks, wereplaced withintheprongs. Bothhawks andthehorns of bulls played a symbolic role in thereligions of Anatolian peoples forseveral millennia. It is therefore possible thatthissistrum wasemployed by pr1ests 1na rel1g1ous ceremony, accompanying singing or dancing in honor of theirgods. Sistra decorated withanimals in theround arefound at Horoztepe, andfragments occur at Alaca Huyuk. They areof slightly different shapethanthisone, beingless elongated. Sistra were alsousedasmusical instruments in Egyptduringthe thirdmillennium andin the second millennium of the Minoan period in the Aegean. Perhaps themostfamous example in artis therepresentation on the sixteenth-century steatiteHarvester vasefrom Hagia Triada on Crete:the manleading the procession of singing harvesters is shaking a sistrum, verysimilar to theMuseum's.
. . .

Late 1ll millennium B.C. Bronze, heights3 inches.Purchase, Joseph Pulitzer Bequest, 55.z 37.z

LYD

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wasoneof thegreatcitiesof Asia 5 Sardis in antiquity located in western ofLydia (akingdom Minor. Ascapital sheachieved fame frommodern Izmir), Turkey, inland before under herlastking,Croesus, andwealth especially in themid-sixth cenconquest succumbing to thePersian theruins of Sardis travelers first visited turyB.C. Western exploration century, but realscientific in the fifteenth whenPrinceton Unidid not beginuntilthiscentury, anexcavation fromI9IO to I9I4, and versity conducted Society jar 4%inches. Giftof theAmerican Height of the werediagain in I922. The findsfromthisexcavation (the coins), 26.59.6 of Sardis, 26.59.2-5 for the Exca?vation Museum in Istanbul the Archaeological videdbetween (the jar) Beginning in I958, a Museum. and the Metropolitan by Harvard and excavation, sponsored new American to revealthe vast has continued Cornell universities, capital. extentof the ancient scarcely offers "Lydia, unlikemostothercountries, exceptthe to describe, any wonders for the historian

of Tmois washed downfromtherange gold-dust which fromthe of golddustin thispassage lus."Themention us that it was the Herodotus reminds Greekhistorian Somesaythatthe coined money. Lydians whoinvented of KingGyges issued asearly asthereign first coins were ornot this century B.C.; butwhether in themid-seventh great-grandson Alyatis thecase, by thetimeof Gyges's waswellestabsonCroesus, coinage tes,andAlyattes's lished. eachbearing thedevice of Croesus, Thirty goldstaters oneanother, of a lionanda bullfacing of the foreparts jar.They in thisinsignificant-looking were found hidden the shortly before buried forsafekeeping wereprobably of Sardis in 547B.C. Persian conquest

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in lettersthatareakinto Greek waswritten 6 Lydian andto itselfis quitedifferent, but the language letters, stele Thismarble thisday it hasnot beendeciphered. in I9II. wasfoundat Sardis inscription witha Lydian of a few on the basisof the understanding Recently, of of the University Gusmani Professor Roberto words, maybea juridthattheinscription hassuggested Messina of a havingto do with the confirmation icaldocument to named Mlimnas of goods froman individual transfer at Sardis. of Artemis thesanctuary
for 5 feet, 4 inches.Gift of the SmericanSociety Height 26.59.7 of Sardis, the Excavation

were probbelow shaped jars shown curiously 7 Thefour forwhichSardis baccaris, a perfume ablyusedto contain wasa thattheshape It is possible wasnotedin antiquity. like these Jars for the perfume. trade-mark convenient at Sardis, andbecause numbers in great havebeenfound of Lydia,modern they seemto havebeena specialty have calledthem Iydions.These,datingfrom scholars but at Sardis; all excavated B.C., were the sixthcentury sitesin the Medihavebeenfoundat numerous Iydions were thattheircontents world, goodevidence terranean exported. widely
jar 4N inches.Gift of theAmerican Heightof thetallest 26.sg9.64, 26.Z64.27, of Sardis, Society for theExcavation s6.75.I6-I7

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8 Duringthe firstAmerican excavations, hundreds of ancient tombs wereopened in the cemeteries of Sardis, andthisgroup is thepartial contents of oneof thetombs. It canbe datedto shortly afterthe middle of the sixth century B.C. by thepresence of imports from Athens and Sparta, theAtticoinochoe andLaconian kylix,ordrinkingcup,bothin theleft foreground. The restof the potteryis Lydian, andcanbe recogni7PS

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trictnortheast of Sardis, came theinspiration forthe jug with the oversized spoutandfor the pitcher with the bulbous body.The small,darkjug in the rightbackground maybe a descendant of an olderHittiteshape. Whyso manyparallels withothercultures? Probably because Sardis wassituated on oneof thegreat highways of antiquity, whichranfromthe Aegean coast,across western AsiaMinor, andintoPersia. Travelers andcara-

0 ik; ll;taP ! L 1h of cation. W Jt W one Early W XiL portant _ have ed t of bay Sidamara The S male the Christian originated cophagi, oflate sons of figure an them, seated arcade. type Roman ofwith (Asta of Constantine in after found author-philosopher style between columnated It Asia .7\4znor), belongs the in of Minor the earliest Sidamara, the arcades, Great, columns to about and sculpture, a known group type, and postEze believed at within most 11 of Ambardressed as middle -i * sarthe the im| to y_w
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0 Theimperial diadem identifies thissculpture as the headof a Roman emperor. It is a portrait _ siblyConstans. The identification is based on a certain similarity of thisheadto representations of the youthful emperor foundon coins; lackof r' authentic, unidealized portraits of Constans and his brothers doesnot allowforpositive identifisoftened by influences fromthe Near East, is characteristic of thenewlyrising Byzantine style andsuitswellthe dating of the piece.It is said
Xbozxt340 A .D Marble, hezghtl oM2inahes. Rogers Fund,67.I07

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ThesetzZo plates, withscenes fromthestoryof David,arepart ofa treasure found near Kyrenia, onCyprus. Thesilver stamps on the undersides of the plates areof thereign ofEmperor Heraclius (6I3-629/630). Although the plates maynot be by the samehandandnot all of thefivesilver stamps on oneplateareexactlythe same asthose on theother,thetechnique of theworkmanship is thesame. Thepresence of thefiveimperial stamps, as wellas the highquality of the design andof the execution,pointsto a workshop in the capital of Byzantium, Constantinople.
Constantinoplc, vll century. Diameters soM, 5H inches. Giftof J. Pierpont Morgan,Z7.sg0.3g7,394

12 13 14

15

2 This cup, possibly a chalice,is decorated with representations of fourfemalefigures. Thesearesymbolicpersonifications of imperialcities and metropolitan sees of Byzantium,whichderivefromthe pagancity goddesses, Tyches.The inscription in Greekunderthe rimidentifies themas the citiesof Constantinople, Cyprus,Rome,and Alexandria. Therewasno "city of Cyprus" - the capital of the island then being Constantia(earliercalled Salamis)-and it has been suggestedthat the presenceof Cypruson thiscup maysupplya clueforits dating.After the Councilof Ephesusin 43I, the Metropolitan See of Cyprusdeclared its independence from the city of Antioch, and the nameof Cypruswas probablyused here to emphasize its importance. It also suggeststhat the cup was made on Cyprus,and before647, when the Arabs invaded the islandand destroyedConstantia.The cup was found with several other gold and silver objects nearDurazzo,Albania. About43Z-647.Gold,height6S inches.Giftof J. Pierpont Morgan,Z7.I90.I7so

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

4 This representation of the Mother of God of the Hodegetriatype derivesits composition and namefrom the greatly veneratedimagekept, up to the thirteenth century,in the churchof the Most Holy Motherof God, Hodegetria(in translation, "She who points the way"), locatednear the ImperialPalacein Constantinople. Severe majesty and quietude are combinedin this ivory
carving. XI century. Height 9H inches. GiftofJ. Pierpont Morgan, I7.Igo.Io3

3 The consuls,at the time of their investiturewith this importantand highly honorablerank, were to arrange,at theirown expense,gamesandspectacles for the people,and to distribute largesses andgifts. Amongthese were ivory diptychs.The two ivory plaquesshownhere are the leaves of such a consulardiptych, which is inscribedwith the nameof [Flavius] PetrusSabbatius Justinianus,and dates from 52I, the first consulship of the futureemperorJustinian (527-565). Becauseof the high cost of consulship to the consuland the gradual deteriorationof its importance, the oEce of ConsulOrdinarius was abolished after 54I, the emperoraddingthe title of Consulto that of Emperor. Diptychswereusuallymadeto be employedaswriting

5 These medallions were originallypart of a groupof twelve from the frameof the silver repousse icon of the Archangel Gabriel,formerlyin the monasteryof Djumati, Georgia (in the Caucasus).They form a Deesis group: the Mother of God and St. John the Baptist interceding beforeChristfor humanityat the Last Judgment. The techniqueof cloisonneenamelon gold used for these medallions consistsof outliningthe design by cloisons,thin metal strips secured to the gold plaque, formingcells for the enamels.This techniquewas preferred in Byzantium but it was known earlier,and is also related to the stone and glass inlay decorationof the Barbarians. Eithermadein Constantinople for Georgia or, possibly, madein Georgia by a master trained in Byzantium, lateXI century. Diameters about3H inches.Gift ofJ. Pierpont Morgan,s7.sg0.675, 678 677 203

!
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THE OTTOMAN EMPIRE
potteryof the fifteenthand sixteenth Ottoman Turkish centuriesbelongsto the finestthe Muslimworldhasprowasfelt both in the NtiddleEastand duced.Its influence in Europe, where a variety of imitationswere made, hich, however,never got anywherenearthe brilliance Isnikpottery. Isnik of glazeand color that distinguishes to have beenthe maincenter considered is nowgenerally as it was the seat of the royalworkshops of production, most, if not all, of the tiles for the decoraand produced tion of the Ottoman mosquesof sixteenth-and sevenIstanbul.The Museum'scollectionconteenth-century selectionof all typesof Isnikwares, tainsa representative and of severalvarietiesit has some of the best pieces.
16

in Muslongtraditional 6 Theblueandwhitefashion, in Turof greatflowering hada moment lim ceramics, inspired centuries, andsixteenth thefifteenth keyduring of Ming blueandwhiteporcelain by the contemporary ceto a groupof Ottoman China.This tazzabelongs particularly models thatfollowtheirFarEastern ramics andthetype of thedeepbluecolor in thechoice closely, of the decoration. andorganization
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Dict Fund,66.4.2 Brisbane Harris inches.

of the example another of thisplate, 7 Thedecoration with theoriginality demonstrates blueandwhitefashion, models. theirChinese pottershandled whichTurkish motifson the rim,bothinside Even thoughthe floral on painting to decorative related areclosely andoutside, Islamic manytypically area great there Mingporcelain, especially design, of theallover in thehandling elements is based which of theplate, of thecenter in thedecoration pattern. geometric of theinfinite tradition on theIslamic
DiameterI5
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in Turmade were decoration 8 Tilesforarchitectural have onanda widevariety century thetwelfth keyfrom manyareof greatbeauty, butalthough beenpreserved, achievement the supreme constitutes tilework Ottoman elseof the kind everything of thisartform,outshining world. parts of theMuslim in other thathasbeencreated of blueandwhiteceto the tradition Thistile belongs on the tile whichalsohadan impact decoration, ramic In fact,someof the finestworkeverdonein painters. wasin theblueandwhitetileof Isnik factories theroyal fortheentrance century thesixteenth made during svork andthe Room) Odasi(Circumcision wallof the Sunnet the fapalace in Istanbul, in the sultan's kiosk Baghdad tilemusthavebeen Thisparticular Sarayi. Topkapi mous butnot Odasi, theSunnet preceding forthe room made to someof the in sizeanddecoration it is identical used; tilesthere.
40.I8I.II WidthII inches.Gift of HoraceHa?vemeyer,

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20 Among theblueandwhitewares of Ottoman potteryonetypestands out.It doesnotfollow thegenerally accepted Chinese repertory of decorative flowers, but substitutes thin,linear spirals besetwithtinysdelicately painted leavesand rosettes. Thisware-forsometime associated witha presumed factory at the Golden Horn - is oftencalled Golden Horn ware, eventhough scholars nowthinkit wasmadein the royal workshops of Isnik.
About s530-Z535.Height91X6 inches.HarrisBrisbane Dict Fund,66.4.3

2I Turkish designs at almost all periods, butespecially in the Ottoman, included a greatmanyfloral forms of relatively realistic detail. Ottoman pottery andtilework areparticularly notedfor theiruseof a widevariety of flower representations: roses, carnations, tulips, hyacinths,

andmany others. Thisplateis notonlya fineexample of the kind,but it is alsoof special interest because of its rareuseof animal figures - two birds -within the floral design. Therimis decorated withtheso-called rockand wavepattern, derived fromChinese models, whichappears on mostIsnik plates. Mosque lamps madeof potteryand decorated with bothcalligraphic and,as in the caseof the lampat the right, floralpolychrome designson a brilliant white ground arewellknown throughout theOttoman period, eventhough pieces of thistypeandquality arequiterare. The lamps werealmost certainly purely decorative objectsgivenascommemorative tokens to mosques by the sultan or highofficials of thecourt, since,being made of pottery, theycould notwellserve anypractical purpose.
Diameter ZZX inches, height ZZS inches. GiftofJames J. Rorimer, 59.69.s, Bequest of Benjamin Altman,I4.40.73I

theirfleetwasoneof weregreatsailors; 23 TheTurks by the patterns employed 22 Thevariety of decorative and,lateron, in the in the conquest theirmainassets sincethe is remarkable, especially Isnik ceramic painters alsoplayed an important of theirempire. Ships defense andseventhroughout the sixteenth dominant fashion were Sailsalways rolein dailylife on the Bosphorus. style.Even floral teenthcenturies wasthe polychrome Sailforman imstillare)partof the city'sskyline. depicted flowers (and,happily, though quiterealistically pleasure boatto fromthesultan's boatsof all varieties, of on thisplate,a number portant partof the pattern mobecame a major of hisarmada, theuseof a deepbluebackground, the big"battleships" elements areunusual: thedecopainting. Thosethatdominate tif in Ottoman abmotifinto an almost the organization of the floral of thisbeautiful jugcanbe foundin innumerable ration witha design of therim stract pattern, andthedecoration ewers andbowls, throughonvases andplates, variations floral forms. Piecessuchas this derived fromOttoman period. at Damascus, out the Ottoman to havebeen made were fora timebelieved Rogers Height8h8inches. Firsthayof the XlZII century. in Syria, butnowthereis no doubtthattheyareworks Fund,Ig.67 whocreated the moretypical of the sameIsnikpotters floral plates (21) andtilework.
DiameterZZ% inches.Bequestof BenjaminAltman, s4.40.732

208

onsurconcentrated architecture hasalways 24 Islamic have become many buildings In fact, facedecoration. splendor of theirtilework, famous for the unparalleled of andtheexterior boththeinterior which oftencovers however, alTurkey, In Ottoman the entirebuilding. and waswidelyusedin bothsecular thoughtilework in interiors principally it occurs religious architecture, parts.In mosques, and,even there,only in particular is usedfor tilework richlydecorated, usually especially qibla theentire (prayer niche) and,at times, themiArab

wall (the one thatfacesMecca),the lowerpartof the Magnificent andthewalls of thegalleries. central room, to theoneshown floral tilessimilar panels of polychrome Tilesare great mosques. many of Istanbul's heredecorate small tymof buildings, used on theoutside almost never being panelsabovedoorsand windows panum-shaped tileassembly of Ottoman Thefinest theonlyexception. palace in Istanbul. workis to be foundin the sultan's
47 x 48 inches.Gift of Secondhalf of the XVI century. J. Pierpont Morgan,Z7.s90.2083

theknottedpile carpetTurksverylikely"invented" art- long of Islamic forms oneof themostcharacteristic worldand even long the Muslim beforethey entered Asia, andfurit to Western Islam. Theybrought before withits basic to Spain Central Asia everyone from nished culture of Ottoman In theheyday anddesign. technique weredeandtextiles bothrugs century, in thesixteenth tastefor formand color,and with an exquisite signed floral motifs(which, realistic the trendtoward followed to almosttotalabstraca change underwent however, workthe textiledesigners' tionas soonas theyentered age-old tradirug,in partfollowing TheOttoman shop). in the late ideasdeveloped tions,in partparaphrasing Persia, is oneof themost period andin Safavid Timurid world. of the Muslim artforms fascinating

kept the Ottomans quarrels andreligious 25 Political throughof Persia withtheSafavids conflict in constant capital in the Safavid Tabriz, century. out thesixteenth army sevwastaken by theOttoman Iran, northwestern which eraltimesduringthe firsthalfof that century, withSacontact intoimmediate the Ottomans brought center of rugweaving wasanimportant favid art.Tabriz allover floral to the abstract at that time.In contrast hadbeendepatterns medallion of Turkish rugs, motifs contact in Persia, andit musthavebeenthrough veloped to experiweavers began rugsthatTurkish withSafavid of thisrug, The stardesign mentwith thesenewideas. Anatolia, with the city of Ushakin central associated patterns. medallion by Safavid inspired wasundoubtedly is of monuof thistypethepattern rugs While in Persian applied theirown taste designers scale,Turkish mental original highly up withsmaller, andcame to themodels the Ushak rugs areamong of such Thestar designs forms. un-Turkish of thesebasically variations mostsuccessful ideas. pattern
x / Jeet7 inches. s4feet 7 inches Endof theXVI century. 58.63 GiJtof JosephV. McMullan,

26 The pattern of this rug-even though of the late Ottoman period-represents oneof the oldestforms of Turkish rugdesign. The "classical" period of thistype of geometric pattern seemsto havebeenthe fifteenth century. Not a single example fromthatperiod hascome downto us, but rugsof thisand closelyrelated types appear in innumerable Timurid miniatures and Italian andFlemish paintings of thefifteenth century; theyare, indeed,knownas "Holbein" carpets because they are depicted so oftenin that painter's works. Thisrugis of particular beauty in design, andprobably unique in its magnificent useof lightblueforthesecondary arabesque cartouche motif.
XVI century. so feet x 4 feet 3 inches.Giftof JosephV. McMullan,6z.65

27 The fascination of Turkish rugsfor the Westand the special appreciation of thisartformin Italyis well demonstrated by the fact thatmanynobleItalian familieshadrugsmadefor theirpalaces andchurches. The Centurione andDoriafamilies of Genoa musthaveorderedthis one (whichhasa few companion piecesin European collections) as it bears theircoatof armsin its upper left-hand corner. Eventually it should be possibleto datethese rugs quiteaccurately, since theappearance of thecoatofarms of bothfamilies indicates a special occasion, probably a marriage between twomembers of thesefamous Genoese clans,but so farit hasnot been possible to finda trace of anysucheventin theannals of theirfamilyhistory. The Genoese, one shouldbearin mind,wereamong the firstto settlepermanently in Istanbul, making Pera(onthe European sideof the city, eastof theGolden Horn)theirheadquarters. Thetower of Perais still standing as living testimony to their presence.
7 feet 8S inchesx 4 feet 8S inches.Gift of JosephV. McMullan,62.23I

28 Prayerrugshave alwaysplayedan important functionin Islam.They symbolizethe "cleanplace"a Muslimhas to use for prayer.In theirmost elaborate form- suchas this example of the so-calledOttoman court-manufactured rugs (possibly made in Egypt, which in I5IO becamepart of the Ottoman Empire,ratherthan in Anatolia) -they incorporated in their designs architectural elementsrepresenting, in an abstract fashion, the mihrab.In this rug, the usuallysimplenichehas been developedinto a triple arch surmountedby crenelation and miniaturecupolas,indicatingthe place of prayeritself, the mosque. (Ottoman mosquesdeveloped a specificdesign, of whichcupolasforma vital part.) The rug is not only of great beautyin designand color,but is alsoof the highesttechnicalquality,achievingin its exceedingly dense knotting the effect of a smooth, brilliantvelvet. About1600. 5 feet 8 inches x 4 feet 2 inches.Giftof JamesF. Ballard, 22.soo.sI 29 Amongthe greatvarietyof designs that the carpetweavers of Anatoliaproducedduring the sixteenth and seventeenth centuries,a specialgroupis formedby those with an abstract floralpatternresembling birds(hencethe name "birdcarpet" commonly given to theserugs),usuallyin brightredand blue, on a white ground.The choiceof white for the background of both the field and the borderis without parallel in any other type of Islamiccarpet.The peculiar ambiguitythat led to the almostcertainlyerroneous interpretation of the floralformsas birdsis equallyuniquein Turkishrugdesigns, whichgenerally are clearlyfloral-abstract and, in contrastto Persiancarpets, neverincludeany humanor animalforms. XboutZ600. s4feet 7 inches x 7feet 7 inches. Giftof JosephV. McMullan,63.207 30 Whereas many laterIslamicrugsare judgedaccording to whetheror not they attainedstandards developedin the sixteenth and seventeenthcenturies,the classical period of rug making, this rug is to be judged apart from its prototypes, whichare variedand elusive.The centrallyorganized scheme probablyderivesfrom Persiansources,while other motifs are specifically Turkish.For instance,the rectilinear subdivisions with floralforms inside the medallions are akin to motifs of eighteenth-and nineteenth-century Ghiordes prayerrugs,and the angular shapesof the medallions, suggesting niches,are related to shapeson seventeenth-and eighteenth-century Bergamarugs.The Museumowns many fine nineteenth-century Turkishrugs that are, as in this case,not debasedversionsof earlier formsbut inventivecombinations and reinterpretations of those forms.At times,indeed, their geometrical configurations refer to the earliesttraditionof rug design,antedating the classical period,and are thereforeof particular interest. LateXVIII-XIX century. 6 feet 2 inches x 4 feet 5 inches.Gift of JamesF. Ballard, 22.I 00.25

Ottomanpainting is unmistakable. Original in style,color sensitivity, and iconography, it forms oneof the mostinteresting chapters in the complex history of Islamic painting. Littleis known aboutits earliest phase, during the fourteenth andfifteenth centuries, but we canfollowits development throughout the sixteenth, seventeenth, andeighteenth centuries. Turkish painting haslittleto do withanyotherIslamic painting. It developeda style that is thoroughly and uniquely Turkish, combining an unparalleled senseof reality withan equally unparalleled senseof abstract design bothin composition andcolor. It alsodeveloped an original iconography,based on manycontemporary historical eventsand texts,andhas hardly anyinterest in lyrical, poetical aspects of life.In thisit differs fundamentally fromPersian painting. It is bold,austere, and of extraordinary power, oftenlarge in scale, andof the highest technical andaesthetic quality. It is stillunfamiliar outside Turkey, asalmost nothing about it hasbeen published in the West,andveryfewpaintings haveeverreached Western collections.

ShahNameh, illustrated Firdausi's 31 Ottoman painters Persian history, asif it withancient a famous epicdealing noticetookplace in theirowntime.Thisis particularly (archenemies where theTuranians ablein thispainting, Turksin are represented as Ottoman of the Iranians) - a remarkusing firearms asweapons theirtypical dress, surTheuseof the entire ableinstance of anachronism. to the painters on both pages,and the faceavailable space as a unit the double-page composition thattreats of style.The realism of the Ottoman arecharacteristics butalso inindiin costume andweapons detail, especially of thefierceness andtherendering vidual physiognomy, andareagain typical areremarkable andcruelty of battle of Ottoman painting. Eachpage I7 X Secondhalf of the XVI century. s2.20.ga,b Joseph Pulttzer Bequest, inches. Purchase,
Iy/8

armyentering a city is shownin this 32 A Turkish of Sultan a poemin praise painting, whichdecorates represents one of his andprobably Murad (I574-I595) of thewayin which Thisis anexample military exploits. possible, the will avoid,whenever an Ottoman painter on reality, andconcentrate realm of the lyrical-poetical of the events of histime.Theliveliness on thehistorical space the imaginative useof the limited representation, parade, and the of a massive to createthe impression thisa particularly useof thebrush make delicate butfirm in Istanbul during of thestylein fashion typical product political wasnot onlyanimposing Murad's rule.Murad of thearts. patrons figure, butalsooneof thegreat
I600).

al-Bati (Z526Pagefrom a Diwan of MahmudAMbd D. Pratt, 45.z 74.5 Bequest of George I0 X 6 inches.

in the life of illustrating an episode 33 Thispainting, b. Muhamof Islam-Abu'l-Su'ud the famous Shaykh at the Ottoman heldhis position madal-Amidi-who among the most andis numbered courtfor thirtyyears of yet another aspect of his time, presents brilliant men Murad's period. Even painting of Sultan Ottoman court history andpreagain oncontemporary though it focuses court,it is of of the lifeat the Ottoman sentsa picture is The shaykh thanofficial nature. an intimate rather to but it seems in some kind of business clearly engaged ona garden. The house, opening takeplace in hisprivate goldpaint adds decoration in delicate elaborate marginal effect. to thenonhieratic
withMemof IslamHoldinga Disputation TheShaykh Council. Page from a Diwan of Mahbersof theReligious Giftof George D. Pratt, mudAbdal-Bati. soMx 6 inches. 25.83.9

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34 The Ottoman courtschool in Istanbul shares with the Mughal school in Indiathe distinction of initiating portraiture in Islamic art.Although it never wentas far as Indian painting, whichcreated likenesses thatcanbe compared (andin fact owe a greatdeal)to European painting, it stillproduced series of sultans' portraits that in many instances comecloseto portraiture in theWestern sense.It wasvery likelyhis particular feelingfor abstraction that kept the Turkish painter fromlosing sightof thefundamental overtheparticular. Theresults areportraits suchas this one, probably of SultanAhmet I (I 603I 6I 7), the builder of the "BlueMosque" in Istanbul.
s3h x 8S inches. Rogers Fund,44.30

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35 Religious iconography is a greatrarityin Islamic art, but, contrary to the beliefthat the figureof the Prophet could notberepresented, there aremanypaintingsthatillustrate various aspects of the Prophet's life. Almost all weredoneeitherin Turkey or in areas that the Turksdominated. The treatment of the Prophet's entire lifein painting - asopposed to thesingling out of the mirajscene(the Prophet's journeyto heaven)by otherIslamic artists-has survived onlyfromthe Ottomanperiod. Thissmallpainting, showing the Prophet seated nextto the mihrab in a mosque, withhisson-inlawAliandAli's sons Hassan andHusayn onhisleft,and surrounded bymembers of theearly Muslim community, is a perfectmid-sixteenth-century example of Muslim religious iconography. Treated in an almost totallyundramatic, if not to sayunemotional, fashion, it testifies again to theTurks' straightforward sense of history. The Prophet is veiledand a flaming halo encompasses his head; a similar haloencircles the groupof Ali with his sons. Exceptfor thesesymbolic elements, the painting isfullyrealistic andplaces thescene squarely insixteenthcentury Turkey.
71M6 X 6X6

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36 Calligraphy and designgo hand in handin Islamicart, and the Ottoman periodwas no exception.Rather,it createda numberof remarkable calligraphic designs,both in monumentalscale for the decoration of buildings(Ulu Cami,Bursa)and in actualcalligraphy, such as the tughraof Sulaymanthe Magnificent(I520-I566) shown here. Each imperialedict (firman) was headedby the officialsignature of the rulingsultan.It wasthis signature, or tughra,executednot by the sultanhimselfbut by a specialofficerin chargeof this function, that made the documentofficial.While the tughra'sparticular form changedwith each sultan, its basic shape remainedvirtually unchangedthroughout the periodof Ottomanrule.Sulayman's tughras areamongthe most elaborate and monumental. In theirmagnificent movementof line anddelicacyof floralpattern,they unite the power and finesseof Ottomandesign.There is nothing comparable to the Ottomantughrain other partsof the Aluslimworld:it is one of the most typicaland originalcreations of Ottomanart.
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37 In someinstances the calligraphic elementthat wasat all timesan important factorin TurkishIslamicart became of primeimportance for painting.In fact, Ottomanartistshad inheriteda schoolof decorativepainting- or drawing - froma long traditionpossiblyharkingbackto the fourteenthcenturyand to CentralAsia (Samarkand, Herat).This schoolfound ardentsupporters in Istanbul.There is evidencethat many of these drawings were made as modelsfor tile and pottery painters,textile weavers,leatherworkers, wood carvers,and other craftsmen,since many designsin their objectsseem immediatelyderivedfrom some of these studies.But a good number-among them this drawing of a dragonboldly prancing througha twistedbranch of agitatedfoliage- wereundoubtedly madein theirown right, to be appreciated as magnificent calligraphic designs.The drawingis attributedin the cartouche above to Shah Qali, an artistwho had come fromTabrizto Istanbulto workfor the Ottomancourt in the sixteenthcentury. 6 1M6 X I01X6 inches. Bequest of CoraTimken Burnett, 57.5I.26 38 Scribes,painters, poets,courtoicials, and everyonewho couldaffordit kept writingtoolsin special,small,often nicelydecorated woodenboxescalledqalamdar. Mostweredecorated with lacquer painting,but fromthe earlyperiods, only thosemadeof metalsurvive.Leatherboxessuchas this- with an elaborate stampedand gildeddesign- are very rare.Very unusual,also,is the size of this box-almost fifteenincheslong: most measured not more than six to eight inches.Thereis little questionthat this pen box, whichdatesfromabout I600, wasusedin the royalhousehold, if not by the sultanhimself.ManyMuslimrulers weregreatbibliophiles andoften amongthe best calligraphers of theirtime. Length s4h inches. Rogers Fund,33.72

In a warlike nation, weapons area man's most precious possessions, andin Turkeythiswas expressed not only by the greatcarewith which blades and gunbarrels were forged from the famous "watered" steel-produced by a complicated method of heating, hammering, andquenching-but perhaps even moreby the decoration lavished on themin gold,silver,andprecious stones.

39 Domed likethecupola of a mosque and covered withpious inscriptions, thisfifteenthcentury helmet derives itsstriking effect from thecontrast of itssilver inlay against thedark steelbackground. It is surprisingly large, because it was made tobeworn over a turban; the draped folds of theturban apparently inspired thedecorative fluting typical of these helmets.
Heights3h inches. Anonymous gift,50.87

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40 Originallyterrible,armor-shatteringvveapons,maces became symbols of rank because of their verypower. This one musthavebeenmadefor an exaltedperson who madein Persia, hadits goldscabbard freelygarnished withemeralds andrubies according to Turkish taste. XVIII andXVII centuries. Mace2I inches, dagger I8% inches. Beqxest of George C.Szone, 36.25.I884, 994

thesteelof decorates inlaysetwithturquoises Gold 41 purpractical The shield. battle seventeenth-century this to was front the on bosses of the fourdecorative pose still shield The of the handgrips. the fastenings secure embroidered of redvelvetrichly lining original its retains goldthread. with 36.25.597
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Duthrough to Westerners known of Janina, Pasha Ali Countof MonteCristo. mas's 62H and

Lengths ofJ!intloctXVII-XVIII century. Date 36.2s.22Ig, and Stone, C. George Bequestof inches. 67 Sloane, Mrs. William E. S. Griswold, of Mrs. William Gift JohnSloane,43.82.4 and

the gunat the top hasa finedamascene Although 42 from imported (thelatterprobably andflintlock barrel and diamonds, - sapphires, decoration itsdainty France), parade a thatit was - indicates of seedpearls thousands The guard. palace the of commander of a perhaps arm, miquelet Turkish withits typical however, below, gun that adds applique silver bold with is decorated lock, It purpose. with its deadly withoutinterfering luxury Independence: of War in theGreek action seen have must by thefamous owned once was it and is datedI8I4/I5, it
42

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on mainly produced 44 It is in velvetsand brocades, before capital (thelastOttoman of Bursa looms theroyal conthatthe peculiar, of Constantinople), the conquest designthat and abstract tastefor naturalistic trasting art findsits Islamic so muchof Turkish characterizes deThe large"fan-shaped expression. mostimmediate left at the upper as the mainmotifof the fabric vices," butmonumentalnothing are,of course, hasbeencalled, as out, in profile seenflattened blossoms izedcarnation a deep rows against staggered it were,set in alternating broandsilver Theuseof redfortheground redground. isanadditional thanviceversa rather fortheflowers cade which is principally in thisdesign, of abstraction element of an representation accurate on an astonishingly based flower. recognizable existing,
Fund,s 7.29.ZZ Rogers xvIs sentury. Early Velvet brocade.

in in the palaceateliers employed 45 The designers workof the vastroyal forall branches worked Istanbul thatbookbindings, It is forthisreason shop organization. tiles,woodcarvin manuscripts, illuminations marginal areoftendecorated andtextiles ings,metalornaments, Even thoughnonehas patterns. with almostidentical produced books pattern musthavebeen there survived, worked. fromwhichall otherartists by the designers right - of extraat theupper of the textile Thedesign movementsuggested in its powerfully appeal ordinary andis a tile panels, on manymonumental is repeated border the long,narrow devicefor decorating favorite Noteworthy pattern. panels ofa different tilesthatframe useof naturalisbut highlycharacteristic is the curious and the carnation especially flowers, ticallyrepresented palmettes withinthe stylized tulip,as fillerornaments "stems' to the heavy,undulating and leavesattached the mainmotifof the pattern. thatprovide
BePulitzer Joseph Purchase, XVI sentury. Silt brocade. quest,52.20.2I

left,with liketheoneat thelower brocades 46 Turkish blue, crimson, in bright patterns floral theirlarge-scale for the European fascination andgold,hada particular of thistypewerebrought Pieces andmerchant. traveler andGenoese. to Italyby theVenetians quantity in great impact onEuropean on,their century thefifteenth From andmanyof the designwasextraordinary, decorative inItalyin thelatefifteenth woven velvets) (and brocades so models followtheirTurkish centuries andsixteenth themas thatat timesit is not easyto recognize closely work. European of its dense because interest Thispieceis of unusual and pattern between The contrast design. andpowerful texof Ottoman feature an important usually ground, forthesumptuous abandoned completely tiles,is almost Equallyresurface. effectof nearlysolidlydecorated forms, of the floral abstraction is the extreme markable motifs. decorative the basic provide whichagain
Silkbrocade. 52.20.I8 quest,
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example rightisyet another at thelower 47 Thepanel love of sumptuous of the Ottomantextiledesigners' and motifs, based on naturalistic pattern abstract effect, of flowers all the favorite skill.Almost greattechnical into the designareincorporated decoration Ottoman The andthehyacinth. therose, the tulip,thecarnation, of fortheorganization andframe'device useof a "field It textiles. in lateOttoman is quitecommon thesurface patdifferent to apply theopportunity givesthedesigner doesnot hegenerally since especially terns to the textile, entity, uniform orfieldasa single, theframe treat either with continuous to be decorated areas but as repeated is carried in the waythe pattern Thisis shown designs. on into beyondthe edgeaboveand below,continuing fromwhichthispiecehasbeencut to design a greater oneof rugpatternsunitthatreminds formthepresent in common. hasnothing withwhichit, however,
Rogers of the XVII sentury. Beginning Velretbrocade. Fund og.gg

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50 This Florentine cassonepanel representsthe conquest of Trebizond,the Greek Black Sea port, in I46I by Sultan Muhammad II. During the first half of the fifteenthcentury, the OttomanTurkshad swept victoriouslyacrossthe Near East, Egypt, and partof Europe, taking Constantinople in I453. Trebizondwas the last Christian stronghold in the East to fall. All of Italy, particularlyVenice,fearedthe Turkswould try to conquer them next, so it is not surprising that an Italianartist wouldbe interested in thisdramatic battle.The panelwas paintedin the workshopof Apolloniodi Giovanniand Marcodel Buono,whichflourished at leastuntil I465 and probably longer.NVhile the generalcomposition is purely imaginary, manydetailsof settingand costumearequite accurate. The topographical layout is probablybasedon is a Turkishmap of the Black Sea area:Constantinople shownat the left, with majorlandmarks such as Hagia Sophia,the emperor's palace,and the obeliskof Theodosiuscarefully depicted.Trebizond appears at the right with Turkishtents just outsideits walls.The Greekwarriorswearhigh capsand the Turkswear turbans.Both armiescarryscimitars, double-curvedbows,lances,and

shields. Theartist's fantasy is apparent ashefreely places patepisodes nextto oneanother in a decorative surface tern. Thepanel is verymuch in thetradition of Pesellino andthe International stylein Italy.
Italian (Florence). Tempera on wood,I5 X 49 inches, probablysoon after I46I. John StewartKennedyFund, I4 .39
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6 feet5 inches. length andgilded, polychromed Fruttwood, Fund,I4.39 Kennedy JohnStewart

fiber,tyingin a or othercoarse of canvas warps around a pile. to form the ends knot,andcutting Ghiordes-type prized highly more of the that was the effect Because andplentiful. workwaspopular Turkey rugs, imported at the Parliament to presented a petition England, In manthe to promote century the seventeenth of end producannual an mentions goods of woolen ufacture Colonial chairs. Turkey-work dozen tionof fivethousand of the sameperiodlist Turkeyinventories household andchairs. cushions, cloths, cupboard carpets, table work inventhese in mentioned type of the probably A chair, Cromwellian called Sometimes here. pictured is tories, during theirdesignwasin voguein England because considerable in found were chairs time,these Cromwell's and hallsandparlors, in seventeenth-century numbers yet veryfewexisttoday.
Mapleandoat, marshaboutI675-I7IO. NewEngland, of Mrs.J. Insley Bequest inches. 40M height grassstuJJing, 52.77.50 Blazr,

is made recutfroma chasuble, 52 The cope,possibly on brocade redvelvetandsilver textile: of a sumptuous medallions of consists Thepattern velvetground. a green foliate brocaded within placed motifs floral withstylized texof a group to belongs velvet Thisbrocaded wreaths. Asia in woven Turkish, as designated tiles sometimes or, morefrequently, market, Minorfor the European of The Republic influence. Turkish under as Venetian, textiles and Turks, the with oncommerce carried Venice in theOttoman woven useweresometimes forVenetian taste; Italian to suit cheaper, was labor where Empire, Venetian. is probably however, piece, thisparticular
About I500. 3 feet 3 inchesx 8 feet 4M inches.The 63.I53 Collection, Clozsters

us provide portraits American 53 Eighteenth-century imdeemed of the furnishings picture withanexcellent Onesuchaccessory household. for the colonial portant porplacein manyfashionab]e that tooka prominent displayed carpet," rugor"Turkey wastheTurkish traits hadbeen as a tablecoveror on the floor.The English on, century fromthe sixteenth thesecarpets importing centurythey werebeing and by the late seventeenth into theColonies. by wayof England brought rug a realOriental that did not possess Households It wasa workas a substitute. usedTurkey frequently rugsand of Oriental in directimitation homeproduct yarns colored wasmadein the sameway,by wrapping

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54 Before PieterCoecke vanAelst's tripto Constantinople in I533, whenhe unsuccessfully attempted to interest the sultan, Sulayman, in the purchase of Brussels tapestries of hisowndesign, theTurkish NearEasthad been revealed onlyirregularly to theWest through traded goods, souvenirs, andgreatly amplified reports of peculiar customs andactsof cruelty. While Coecke vanAelst was not the firstWestern artistto visit thisexoticland -GentileBellinihadbeenthereto painta portrait of Muhammad II- hisseries of seven views depicting Turkish lifeandcostume in theirnatural settings became an invaluable sourceof information for artists,costumebook designers, andhistorians. Theset,which waspublished aftertheartist's death by his widow, is arranged, as someEuropean tapestries, in
228

afrieze, whichCoecke vanAelstseparated by caryatids inTurkish costume. The seventhsceneis a compressed and fairly accurate viewof Constantinople whenit was studded with the mutilated remains of antiquity and teeming with the peoples andplunder amassed through conquest. In the foreground the sultanpasses with a small portionof his retinue, whichon someoccasions numbered thousands. He is preceded by hackbuteers, or archers, andaccompanying himonfootaretwochatush, bodyguards, whoclear thewaywithclubs. Twochamberlains follow onhorseback, attending thesultan ashegoes about the townseeing andbeingseen.
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rule tng, books known sloplng | | "Grand I | / ^ t { \i1 |apparently which s6Sx of professing to Turk," sultan's Sulayman }-1 the nose sshnleans west wwhose znches, and )@an as the army, >y!t overwhelmed long accurate conquests Roxelana, "foolhardy Magnificent, dated Taggegeben. neck were account s535. were are who renowned by had constantly 'completely The who of HarrlsBrlsbane PlumWge this certain his Elzsha came for public strange to upsetof Whzttelsey vvals overshadowed their the their and ithrone DlstFnd, !1 display ;: the ferocity j |i i |tdelly's tz |,E, n 32.86 ! jjt i and S 11 " and ! i,L )comtra!|X in1{ Yla -= |3j l ' : >

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in I520, thesame year astheEmperor Charles V. The ting European equillbrium, was thesubject ofnumerous private life. The image that emerged was one ofadespot, refined andsometimes gentle, butbasically a barbarian. He wasrenowned for havlng submltted to the cruel wlshes of hlsRussian-born sultana, Khourrem Hassekl, forherfavorite son. Agostino Veneziano's portrait is as elaborate as the imaginative accounts of Sulayman's life.The sultan's by the bizarre headgear, which combines elements of
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56 When Melchior Lorichs first traveled to theOttomanEmpire in I555, curiosities suchas this"delly" induced himto return several times between I570 and I583 tosketch fora book heprepared toacquaint artists withTurkish culture. Dellys, Serbian volunteers in the

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wasthe hacustoms of Turkish 57 The mostenticing to have seems traveler everyWestern rem,andalmost instituguarded on thisjealously to digress felt obliged he had neverenjoyed.Aubryde tion whosedelights to Turkey of his journey whosesketches La Motraye, to his travels, illustrations for Hogarth's werethe basis at perilof losinghis that he dared, wasso inquisitive to gain assistant watchmaker's head,to poseasa French sights He sawsuchdazzling harem. to theimperial access his inabilityto recallthem, he that while confessing themin print to describe did not hesitate nevertheless andcommentary. haremwere,with the The womenof the imperial soldby ambitious maidens of a few Turkish exception through acquired nationalities of various slaves fathers, perTheKoran by purchase. andoccasionally conquest, beingconcumittedfourwives,the restof the women Competiharem"odalisques." or in the imperial bines, waskeen,and or master tionforthefavorof thesultan harmony duty of maintaining hadthe specific matrons numerous carriages, Latticed women. the jealous among the systemassured security andan elaborate eunuchs, of other from theglance harem of theimperial protection to curious werea temptation men. Such precautions above. in thewindow peering such astheintruder rogues
A TurtishHaBritish. (I697-I764), Hogarth William WithinDoors of the Rich rem, or the Mannerof Li?ving

from Engraring Turts with their Wivesand Concubines. Asia and Europe, through Trarels Aubryde La Motraye's into Partof Africa. . . (London,s723), so x s33Sinches. Dict Fund,Z7.3.2838 HarrisBrisbane

enbookof onehundred de Ferriol's Charles 58 Count entitledLes DiferentesNationsdu Lerant,first gravings of fora series in I7I4, wasthe source in Paris published in the I740S. Two modeled figurines porcelain Meissen seem ladyandgentleman, of a Turkish of these,figures fortheywere in England, appeal to havehada particular andLongBow,Derby, notonlyin theexpensive copied of materials butalsoin thehumbler tonHallporcelains, pottery,such as the threein the upper Staffordshire and earthenware, corner-oneof lead-glazed right-hand stoneware. a pairof salt-glazed
Left: AboutI760. Height7H inches.Gift of Mrs.RusLittler, by William Right:Probably 45.I2.85. sellS. Carter, 7S inches.Gift of R. Thornton Heights aboutI755-I760. 43.I 00.5, 6 Wilson, Ellsworth of Florence in memory Wilson

of Turks, paintings gouache of twenty-two 59 A series known (better Ligozzi by Jacopo doneaboutI585-I590 during in Florence waspreserved painter), asananimal

the eighteenth century in the famous Gaddicollection of books andmanuscripts. AboutI740 these illustrations were copied forthedecoration of a setof porcelain plates made at theDoccia factory in Florence. Theoneshown below depicts a pageto the sultan. Pagesbelonged to a corps of slave boys(many of non-Islamic extraction) who werefavorites of the sultan. Brought up in the harem, theyweretrained to assume the highest positions in the civiladministration of the Ottoman Empire whenthey reached adulthood. Thefigure infront of theplate wasmade aboutI750 in theCapo di Montefactory near Naples. Thecostume is thatof a Muhammadan fromsomewhere in the Europeanpartof the Ottoman Empire as it existed in the eighteenth century. Known as"Turkey in Europe," the area included whatis nowGreece andAlbania. Theyellowshoes indicate the manwasa Believer.
Plate:Hard-paste porcelain; theporcelain painting is attributed to Carl Wendelin Anreiter.Widths2H inches. Rogers Fund,o6.372a.Figure:SofPpaste porcelain. Height 4H inches. Lentby R. Thornton Wilson, L.s8.7g

of the eighteenthcenturyfound 60 The idle courtiers the luxuriesof the Ottoman diversionin appropriating gave a Turkish Empire.In I700 the Duke of Chartres with dancing girls and Marly complete masquerade at Effendi, ambassador visit of Muhammad menagerie. The of SultanAhmet III, to the court of LouisXV in I720 fanned the flamesof curiosity,and the tantalizingdeandOneNights whetscriptions in the popularThousand of a society wearywith the tedium ted the imagination of etiquette.In I748 the FrenchAcademyin Romepresented a lavish masque with a Turkish motif, where Turkish painted costumesimitating rich, embroidered fabricswere recordedin the prints and drawingsof a Vien (left, above). student participant,Joseph-Marie Among the glittering costumesat the masked ball at of the Dauphin(left, the marriage Versailles celebrating of Turkish below)wereseveralgrotesqueinterpretations dresswith huge headsand turbanspercheddirectly on It is claimedthat on this occasion the wearer's shoulders. a famousgestureby LouisXV markedthe beginningof his liaisonwith Madamed'Etioles,soon to becomeMais thrown,"the "Thehandkerchief damede Pompadour. courtcried,alludingto the allegedcustomof the sultan in selectinghis favorite. French. Himan Vien(I7I6-I809), Aftore: Joseph-Mclrie of Monszeur Mosquee, study for the costume de la Grande Scademyat Romein Clement for the Fete at the French on bluepaper, heightened with whzze, I748. Blact chal&, Rogers Fund,6I.I39. Below:Charles2I%6 X I613/6 inches. French. Detail,DecoraPere(I688-I754), NicolasCochin Gallerie du Chateau tiondu Bal Masque. . . dansla grande de de Louis Dauphzn du mariage de Versailles 2 I'occc/sion . . . MDCCXLTT. Therese Infante d'Espagne France a?vecMarie from ChalcograCochzn Fils, restrzke 24fter Charles-Nicolas inches. Harris Brisbane ?vol. 34, I 8 X 30 phze du Lourre,
DlCt rUnd, 30.22(34)

Turkishsubjects;one depicted her served by eunuchs. Gardenpavilionssprangup imitatingTurkishsummerhousesknownas kiosks,andwholeroomswere decorated a smallTurkishbouAt Fontainebleau with turqueries. in I777, with doir was completedfor Marie-Antoinette Rousseau; by the brothers paintedandcarvedwoodwork while the Comte d'Artoishad two Turkishrooms,one at the Chateaudu Temple,in Paris,and the other in his at Rlersailles. The Museumownstwo painted apartments executedforthisroomin I 776. The centralmeoakpanels nymphs, dallionof this one, supportedby two fish-tailed of his harem;above, a showsa pashawith two members turbanedmusicianplucks a lute. The quality of the paintingdoes not supportthe attributionof the panels who is known to have done Fragonard, to Jean-Honore subjects.It is more likely that they are by the turquerie Dussaux,who later did decorativepainter Jean-Marie similarschemesat the Chateaude Bagatelle. Morgcln, 37 x 28h inches.Gift of J. Pierpont French.
07022St4S84

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

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62 Eastern imports fromthe Westin the eighteenth andnineteenth centuries tended, asnow,to bescientific ormanufactured items, suitably adapted for the market. The Porte would admit intoTurkey thetimepieces only of certain favored makers and dealers, who consequently dida large business. Onthedials of thewatches shown here,thehours areindicated by stylizedArabicnumbers, and on the movement of one the maker's namealso appears in Arabic characters. The reputation of themenwhomadethesetimepieces wasas highin theirowncountries asin Istanbul.
Clockwise: open lish of to show Traveling movement), *759. Morgan, repeating Londfon, gilt metal, Gift watch by IDiameter (with Isaac 3S silver Rogers, incAzes. case EngGift Cloctby *740-I of horn Martwict 780. Inner

Someof the names given to this picturesque instrument reflect itsorigin andhistory. It hasbeencalled in Polish,KsiezycTurecti, meaning "Turkish moon"; in Danish, Janitscharspil, "Janissary instrument"; in French, chapeau chinois,"Chinese hat";andin German,Schellenbaum, "tree withjingles."
Turtish crescent, German, earlyXIX century. Woody and! brass, withhorsehair pendfants, height 5 feet 2 inches.The Crosby BrownCollection of MusicalInstruments, 89.4.846

(Londfon), J. Pierpont with

I7.I90I426 quarters, about

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Repeating Triple gold! of by (Rouen). of J. Jean Laura

64 The decorative tasteof the earlynineteenthcentury wasfiredby the florid Orientalextravaganza of theBrighton Pavilion and otherroyalfollies on the Continent, andby a sentimental interest in allthings remote and romantic. Vistas into the colorful reaches of theOttoman Empire provided bydiarists and artists of thedaywere adapted intoa turquerie that combined light-mindedly with Gothic, Chinese, Saracenic, andbucolic rural themes evenmore freelythanin thepast.Oneof the morecharming examples of this sometimes unsettling styleis thislittleprovincial woodblock-printed cottonin blue,red,andblack, whosefloralbouquets suggestthoseof the eighteenth century, and whose tinystifffigures and pavilions leaveone wondering whether theyareTurkish or Chinese.
Englzsh, aboutI 805. s4h x 23h inches.Gzjzt of JeanMontgomery Greenman, 67.91.4

Bequest Watch French

I7.IoI.6g. *663-,695),

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mounted!

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Morgan,

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63 Theinstrument at theupper right, known as a jingling Johnny, wasderived fromthe Janissary bandof the Turkish army,where it represented the pasha's standard and was borne before hisregiment in battle. Asa result of the seventeenth-century Austro-Turkish warsit infiltrated European armies andwas carried in frontof themarching bands.

by Caroline, queen wascommissioned 65 In I8I3 Ingres of Naples, to paint a pendant to the SleepingWoman (now lost) that he had done for her in I809. The Musefor this secondcomum'spaintingis a study in grisaille mission.Ingresdid not originallyconceivethe Sgureas collecdrawing in the Courtauld Oriental: a preparatory tion showsonly the recliningnude. He added the Oriental accessory of a turbanin the grisaillestudy and enThis thememay have been titled the pictureOdalisque. inspiredby the generalinterest in the Near East that

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

236

66 Alexandre Decamps wasone of the Srst of manynineteenth-century Frenchartists whowentto Turkey to sketch andpaintcontemporary Turkish life.Here a group ofTurkishsoldiers is patrolling thestreets of Smyrna, andDecamps hascarefully recorded every detailof the scene. The leader is distinguished by his whiteturban andis the onlymanon horseback. The ornate macethathe holdsin hisright hand isanemblem of rank andtheinsigne of anofficer. Theothersoldiers, running barefoot, wearscabbards andpistols in their belts andcarry knives called yataghans. Their Albanian rifles havelong,narrow barrels with fancy,fish-shaped butts.The artisthas also noted the pointedTurkish stirrups, which doubled asspurs. Drama andmovement areevoked by using sharpcontrasts of light and dark,and by placing the weapons andlegsof the soldiers in strong diagonals against the solidvertical blocks of the buildings in the background. Anearlier andlarger version of thispainting wasshown at the Salon of I83I in Paris and caused a sensation withitsdramatic rendering of thisnewandexoticsubject.
Slexandre Decamps (I 803-I 860), French. Oil on can?vas, 29S x 36 inches, aboutI855. Bequestof Catharine Lorillard Wolfe,87.I5.93

67 This study of a Turkishsoldierwas painted byCharles Bargue in I875. Thefigure shownis a BashiBazouk, a reputedly ferocioustype of irregular in the Turkish army. Thesesoldiers wereenlisted to fightagainst Napoleon whenhe invaded Egypt in I798, andweresupposedly responsible for the horrible Turkish massacres in the I 870S. Nothing, however, of thefearsome soldier is evident in this calmlyseatedfigure who smokes a narghileandhashis coffee cup beside him.The painting doesnot seemto be taken fromlife, but is an arbitrary arrangement of Turkish weapons, clothing, andobjects onandaround the model.Bargue wasa student of Gerome and shared his teacher's enthusiasm for the Orient.Gerome hadcollected NearEastern costumes andobjects in hisParis studio; this composition could easily havebeenassembled andpainted by Bargue usingtheseor similar Turkish souvenirs.
Charles Bargue (I 825-I 883), French. Oil on canvas,I8 X I3 inches,dated[I8]75. Bequestof Catharine LorillardWolfe,87.15.102

couldbe foundin 68 Thingsthoughtof as Turkish by the Philalong beforethe voguesparked America in I876 and culminating Exposition Centennial delphia of the I880S. cozy-corner" of the"Turkish in theclutter of historical therewasa widerange Fifty yearsearlier, One of the architecture. in American stylesin fashion Davis, Jackson then was Alexander architects leading triedhis occasionally a Gothicist, primarily who,though villa,probably ThisTurkish designs. handat Oriental yet pragmatic the eclectic aboutI835, illustrates drawn mindat work.The oniondome,the window Western cornice areEastern andthescalloped surrounds, anddoor above and the crescents whilethe minarets in feeling, minaretTheTurkish Turkish. themaredemonstrably motifs architectural of thatcountry's mostcharacteristic its peakfromwhichthe -housed a balconybeneath his Davisaltered to prayer. calledthe faithful muezzin only one particular: models in from theTurkish minarets with ventsfor the balcony the muezzin's he replaced below! fluesof thefireplaces
WaJactson Daris (s 803-I892), A!merican. Af lexander Dict Fund, s4S, x s oM inches.HarrisBrisbane tercolor, 24.66.765

69 AlbertoPasini,an Italianwho came to Paristo of Delacroix, the works admired studyin I85I, greatly themes. Oriental whopainted artists andother Decamps, he expedition, artistof a French In I855, as an official widely traveled years andin thefollowing wentto Persia the Near East. This lively scenewas unthroughout oneof histripsto Constantiduring sketched doubtedly in I872. Inclear, in Paris painted andsubsequently nople of the brightcolorshe depictsthe domesand turrets costumes andnotestheunusual Ahmet of Sultan Mosque menstanding soldiers andthe turbaned of themounted however, maininterest, gate.Pasini's themosque before and atmosphere the city'ssun-drenched liesin showing architecture. Muslim imposing
35 x Pasini(s 826-s899), Italian.Oil on canvas, AMlberto dateds872. Bequestof CollisP. Huntington, 26S inches, 2s.IIo.g4

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CONTRIBUTORS
1-4 OscarWhite A4uscarella Assistant Curator, Ancient lVear Eastern Art S-8 AndrewOliver, Jr. Assistant Curator, GreetandRomanArt 9-15,52 VeraK. Ostoia Associate Curator, Medieral Art and The Cloisters 16-29, 31-38, 44-48 Ernst J. Grube Curator, IslamicAfrt 50, 65-67, 69 Anne Poulet l\teuJ Yort University Institute of Fine i 4 rts- .Hetro polita n ,0 l u seu m Fello w, European Paintings 51, 64 Jeanl\4ailey Associate Curator in Charge of the Textile Studfy Room, Western European Arts 53 lSIary Glaze Assistant Curator, 24merican Wing 54.57,60 Alexandrine St. Clair
Formerly Curatorial j4sslstant, Prints

58, 59, 62
30

Don Aanavi Curatorial Assistant, Islamic 4rt 39-43 Helmut Nickel A!ssociate Curator in Charge, drms and! Srmor 49, 63 EmanuelBlinternitz Curator, MusicalInstruments

Jessie lSIcNab Dennis

Assistant Curator, Tl'e.tern Europerzn Arts

61

James Parker Associate Curator, l lSre.tern European drts 68 lSIorrison H. Heckscher Chester Dale Fellot, Prints Drawingsby JoanK. Foley

240

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

THE

MUSEUM METROPOLITAN
BOARD OF TRUSTEES
Jr.,President A. Houghton, Arthur C. Baker,Vice-President Walter
Devereux

OF
C.

ART
Josephs, Vice-President

Chairman RobertLehman,

Elective
Malcolm P. Aldrich Henry C. Alexander Mrs. Vincent Astor Cleo Frank Craig Daniel P. Davison C. Douglas Dillon J. RichardsonDilworth Mrs. JamesW. Fosburgh Roswell L. Gilpatric JamesM. Hester Henry S. Morgan Richard M. Paget Mrs. Charles S. Payson Robert M. Pennoyer Richard S. Perkins Francis T. P. Plimpton Roland L. Redmond Mrs. Ogden Reid Francis Day Rogers Irwin Untermyer Arthur K. Watson Mrs. Sheldon Whitehouse Arnold Whitridge Charles B. Wrightsman

Ex Officio
John V. Lindsay, Mayor of he Cy of New Yort of he Cityof New Yort Mario A. Procaccino, Comperoller of he Departmen of Parts August Heckscher, Commissioner of he National Academyof Design Alfred Easton Poor, President

Honorary
Dwight D. Eisenhower Nelson A. Rockefeller

STAFF V. Noble, Vice-DirectorforAdministration Joseph P. F. Hoving,Director Thomas 4dministrator Operating R. Morsches, Richard Treasurer Loughry, J. Kenneth DudleyT. Easby,Jr.,Secretary
Assistan BarbaraVona, Administrative of Plans and Construaion Arthur Klein, Supervisor John E. Buchanan, Archivist Mildred S. McGill, Assistanifor Loans Robert A. Pierson, Assistan Treasurer Maurice K. Viertel, Controller James0. Grimes, City Liaison George M. Benda, Auditor Assistan Ann Marie Bustillo, Administrative Alfred B. Cartier, Jr., Managerof Personnel JessieL. Morrow, Placemen Manager Robert Chapman, BuildingSuperincenden Walter Cadette, Capain of Arendanes Stuart Silver, Manager,ExhibitionDesign Agent Theodore Ward, Purchasing Studio William F. Pons, Manager,Photograph Manager Eloise Bruce, Restaurant Betsy Mason, Managerof Of ice Service Assistant Carolyn L. Richardson, Administrative

AMERICAN AMERICAN

PAINTINGS WING:

AND

SCULPTURE:

John K. Howat, 4ssistant Curator

FAR

EASTERN

ART:

Jean K. Schmitt, in Charge. Fong Chow, AssociateCurator

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

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

ANCIENT

Prudence Oliver ART: Vaughn E. Crawford, Curator. NEAR EASTERN Harper, AssociateCuraor. Oscar White Muscarella,Assistan Curaor Helmut Nickel, Associate Curator in Charge. Norma ARMOR: AND ARMS Wolf, Assistan Curaor. Harvey Murton, Armorer
CONTEMPORARY THE COSTUME ARTS: INSTITUTE:

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

Henry Geldzahler, Curator

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

William H. Forsyth, ResearchCurator THE CLOISTERS: AND in Chargeof Medieval Art and The Cloisters.Margaret B. Freeman, Curaof The Cloisters.Vera K. Ostoia and Carmen G6mez-Moreno, or Emerious Assistan in Chargea Associate Curaors. Thomas Pelham Miller, Execunive The Cloisters.Bonnie Young, SeniorLeaurer, The Cloisters
MUSICAL PRINTS: INSTRUMENTS:

Emanuel Winternitz, Curator

Jacob Bean, Curaor. Merritt SalTord,Conservaor of Drawzngs

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

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

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

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