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

domlnlons.

THOMASP. F. HOVING,Dzrector

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ANATO LIA

I In thethirdmillennium B.C. therewereseveral peoples

and culturesin Anatolia.One of theseculturesof the
EarlyBronze,orEarlyAnatolian, periodwascenteredin
thenorthcentralareaaroundAlacaHuyuk.It extended
northto the BlackSea,southto Cilicia,andpossiblyas
W farwest as the SakaryaRiver.Somescholarsconnect
t thisculturewith a peoplecalledin the Hittiterecords
theHatti.
Thisewerreputedlycamefroma site nearAmasya,
southofSamsun ontheBlackSea.Theshapewasachieved
by raising,beatingthegoldovera form,andthedecora-
tionwasapparently madeby repousse andchasing.This
9 eweris verymuchlikeoneexcavated byTurkisharchae-
ologistsat Mahmatlar, alsonearAmasya.Similargold
ewersandalsoothersin silverandterracotta werefound
in someof the well-known gravesat AlacaHuyuk;the
dateforall theseewersandtherichmaterial foundwith
themis thelatethirdmillennium B.C., andtheMuseum's
<'t -AtC>> eweris datedon the basisof its resemblance to those
> foundat thesesites.Themouthof the ewerwasappar-
w > .stJ entlycutoffwhenit wasfoundbypeasants, perhaps
inan
i 5Kw attemptto seeif thevesselwassolidgoldorgoldplated.
w r ]^ LateIII millennium
B.C. Height7 inches.HarrisBrisbane

k s0 Dtst Fund,57.67
S rz
'
THE METROPOLITAN MUSEUM OF ART Bulletin
VOLUME XXVI, NUMBER 5 JANUARY I 968

Published monthlyfromOctoberto Juneandquarterlyfrom

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

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 -

r>P . 2 This standard,alongwith other objectsincluding

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

3 Heavychariots,thosewithfourwheels,wereknown oronagers aremoreusuallyseendrawing chariots,butin

in Mesopotamia as earlyas the thirdmillennium B.C. Anatoliabullsareshowncarryingdeitieson theirbacks
Theyarementioned in textsandrepresented in art,the or pullingthemin chariots. The deitymighthavebeen
best-known representations beingthoseon theStandard the sunor a weathergod, represented as a statuetteof
of Ur,nowin TheBritishMuseum. Evenactualchariots humanformor by anothersymbol.At leasta dozen
havebeenpreserved, aswellasmodelsmadeof terracotta modelchariotspulledby bullsandof the sametype as
orcopper.Thesignificance of themodelsis elusive.They the Museum's areknownto exist,andaresaidto have
mayhavebeenmadeforchildren orforwarriors,orper- comefromsouthcentralAnatolia.Unfortunately, none
hapstheywereusedin religious rites.Thismodelcould wasscientifically excavated,
so thecontextin whichthey
depicta contemporary militarychariot,a vehiclefor werefound,whichwouldperhapshave clarifiedtheir
front-lineattackthatusuallycarriedtwomen,a warrior function,is lost.
anda driver.
It is alsopossiblethat the modelis of a vehiclethat III or earlyII millennium
B.C. Copper
or bronze,height
carrieda deity,sinceit is drawnby a pairof bulls.Asses 35S6inches.EdithPerryChapmanFund,66.If
4 Thissistrumis in the formof a handleandtwo up-
rightprongs,whicharedecorated withprojectingbulls'
hornsandcappedwithstylizedplants.A crossbar at the
top is adornedwith a standingbird,possiblya hawk,
whosewingsare outstretched. The fork,crossbar, and
ornaments appeartobecasttogether,butthethreewires,
eachholdingloosedisks,wereplacedwithintheprongs.
Bothhawksandthehornsof bullsplayeda symbolicrole
in thereligionsof Anatolian peoplesforseveralmillennia.
It is therefore
possiblethatthissistrumwasemployedby
pr1ests 1na rel1g1ous
. .

ceremony,
.

accompanying singingor
dancingin honorof theirgods.
Sistradecorated withanimals in theroundarefoundat
Horoztepe, andfragments occurat AlacaHuyuk.They
areof slightlydifferentshapethanthisone, beingless
elongated. Sistrawerealsousedasmusicalinstruments in
Egyptduringthe thirdmillennium andin the second
millennium of the Minoanperiodin the Aegean.Per-
hapsthemostfamousexample in artis therepresentation
on the sixteenth-century steatiteHarvestervasefrom
HagiaTriadaon Crete:the manleadingthe procession
of singingharvesters is shakinga sistrum,verysimilarto
theMuseum's.
Late 1ll millenniumB.C. Bronze,heights3 inches.Pur-
chase,JosephPulitzerBequest,55.z 37.z

LYD IA\Af
5 Sardisin antiquitywasoneof thegreatcitiesof Asia
Minor.AscapitalofLydia(akingdom locatedin western is thecase,by thetimeof Gyges'sgreat-grandson
Turkey,inlandfrommodernIzmir),sheachievedfame
andwealthespecially underherlastking,Croesus, before lished.
succumbing to thePersian
conquest in themid-sixthcen-
turyB.C. Western firstvisitedtheruinsof Sardis
travelers
in the fifteenthcentury,but realscientificexploration
did not beginuntilthiscentury,whenPrincetonUni-
versityconducted anexcavation fromI9IO to I9I4, and
againin I922. The findsfromthisexcavation weredi-
videdbetweenthe Archaeological Museumin Istanbul
and the Metropolitan Museum.Beginningin I958, a
new Americanexcavation,sponsored by Harvardand
Cornelluniversities,has continuedto revealthe vast
extentof the ancientcapital.
"Lydia,unlikemostothercountries,scarcelyoffers
any wondersfor the historianto describe,exceptthe
gold-dust whichis washeddownfromtherangeof Tmo-
lus."Thementionof golddustin thispassage fromthe
GreekhistorianHerodotusreminds us that it was the
Lydianswhoinventedcoinedmoney.Somesaythatthe
firstcoinswereissuedasearlyasthereignof KingGyges
in themid-seventh centuryB.C.; butwhetherornot this
Alyat-
tes,andAlyattes'ssonCroesus,coinagewaswellestab-
Thirtygoldstatersof Croesus, eachbearingthedevice
of the forepartsof a lionanda bullfacingoneanother,
werefoundhiddenin thisinsignificant-looking jar.They
wereprobablyburiedforsafekeeping shortlybeforethe
Persianconquestof Sardisin 547B.C.
Heightof thejar 4%inches.Giftof theAmericanSociety
for theExca?vationof Sardis,26.59.2-5(thecoins),26.59.6
(thejar)
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The Metropolitan Museum of Art Bulletin ®
www.jstor.org
6 Lydianwaswrittenin lettersthatareakinto Greek
letters,but the languageitselfis quitedifferent,andto
thisday it hasnot beendeciphered. Thismarblestele
witha Lydianinscription wasfoundat Sardisin I9II.
Recently,on the basisof the understanding of a few
words,Professor RobertoGusmaniof the Universityof
Messina hassuggestedthattheinscription maybea jurid-
icaldocumenthavingto do with the confirmation of a
transferof goodsfroman individual namedMlimnasto
thesanctuary of Artemisat Sardis.
Height5 feet, 4 inches.Gift of the SmericanSocietyfor
the Excavationof Sardis,26.59.7

7 Thefourcuriously shapedjarsshownbelowwereprob-
ablyusedto containbaccaris,a perfumeforwhichSardis
wasnotedin antiquity.It is possiblethattheshapewasa
convenienttrade-mark for the perfume.Jarslike these
havebeenfoundin greatnumbers at Sardis,andbecause
they seemto havebeena specialtyof Lydia,modern
scholarshave calledthem Iydions.These,datingfrom
the sixthcenturyB.C., wereall excavated at Sardis;but
Iydionshavebeenfoundat numerous sitesin the Medi-
terraneanworld,goodevidencethattheircontentswere
widelyexported.
Heightof thetallestjar 4N inches.Gift of theAmerican
Societyfor theExcavationof Sardis,26.Z64.27,26.sg9.64,
s6.75.I6-I7
 AT>O 12 ,,,;s,L, :_,L,n r .. . 2 _ L__ _

8 Duringthe firstAmerican excavations,hundredsof trictnortheast

of Sardis,cametheinspiration
forthe jug
ancienttombswereopenedin the cemeteries of Sardis, with the oversizedspoutandfor the pitcherwith the
andthisgroupis thepartialcontentsof oneof thetombs. bulbousbody.The small,darkjug in the rightback-
It canbe datedto shortlyafterthe middleof the sixth groundmaybe a descendant of an olderHittiteshape.
centuryB.C. by thepresenceof importsfromAthensand Whyso manyparallels withothercultures?Probably
Sparta,theAtticoinochoe andLaconian kylix,ordrink- becauseSardiswassituatedon oneof thegreathighways
ingcup,bothin theleft foreground. of antiquity,whichranfromthe Aegeancoast,across
The restof the potteryis Lydian,andcanbe recog- westernAsiaMinor,andintoPersia.Travelers andcara-
ni7PS hrrcllchrharertPrictire
oc tho har;7orete1
otr;ar ano1
 L
01h
ik;
of
°'¢tJtWone
!ll;taP
cation.
W XiLportant
_have
Early
W
i>':ti9"5 ed
tofbay
| Sidamara
The
Smale
the
originated
cophagi,
oflate
sons
of
figure
an them,
Christian09 seated
arcade.
type
Roman
ofwith
of
Constantine
in
(Astaafter
found
author-philosopher
style
between
columnated
It
Asia belongs
the
in
of
Minor
the
.7\4znor),
tulus), earliest
Sidamara,
the
arcades,
Great,
columns
to
and
sculpture,
a known
aboutgroup
type,
and
pos-
believed
at
within
tEzemost
11
of
Ambar-
dressed
as -i*sar-
middlethe
the
im-
| to
y_w

tS$;D N 9 Thisfragment
of a sarcophagus
showsa beard-

tSsQ x W _ _ in chitonandhimationandholdinga scroll(ro-

_ i_ of thesss centuryA.D. Marble,28M2x I2 znches.

_ |_ Rogers Fund, I8. I08

BYZANTI U M

- 1r -B-X
1
0 Theimperial diademidentifies
thissculpture
as the headof a Romanemperor. It is a portrait _ l ,_

siblyConstans.The identificationis basedon a - - ^

certainsimilarity
of thisheadto representations - - t !1
of the youthfulemperor foundon coins;lackof r' E^ g
authentic,unidealizedportraits
of Constans and i _
his brothers
doesnot allowforpositiveidentifi-

softenedby influencesfromthe Near East, is

characteristic
of thenewlyrisingByzantinestyle
andsuitswellthe datingof the piece.It is said ;

Xbozxt340 A .D Marble, hezghtl oM2inahes. |

RogersFund,67.I07 s A; _
 ThesetzZoplates,withscenesfromthestoryof Da-
vid,arepartofa treasure
foundnearKyrenia, onCyprus.
Thesilverstampson the undersides of the platesareof
thereignofEmperor Heraclius (6I3-629/630). Although
the platesmaynot be by the samehandandnot all of
thefivesilverstampson oneplateareexactlythe same
asthoseon theother,thetechnique of theworkmanship
is thesame.Thepresence of thefiveimperial stamps,as
wellas the highqualityof the designandof the execu-
tion,pointsto a workshop in the capitalof Byzantium,
Constantinople.
Constantinoplc, vll century.DiameterssoM, 5H inches.
Giftof J. PierpontMorgan,Z7.sg0.3g7,394
 12

13 14

2 This cup, possiblya chalice,is decoratedwith repre-
sentationsof fourfemalefigures.Thesearesymbolicper-
sonificationsof imperialcities and metropolitansees of
Byzantium,whichderivefromthe pagancity goddesses,
Tyches.The inscriptionin Greekunderthe rimidentifies
themas the citiesof Constantinople,Cyprus,Rome,and
Alexandria.Therewasno "city of Cyprus"- the capital
of the island then being Constantia(earliercalled Sa-
lamis)-and it has been suggestedthat the presenceof
Cypruson thiscup maysupplya clueforits dating.After
the Councilof Ephesusin 43I, the MetropolitanSee of
Cyprusdeclaredits independencefrom the city of Anti-
och, and the nameof Cypruswas probablyused here to
emphasizeits importance.It also suggeststhat the cup
was made on Cyprus,and before647, when the Arabs
invaded the islandand destroyedConstantia.The cup
was found with several other gold and silver objects
nearDurazzo,Albania.
About43Z-647.Gold,height6S inches.Giftof J. Pier-
pont Morgan,Z7.I90.I7so
3 The consuls,at the time of their investiturewith
this importantand highly honorablerank, were to ar-
range,at theirown expense,gamesandspectaclesfor the
people,and to distributelargessesandgifts. Amongthese
were ivory diptychs.The two ivory plaquesshownhere
are the leaves of such a consulardiptych, which is in-
scribedwith the nameof [Flavius]PetrusSabbatiusJus-
tinianus,and dates from 52I, the first consulshipof the
futureemperorJustinian(527-565). Becauseof the high
cost of consulshipto the consuland the gradualdeterio-
rationof its importance,the oEce of ConsulOrdinarius
was abolishedafter 54I, the emperoraddingthe title of
Consulto that of Emperor.
Diptychswereusuallymadeto be employedaswriting
15
tablets- the depressionon the backwas filled with wax
and a stylus used to write upon this surface- but con-
sulardiptychs were testimonialgifts and not meant to
serveany other purpose.
Constantinople.Heightss3H inches.Gift of J. Pierpont
Morgan,s7.sg0.52,53
4 This representationof the Mother of God of the
Hodegetriatype derivesits compositionand namefrom
the greatly veneratedimagekept, up to the thirteenth
century,in the churchof the Most Holy Motherof God,
Hodegetria(in translation,"She who points the way"),
locatednear the ImperialPalacein Constantinople.Se-
vere majesty and quietude are combinedin this ivory
carving.
XI century.
Height9H inches.GiftofJ. Pierpont
Morgan,
I7.Igo.Io3
5 These medallionswere originallypart of a groupof
twelve from the frameof the silver repousseicon of the
ArchangelGabriel,formerlyin the monasteryof Dju-
mati, Georgia (in the Caucasus).They form a Deesis
group: the Mother of God and St. John the Baptist
intercedingbeforeChristfor humanityat the Last Judg-
ment. The techniqueof cloisonneenamelon gold used
for these medallionsconsistsof outliningthe design by
cloisons,thin metal strips secured to the gold plaque,
formingcells for the enamels.This techniquewas pre-
ferred in Byzantium but it was known earlier,and is
also related to the stone and glass inlay decorationof
the Barbarians.
Eithermadein Constantinople for Georgiaor, possibly,
madein Georgiaby a mastertrainedin Byzantium,lateXI
century.Diametersabout3H inches.Gift ofJ. Pierpont
Morgan,s7.sg0.675, 678 677
203
 6 Theblueandwhitefashion,longtraditional in Mus-
! lim ceramics, hada momentof greatflowering in Tur-
inspired
keyduringthefifteenthandsixteenthcenturies,
by the contemporary blueandwhiteporcelainof Ming
_ China.This tazzabelongsto a groupof Ottomance-
ramicsthatfollowtheirFarEasternmodelsparticularly
THE OTTOMAN closely,in thechoiceof thedeepbluecolorandthetype
andorganization of the decoration.
EMPIRE DiameterI4 inches.HarrisBrisbaneDict Fund,66.4.2

Ottoman Turkishpotteryof the fifteenthand sixteenth 7 Thedecoration of thisplate,anotherexampleof the

centuriesbelongsto the finestthe Muslimworldhaspro- blueandwhitefashion, demonstrates with
theoriginality
duced.Its influencewasfelt both in the NtiddleEastand whichTurkishpottershandledtheirChinesemodels.
in Europe, where a variety of imitationswere made, Even thoughthe floralmotifson the rim,bothinside
hich, however,never got anywherenearthe brilliance andoutside,arecloselyrelatedto decorativepaintingon
of glazeand color that distinguishesIsnikpottery. Isnik Mingporcelain, therearea greatmanytypicallyIslamic
is nowgenerallyconsideredto have beenthe maincenter elementsin thehandling of thealloverdesign,especially
of production,as it was the seat of the royalworkshops in thedecorationof thecenterof theplate,whichis based
and producedmost, if not all, of the tiles for the decora- on theIslamictradition pattern.
of theinfinitegeometric
tion of the Ottoman mosquesof sixteenth-and seven- DiameterI5 inches.Bequestof BenjaminAltman,
teenth-centuryIstanbul.The Museum'scollectioncon- I 4 .40.727

tainsa representativeselectionof all typesof Isnikwares,

and of severalvarietiesit has some of the best pieces.
8 Tilesforarchitectural weremadein Tur-
decoration
16 keyfromthetwelfthcenturyonanda widevarietyhave
beenpreserved, butalthoughmanyareof greatbeauty,
Ottomantileworkconstitutes the supremeachievement
of thisartform,outshining everythingelseof the kind
thathasbeencreatedin otherpartsof theMuslimworld.
Thistile belongsto the traditionof blueandwhitece-
ramicdecoration, whichalsohadan impacton the tile
painters.In fact,someof the finestworkeverdonein
theroyalfactories of Isnikwasin theblueandwhitetile-
svorkmadeduringthesixteenthcenturyfortheentrance
wallof the SunnetOdasi(Circumcision Room)andthe
Baghdadkioskin the sultan'spalacein Istanbul,the fa-
mousTopkapiSarayi.Thisparticular tilemusthavebeen
madeforthe roompreceding theSunnetOdasi,butnot
used;it is identicalin sizeanddecoration to someof the
tilesthere.
WidthII inches.Gift of HoraceHa?vemeyer,
40.I8I.II

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S $F
t_,
-230
_:.\S;
:tS _ 3111S
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 ''' . ' ' " ' A G

This bowl-one of a smallgroup-datesfromthe -so / ^- P h

earlysixteenthcentury,but the decoration of the exte- ## }W - v ti - t t

varietyofhatayi("China")
riorstillreflectstheparticular
patternadoptedin Turkeyin themiddleof thefifteenth
century,probablyafter the courtmovedto recently
Constantinople in I454. Someof the design
i=--wA-S
conquered
elements,notablythe organization of the interiorinto
panelsand the use of cypress-tree motifs,are totally
Islamicin tradition,addingto the trulyoriginal,non-
Chinesecharacter of thesewares.
Diameterso inches.RogersFund,32.34
20 Amongtheblueandwhitewaresof Ottomanpot-
teryonetypestandsout.It doesnotfollowthegenerally
acceptedChineserepertoryof decorativeflowers,but
substitutes thin,linearspiralsbesetwithtinysdelicately
paintedleavesand rosettes.Thisware-forsometime
associated witha presumed factoryat the GoldenHorn
- is oftencalledGoldenHornware,eventhoughscholars
nowthinkit wasmadein the royalworkshops of Isnik.
About s530-Z535.Height91X6 inches.HarrisBrisbane
Dict Fund,66.4.3
2I Turkishdesignsat almostallperiods,butespecially
in the Ottoman,includeda greatmanyfloralformsof
relativelyrealistic
detail.Ottomanpotteryandtilework
areparticularlynotedfor theiruseof a widevarietyof
flowerrepresentations:
roses,carnations,
tulips,hyacinths,
andmanyothers.Thisplateis notonlya fineexampleof
the kind,but it is alsoof specialinterestbecauseof its
rareuseof animalfigures - two birds-within the floral
design.Therimis decorated withtheso-calledrockand
wavepattern,derivedfromChinesemodels,whichap-
pearson mostIsnikplates.
Mosquelampsmadeof potteryand decoratedwith
bothcalligraphic and,as in the caseof the lampat the
right, floralpolychromedesignson a brilliantwhite
groundarewellknownthroughout theOttomanperiod,
eventhoughpiecesof thistypeandqualityarequiterare.
The lampswerealmostcertainlypurelydecorativeob-
jectsgivenascommemorative tokensto mosquesby the
sultanor highofficialsof thecourt,since,beingmadeof
pottery,theycouldnotwellserveanypractical purpose.
DiameterZZX inches,heightZZS inches.GiftofJamesJ.
Rorimer,
59.69.s, Bequestof BenjaminAltman,I4.40.73I
22 Thevarietyof decorative patternsemployed by the 23 TheTurksweregreatsailors;theirfleetwasoneof
Isnikceramicpainters is remarkable, sincethe
especially theirmainassetsin the conquestand,lateron, in the
dominantfashionthroughout the sixteenthandseven- defenseof theirempire.Shipsalsoplayedan important
teenthcenturieswasthe polychrome floralstyle.Even rolein dailylife on the Bosphorus. Sailsalwayswere
thoughquiterealistically depictedflowersforman im- (and,happily,stillare)partof the city'sskyline.Sail-
portantpartof the patternon thisplate,a numberof boatsof all varieties,fromthesultan'spleasureboatto
elements areunusual:theuseof a deepbluebackground, the big"battleships" of hisarmada,becamea majormo-
the organizationof the floralmotifinto an almostab- tif in Ottomanpainting.Thosethatdominatethedeco-
stractpattern,andthedecoration of therimwitha design rationof thisbeautifuljugcanbe foundin innumerable
derivedfromOttomanfloralforms.Piecessuchas this variationsonvasesandplates,ewersandbowls,through-
werefora timebelievedto havebeenmadeat Damascus, out the Ottomanperiod.
in Syria,butnowthereis no doubtthattheyareworks Firsthayof the XlZII century.Height8h8inches.Rogers
of the sameIsnikpotterswhocreatedthe moretypical Fund,Ig.67
floralplates(21) andtilework.
DiameterZZ% inches.Bequestof BenjaminAltman,
s4.40.732

208
24 Islamic architecturehasalwaysconcentrated onsur-
facedecoration.In fact, many buildingshave become
famousfor the unparalleledsplendorof theirtilework,
whichoftencoversboththeinteriorandtheexteriorof
the entirebuilding.In OttomanTurkey,however,al-
thoughtileworkwaswidelyusedin bothsecularand
it occursprincipally
religiousarchitecture, in interiors
and,even there,only in particular parts.In mosques,
richlydecorated,
usuallyespecially tileworkis usedfor
themiArab(prayerniche)and,at times,theentireqibla
wall (the one thatfacesMecca),the lowerpartof the
centralroom,andthewallsof thegalleries. Magnificent
panelsof polychrome floraltilessimilarto theoneshown
heredecorate manyof Istanbul's greatmosques.Tilesare
almostneverusedon theoutsideof buildings, smalltym-
panum-shaped panelsabovedoorsand windowsbeing
theonlyexception. Thefinestassembly of Ottomantile-
workis to be foundin the sultan'spalacein Istanbul.
Secondhalf of the XVI century.47 x 48 inches.Gift of
J. PierpontMorgan,Z7.s90.2083
Turksverylikely"invented" theknottedpile carpet-
oneof themostcharacteristic formsof Islamicart- long
beforethey enteredthe Muslimworldand even long
beforeIslam.Theybroughtit to WesternAsia,andfur-
nishedeveryonefromCentralAsiato Spainwithits basic
technique anddesign.In theheydayof Ottomanculture
in thesixteenthcentury,bothrugsandtextileswerede-
signedwith an exquisitetastefor formand color,and
followedthe trendtowardrealisticfloralmotifs(which,
however,underwent a changeto almosttotalabstrac-
tionas soonas theyenteredthe textiledesigners'work-
shop).TheOttomanrug,in partfollowing age-oldtradi-
tions,in partparaphrasing ideasdevelopedin the late
Timuridperiodandin SafavidPersia,is oneof themost
fascinatingartformsof the Muslimworld.

25 Politicalandreligiousquarrels kept the Ottomans

in constantconflictwiththeSafavids of Persiathrough-
out thesixteenthcentury.Tabriz,the Safavidcapitalin
northwesternIran,wastakenby theOttomanarmysev-
eraltimesduringthe firsthalfof that century,which
broughtthe Ottomansintoimmediate contactwithSa-
favidart.Tabrizwasanimportant centerof rugweaving
at that time.In contrastto the abstractalloverfloral
motifsof Turkishrugs,medallion patternshadbeende-
velopedin Persia,andit musthavebeenthroughcontact
withSafavidrugsthatTurkishweaversbeganto experi-
mentwith thesenewideas.The stardesignof thisrug,
associatedwith the city of Ushakin centralAnatolia,
wasundoubtedly inspired by Safavidmedallionpatterns.
Whilein Persian rugsof thistypethepatternis of monu-
mentalscale,Turkishdesigners appliedtheirown taste
to themodelsandcameup withsmaller,highlyoriginal
forms.Thestardesignsof suchUshakrugsareamongthe
mostsuccessfulvariations of thesebasicallyun-Turkish
patternideas.
Endof theXVI century.s4feet 7 inchesx / Jeet7 inches.
GiJtof JosephV. McMullan,58.63
26 The patternof this rug-even thoughof the late
Ottomanperiod-represents oneof the oldestformsof
Turkishrugdesign.The "classical" periodof thistype
of geometricpatternseemsto havebeenthe fifteenth
century.Not a singleexample fromthatperiodhascome
downto us, but rugsof thisand closelyrelatedtypes
appearin innumerable Timuridminiatures and Italian
andFlemishpaintings of thefifteenthcentury;theyare,
indeed,knownas "Holbein"carpetsbecausethey are
depictedso oftenin that painter'sworks.Thisrugis of
particular
beautyin design,andprobablyuniquein its
magnificentuseof lightblueforthesecondary arabesque
cartouchemotif.
XVI century.so feet x 4 feet 3 inches.Gift of JosephV.
McMullan,6z.65

27 The fascination of Turkishrugsfor the Westand

the specialappreciationof thisartformin Italyis well
demonstrated by the fact thatmanynobleItalianfam-
ilieshadrugsmadefor theirpalacesandchurches. The
Centurione andDoriafamiliesof Genoamusthaveor-
deredthis one (whichhasa few companion piecesin
Europeancollections) as it bearstheircoatof armsin
its upperleft-handcorner.Eventuallyit shouldbe pos-
sibleto datetheserugsquiteaccurately, sincetheappear-
anceof thecoatofarmsof bothfamilies indicatesa special
occasion,probably a marriage betweentwomembers of
thesefamousGenoeseclans,but so farit hasnot been
possibleto finda traceof anysucheventin theannalsof
theirfamilyhistory.The Genoese,one shouldbearin
mind,wereamongthe firstto settlepermanently in Is-
tanbul,makingPera(onthe European sideof the city,
eastof theGoldenHorn)theirheadquarters. Thetower
of Perais still standingas living testimonyto their
presence.
7 feet 8S inchesx 4 feet 8S inches.Gift of JosephV.
McMullan,62.23I
 28 Prayerrugshave alwaysplayedan importantfunctionin
Islam.They symbolizethe "cleanplace"a Muslimhas to use
for prayer.In theirmost elaborateform- suchas this example
of the so-calledOttoman court-manufactured rugs (possibly
made in Egypt, which in I5IO becamepart of the Ottoman
Empire,ratherthan in Anatolia)-they incorporatedin their
designsarchitecturalelementsrepresenting, in an abstractfash-
ion, the mihrab.In this rug, the usuallysimplenichehas been
developedinto a triple arch surmountedby crenelationand
miniaturecupolas,indicatingthe place of prayeritself, the
mosque. (Ottoman mosquesdeveloped a specificdesign, of
whichcupolasforma vital part.)
The rug is not only of great beautyin designand color,but
is alsoof the highesttechnicalquality,achievingin its exceed-
ingly dense knotting the effect of a smooth, brilliantvelvet.
About1600. 5 feet 8 inchesx 4 feet 2 inches.Giftof JamesF.
Ballard,22.soo.sI

29 Amongthe greatvarietyof designsthat the carpetweavers

of Anatoliaproducedduring the sixteenth and seventeenth
centuries,a specialgroupis formedby those with an abstract
floralpatternresemblingbirds(hencethe name "birdcarpet"
commonlygiven to theserugs),usuallyin brightredand blue,
on a white ground.The choiceof white for the backgroundof
both the field and the borderis without parallelin any other
type of Islamiccarpet.The peculiarambiguitythat led to the
almostcertainlyerroneousinterpretationof the floralformsas
birdsis equallyuniquein Turkishrugdesigns,whichgenerally
are clearlyfloral-abstract
and, in contrastto Persiancarpets,
neverincludeany humanor animalforms.
XboutZ600. s4feet 7 inchesx 7feet 7 inches.Giftof JosephV.
McMullan,63.207

30 Whereasmany laterIslamicrugsare judgedaccordingto

whetheror not they attainedstandardsdevelopedin the six-
teenth and seventeenthcenturies,the classicalperiod of rug
making, this rug is to be judged apart from its prototypes,
whichare variedand elusive.The centrallyorganizedscheme
probablyderivesfrom Persiansources,while other motifs are
specificallyTurkish.For instance,the rectilinearsubdivisions
with floralforms inside the medallionsare akin to motifs of
eighteenth-and nineteenth-centuryGhiordesprayerrugs,and
the angularshapesof the medallions,suggestingniches,are re-
lated to shapeson seventeenth-and eighteenth-centuryBer-
gamarugs.The Museumowns many fine nineteenth-century
Turkishrugs that are, as in this case,not debasedversionsof
earlierformsbut inventivecombinationsand reinterpretations
of those forms.At times,indeed, their geometricalconfigura-
tions refer to the earliesttraditionof rug design,antedating
the classicalperiod,and are thereforeof particularinterest.
LateXVIII-XIX century.6 feet 2 inchesx 4 feet 5 inches.Gift
of JamesF. Ballard,22.I 00.25
Ottomanpaintingis unmistakable. Originalin style,colorsensitivity,
and
iconography, it formsoneof the mostinterestingchapters in the complex
historyof Islamicpainting.Littleis knownaboutits earliestphase,during
the fourteenth andfifteenthcenturies,but we canfollowits development
throughout the sixteenth,seventeenth,
andeighteenthcenturies.
Turkishpaintinghaslittleto do withanyotherIslamicpainting.It de-
velopeda style that is thoroughlyand uniquelyTurkish,combiningan
unparalleled senseof realitywithan equallyunparalleled senseof abstract
designbothin composition andcolor.It alsodevelopedan originaliconog-
raphy,basedon manycontemporary historicaleventsand texts,andhas
hardlyanyinterestin lyrical,poeticalaspectsof life.In thisit differsfunda-
mentallyfromPersianpainting.It is bold,austere,and of extraordinary
power,oftenlargein scale,andof the highesttechnical andaestheticqual-
ity. It is stillunfamiliaroutsideTurkey,asalmostnothingaboutit hasbeen
published in the West,andveryfewpaintingshaveeverreachedWestern
collections.
31 Ottomanpainters illustrated
Firdausi's
ShahNameh,
a famous epicdealingwithancientPersian history,asif it
tookplacein theirowntime.Thisis particularly notice-
ablein thispainting,wheretheTuranians (archenemies
of the Iranians)are represented as OttomanTurksin
theirtypicaldress,usingfirearms asweapons- a remark-
ableinstanceof anachronism. Theuseof the entiresur-
faceavailableto the painterson both pages,and the
composition thattreatsthe double-page spaceas a unit
arecharacteristicsof the Ottomanstyle.The realismof
in costumeandweapons
detail,especially butalsoinindi-
vidualphysiognomy, andtherendering of thefierceness
andcrueltyof battleareremarkable andareagaintypical
of Ottomanpainting.
Secondhalf of the XVI century.Eachpage I7 X I°y/8

JosephPulttzerBequest,s2.20.ga,b
inches.Purchase,

32 A Turkisharmyenteringa city is shownin this

painting,whichdecoratesa poemin praiseof Sultan
Murad(I574-I595) andprobablyrepresents one of his
militaryexploits.Thisis anexample of thewayin which
an Ottomanpainterwill avoid,wheneverpossible,the
realmof the lyrical-poetical andconcentrate on reality,
on thehistorical eventsof histime.Thelivelinessof the
representation, the imaginativeuseof the limitedspace
to createthe impression of a massiveparade,and the
delicatebutfirmuseof thebrushmakethisa particularly
typicalproductof thestylein fashionin Istanbul during
Murad's rule.Muradwasnot onlyanimposing political
figure,butalsooneof thegreatpatronsof thearts.
Pagefrom a Diwan of MahmudAMbd al-Bati (Z526-
I600).I0 Bequestof GeorgeD. Pratt,45.z 74.5
X 6 inches.

33 Thispainting,illustrating an episodein the life of

the famousShaykhof Islam-Abu'l-Su'ud b. Muham-
madal-Amidi-whoheldhis position at the Ottoman
courtfor thirtyyearsandis numbered amongthe most
brilliantmenof histime,presents yet anotheraspectof
Ottomancourtpaintingof SultanMurad's period.Even
thoughit focusesagainoncontemporary historyandpre-
sentsa pictureof the lifeat the Ottomancourt,it is of
an intimateratherthanofficialnature.The shaykhis
clearlyengagedin somekindof business butit seemsto
takeplacein hisprivate house, opening on a garden.The
elaboratemarginal decoration in delicategoldpaintadds
to thenonhieratic effect.
TheShaykhof IslamHoldinga DisputationwithMem-
bersof theReligiousCouncil.Pagefrom a Diwan of Mah-
mudAbdal-Bati. soMx 6 inches.Giftof GeorgeD. Pratt,
25.83.9
 77-v J tW- $X; * 9 . , - J
-s _ w I ._
-r . w _^
-w P ^,
-b { ^ .
w w _ X *y t @\o 49 @ X b .s i b{Ev n-S { t {

34 The Ottomancourtschoolin Istanbulshareswith

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

q 7
35 Religiousiconography is a greatrarityin Islamic
l MS
art, but, contraryto the beliefthat the figureof the
-
l
- to
l Prophetcouldnotberepresented, therearemanypaint-
,
bJ|| , , b
1s ' 17' j s f *, + 9
ingsthatillustratevariousaspectsof the Prophet'slife.
X,

Almostall weredoneeitherin Turkeyor in areasthat

_ n!s ' g

the Turksdominated.
rzs . . . ...... \ sA
il entirelifein painting
The treatmentof the Prophet's
- asopposedto thesinglingout of
the mirajscene(the Prophet'sjourneyto heaven)by
1 '-t '.' ** l;'''.''', 8 otherIslamicartists-hassurvivedonlyfromthe Otto-
v w . .. manperiod.Thissmallpainting,showingthe Prophet
r<.F.. . br; seatednextto the mihrabin a mosque,withhisson-in-
.. Fa
]
- 1 .
.
. -,
b
*;
. w v _ ^ t. r lawAliandAli'ssonsHassan andHusaynonhisleft,and
*- * ) },,,; s ** s ,lE
surrounded bymembers of theearlyMuslimcommunity,
is a perfectmid-sixteenth-century exampleof Muslim
: :h,:--S religiousiconography. Treatedin an almosttotallyun-
dramatic, if not to sayunemotional, fashion,it testifies
againto theTurks'straightforward senseof history.The
Prophetis veiledand a flaminghalo encompasses his
head;a similarhaloencirclesthe groupof Ali with his
sons.Exceptfor thesesymbolicelements,the painting
isfullyrealistic
andplacesthescenesquarely insixteenth-
century Turkey.
71M6 X 6X6 inches.RogersFund,S5.z2z.40
36 Calligraphyand designgo hand in handin Islamicart, and the
Ottoman periodwas no exception.Rather,it createda numberof
remarkablecalligraphicdesigns,both in monumentalscale for the
decorationof buildings(Ulu Cami,Bursa)and in actualcalligraphy,
such as the tughraof Sulaymanthe Magnificent(I520-I566) shown
here.
Each imperialedict (firman) was headedby the officialsignature
of the rulingsultan.It wasthis signature,or tughra,executednot by
the sultanhimselfbut by a specialofficerin chargeof this function,
that made the documentofficial.While the tughra'sparticularform
changedwith each sultan, its basic shape remainedvirtually un-
changedthroughoutthe periodof Ottomanrule.Sulayman'stughras
areamongthe most elaborateand monumental.In theirmagnificent
movementof line anddelicacyof floralpattern,they unite the power
and finesseof Ottomandesign.There is nothing comparableto the
Ottomantughrain other partsof the Aluslimworld:it is one of the
most typicaland originalcreationsof Ottomanart.
20 X 25 inches.
Rogers
Fzlnd,38.Z49.I

4FJ **

. }/n ! @A/E */: *ow

c v * l S f * l Wo-//* * l j S E 4
- - 0 & ( j -

'* - / t / ; } ' v
 * _ o - Q } z , < _ \ _ _

- *- \
9
- i \ ts f 8 w t' )

/ owi - ^ ' &B

o ' Ws
- t ))
! , @ '

< J 4+ : \ l, - 0 ¢ _ b

37 In someinstancesthe calligraphicelementthat wasat all timesan importantfactorin TurkishIslamicart became

of primeimportancefor painting.In fact, Ottomanartistshad inheriteda schoolof decorativepainting- or drawing
- froma long traditionpossiblyharkingbackto the fourteenthcenturyand to CentralAsia (Samarkand, Herat).This
schoolfound ardentsupportersin Istanbul.There is evidencethat many of these drawingswere made as modelsfor
tile and pottery painters,textile weavers,leatherworkers,wood carvers,and other craftsmen,since many designsin
their objectsseem immediatelyderivedfrom some of these studies.But a good number-among them this drawing
of a dragonboldly prancingthrougha twistedbranchof agitatedfoliage- wereundoubtedlymadein theirown right,
to be appreciatedas magnificentcalligraphicdesigns.The drawingis attributedin the cartoucheabove to Shah Qali,
an artistwho had come fromTabrizto Istanbulto workfor the Ottomancourt in the sixteenthcentury.
6 1M6 X I01X6 inches.Bequestof CoraTimkenBurnett,57.5I.26

38 Scribes,painters,poets,courtoicials, and everyonewho couldaffordit kept writingtoolsin special,small,often

nicelydecoratedwoodenboxescalledqalamdar.Mostweredecoratedwith lacquerpainting,but fromthe earlyperiods,
only thosemadeof metalsurvive.Leatherboxessuchas this- with an elaboratestampedand gildeddesign- are very
rare.Very unusual,also,is the size of this box-almost fifteenincheslong: most measurednot more than six to eight
inches.Thereis little questionthat this pen box, whichdatesfromabout I600, wasusedin the royalhousehold,if not
by the sultanhimself.ManyMuslimrulersweregreatbibliophilesandoften amongthe best calligraphers of theirtime.
Lengths4h inches.RogersFund,33.72
In a warlikenation,weapons area man'smost
preciouspossessions,andin Turkeythiswas
expressednot only by the greatcarewith
whichblades andgunbarrels wereforgedfrom
the famous"watered" steel-producedby a
complicated methodof heating,hammering,
andquenching-butperhapseven moreby
the decorationlavishedon themin gold,sil-
ver,andprecious stones.

39 Domedlikethecupolaof a mosqueand
covered withpiousinscriptions, thisfifteenth-
centuryhelmetderivesitsstriking effectfrom
thecontrast of itssilverinlayagainstthedark
steelbackground. It is surprisingly
large,be-
causeit wasmadetobewornovera turban; the
draped foldsof theturban apparently inspired
thedecorative flutingtypicalof thesehelmets.
Heights3h inches.Anonymous
gift,50.87
 .:. rock
- never
crystal!
was expected
The jade-hilted
tO strike adagger
blow, for
next it tois it,
madethough
out of

41

- 40 Originallyterrible,armor-shatteringvveapons,maces
l_ _ becamesymbols
of rankbecause
of theirverypower.This
l
lF +l _ _ one musthavebeenmadefor an exaltedpersonwho

madein Persia,hadits goldscabbard freelygarnished

withemeraldsandrubiesaccording to Turkishtaste.
XVIII andXVII centuries.
Mace2I inches,daggerI8%

l
_
t _ inches.Beqxest
of GeorgeC.Szone,36.25.I884, 994
t _ 5
 throughDu-
of Janina,knownto Westerners
decorates thesteelof Pasha
Ali
inlaysetwithturquoises
41Gold Countof MonteCristo.
mas's
battle The
shield. practicalpur- 62H and
Lengths
seventeenth-century
this
on the frontwas to DateofJ!intloctXVII-XVIII century.
of the fourdecorativebosses
pose George C. Stone,36.2s.22Ig, and
The shieldstill inches.Bequestof
67
the fastenings
secure of the handgrips. of Mrs. WilliamE. S. Griswold,Mrs.
WilliamSloane,
Gift
its
retains lining
original of redvelvetrichlyembroidered JohnSloane,43.82.4
and
goldthread.
with
inches.Bequestof GeorgeC.Stone, 36.25.597
Diameter2s

43Thescimitar wastheweaponof thefabledTurkish

butwarriors
cavalrymen, on foot,suchasthe celebrated
a finedamascene with a
42Althoughthe gunat the top has importedfrom favoredthe yataghan-along knife
Janissaries,
andflintlock
barrel (the latterprobably
and double-curved
wicked blade.The characteristic of
form
itsdaintydecoration - sapphires, diamonds, times,whenthe
France), a parade hiltis carriedoverfromprehistoric
the
thousandsof seedpearls- indicatesthatit was wasmadefromthe upperpart
grip of a shinbone.This
perhapsof a commander of the palaceguard.The studded with coral.
arm, miquelet by contrast,is of heavysilver
one,
gunbelow,however,withits typicalTurkish adds inscription
The on thebladeincludes the dateA.H. I238,
that
is decoratedwith boldsilverapplique
lock, to ourA.D. I822/23.
equivalent
withoutinterfering with its deadlypurpose.It C. Stone, 36.25.
luxury Length29S inches.Bequestof George
musthaveseenactionin theGreekWarofIndependence: s6Z7
by thefamous
is datedI8I4/I5, andit wasonceowned
it

42

- - -

t--
43
44 It is in velvetsand brocades, mainlyproducedon
theroyalloomsof Bursa(thelastOttomancapitalbefore
the conquestof Constantinople), con-
thatthe peculiar,
trastingtastefor naturalistic and abstractdesignthat
characterizes so muchof TurkishIslamicart findsits
mostimmediateexpression. The large"fan-shaped de-
vices,"as the mainmotifof the fabricat the upperleft
hasbeencalled,are,of course,nothingbutmonumental-
izedcarnation blossoms seenflattenedout, in profileas
it were,set in alternatingstaggeredrowsagainsta deep
redground.Theuseof redforthegroundandsilverbro-
cadefortheflowers ratherthanviceversaisanadditional
elementof abstraction in thisdesign,whichis principally
basedon an astonishingly accuraterepresentationof an
existing,recognizableflower.
EarlyxvIs sentury.RogersFund,s 7.29.ZZ
Velvetbrocade.
46 Turkishbrocades liketheoneat thelowerleft,with
theirlarge-scale floralpatternsin brightcrimson,blue,
andgold,hada particular fascination for the European
travelerandmerchant. Piecesof thistypewerebrought
in greatquantityto Italyby theVenetians andGenoese.
Fromthefifteenthcenturyon,theirimpactonEuropean
decorativedesignwasextraordinary, andmanyof the
brocades (andvelvets)woveninItalyin thelatefifteenth
andsixteenthcenturiesfollowtheirTurkishmodelsso
closelythatat timesit is not easyto recognizethemas
European work.
Thispieceis of unusualinterestbecauseof its dense
andpowerfuldesign.The contrastbetweenpatternand
ground,usuallyan importantfeatureof Ottomantex-
tiles,is almostcompletely abandoned forthesumptuous
effectof nearlysolidlydecoratedsurface.Equallyre-
markable is the extremeabstraction of the floralforms,
whichagainprovidethe basicdecorative motifs.
Silkbrocade. XltI JosephPulitzerBe-
senturyPurchase,
quest,52.20.I8
222
45 The designersemployedin the palaceateliersin
Istanbulworkedforall branches of the vastroyalwork-
shoporganization. It is forthisreasonthatbookbindings,
marginal illuminations in manuscripts, tiles,woodcarv-
ings,metalornaments, andtextilesareoftendecorated
with almostidenticalpatterns.Even thoughnonehas
survived,theremusthavebeenpatternbooksproduced
by the designers fromwhichall otherartistsworked.
Thedesignof the textileat theupperright- of extra-
ordinary appealin its powerfully suggested movement-
is repeatedon manymonumental tile panels,andis a
favoritedevicefor decorating the long,narrowborder
tilesthatframepanelsofa different pattern.Noteworthy
is the curiousbut highlycharacteristic useof naturalis-
ticallyrepresented flowers,especiallythe carnation and
tulip,as fillerornaments withinthe stylizedpalmettes
and leavesattachedto the heavy,undulating"stems'
thatprovidethe mainmotifof the pattern.
JosephPulitzerBe-
Silt brocade.XVI sentury.Purchase,
quest,52.20.2I
47 Thepanelat thelowerrightisyet anotherexample
of the Ottomantextiledesigners'love of sumptuous
effect,abstractpatternbasedon naturalistic motifs,and
greattechnicalskill.Almostall the favoriteflowersof
Ottomandecoration areincorporated into the design-
the tulip,thecarnation, therose,andthehyacinth.The
useof a "fieldandframe'devicefortheorganization of
thesurfaceis quitecommonin lateOttomantextiles.It
givesthedesigner theopportunity pat-
to applydifferent
sincehegenerally
ternsto the textile,especially doesnot
treateithertheframeorfieldasa single,uniformentity,
but as repeatedareasto be decorated with continuous
designs.Thisis shownin the waythe patternis carried
beyondthe edgeaboveand below,continuingon into
a greaterdesignfromwhichthispiecehasbeencut to
formthepresentunitthatreminds oneof rugpatterns-
withwhichit, however,hasnothingin common.
Velretbrocade.Beginningof the XVII sentury.Rogers
Fund og.gg
t;en S>
E,j_
* \ Z1 ;a
|magnificent
X. 0 i g fi < tha
aand
necked
t_ Babylonia.
r typical
k lutes
S nvtNear
tanbur
The
R Eastern
v Arabs
kabir
S Islalnic
type
called
turti, of the
world
psaltery,
or "large
largest
Thisthe
Turkish
of; kanoon,
the
0 i;lute."
long-
i and
0

m u d ' ' tS fffi

1w] ^ _ 49 This groupof Turkishinstruments

consistsof a

; n , -_ threeinstrumentsof the lute family(two tanboursand

<| |?> 5 a smallersaz)characterizedby long,thin necks.It has
i ?S Z | ^ < beenpointedout tha the shapeof the tanbour,like
z .$ | | ^ 1 that of otherlong-necked lutesof the NearEast,has
8s g tg X beeninheritedfromt at of the ancientlutesof Egypt

0 1xa K \ _ g ^ Thekanoon,orin Arabiqanun(fromtheGreektanon),

1.l! % 1 1 ^ _ Z w is entionedin oneof t e storiesof TheAtrabian
Nights.
! 1 4 B ThroughMuslimSpainthe kanooninfluenced,by its
!F1 lst''1 N ^ sha e andplayingtec ique, the laterEuropeanform
0X' '+;>t!X k * of he zither.
11¢ll
l l:lq * ; lla s engthof tanbour a rzght3 feet lo znches.
Giftof At.
11 ;t11
i I I t- _ z I Getty,46.34.69.Secondtanbour,kanoon,andsaz: The
!S . fll fl | s ^ Cr sby Brown C >MuszcalInstruments,
89.4.
TT T Tt) T T r n T r

50 This Florentine cassonepanel representsthe con-

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

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

225

The Metropolitan Museum of Art

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The Metropolitan Museum of Art Bulletin ®
www.jstor.org
 I

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51 Liningandbackingthecassone withtheconquest of aroundwarpsof canvasor othercoarsefiber,tyingin a
Trebizond (50) ispaperpaintedwiththefamous"pome- Ghiordes-type knot,andcuttingtheendsto forma pile.
granate" pattern.Thispattern,basedonanancientmotif Becausethe effectwasthat of the morehighlyprized
that appearsvariouslyas a cone,lotuspalmette,arti- importedrugs,Turkeyworkwaspopularandplentiful.
choke,or thistlein the art of manycivilizations of the In England,a petitionpresentedto Parliament at the
NearandFarEast,wasdevelopedin earlyRenaissance end of the seventeenth centuryto promote the man-
Italyespecially forhermagnificent silkandmetalvelvets; ufactureof woolengoods mentions an annual produc-
thename"pomegranate" wasappliedto thisItalianver- tionof fivethousand dozenTurkey-work chairs.Colonial
sionin Victorian times.Particularlyappealing to Turk- householdinventoriesof the sameperiodlist Turkey-
ish taste,it alsoappears on a seriesof splendidOttoman worktablecarpets, cupboard cloths,cushions,andchairs.
silksandvelvetsof the latefifteenthandsixteenthcen- A chair, probably of the typementioned in theseinven-
turies.In decorating the cassonewith thispattern,the tories,is picturedhere. Sometimes calledCromwellian
artistwasprobably eithermade
imitatingtherichfabrics, becausetheirdesignwasin voguein Englandduring
in Italyorimported fromTurkey,popular at theperiod. Cromwell's time,thesechairswerefoundin considerable
andgilded,length6 feet5 inches.
polychromed
Fruttwood, numbersin seventeenth-century hallsandparlors,and
JohnStewartKennedyFund,I4.39 yet veryfewexisttoday.
NewEngland,aboutI675-I7IO. Mapleandoat, marsh-
grassstuJJing, 40M
height of Mrs.J. Insley
Bequest
inches.
Blazr,52.77.50

52 The cope,possiblyrecutfroma chasuble, is made

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

53 Eighteenth-century American portraitsprovideus

deemedim-
withanexcellentpictureof the furnishings
portantfor the colonialhousehold.Onesuchaccessory
that tooka prominent placein manyfashionab]e por-
traitswastheTurkishrugor"Turkey carpet,"displayed
as a tablecoveror on the floor.The Englishhadbeen
importingthesecarpetsfromthe sixteenthcenturyon,
and by the late seventeenthcenturythey werebeing
broughtby wayof Englandinto theColonies.
Households that did not possessa realOrientalrug
frequentlyusedTurkeyworkas a substitute.It wasa
homeproductin directimitationof Orientalrugsand
wasmadein the sameway,by wrapping coloredyarns
 d , h' WAy&e
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;. 7 i o v- r _8
. .. . . .

; , , *,, , , * > *

i , l I ; ; ;

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''"''; 7DtE ;.S i -- Wi11, iX

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wo. X l s ee w et vw -R

54 BeforePieterCoeckevanAelst'stripto Constanti- afrieze,whichCoeckevanAelstseparated by caryatids

noplein I533, whenhe unsuccessfully attemptedto in- inTurkishcostume.The seventhsceneis a compressed
terestthe sultan,Sulayman, in the purchase of Brussels andfairlyaccurateviewof Constantinople whenit was
tapestries
of hisowndesign,theTurkishNearEasthad studdedwith the mutilatedremainsof antiquityand
beenrevealed onlyirregularly to theWestthroughtraded teeming with the peoplesandplunderamassedthrough
goods,souvenirs, andgreatlyamplifiedreportsof pecu- conquest.In the foreground the sultanpasseswith a
liarcustomsandactsof cruelty.WhileCoeckevanAelst smallportionof his retinue,whichon someoccasions
wasnot the firstWesternartistto visit thisexoticland numbered thousands.
He is precededby hackbuteers,or
-GentileBellinihadbeenthereto painta portraitof archers,
andaccompanying himonfootaretwochatush,
Muhammad II- hisseriesof sevenviewsdepicting Turk- bodyguards,whoclearthewaywithclubs.Twochamber-
ishlifeandcostumein theirnaturalsettingsbecamean lains
followonhorseback,attendingthesultanashegoes
invaluable sourceof information for artists,costume- aboutthe townseeingandbeingseen.
bookdesigners, andhistorians. PieterCoecteranSelst(Iso2-Isso),Netherlandish.
Wood-
Theset,whichwaspublished aftertheartist'sdeathby cut(fragment)from
CesMoeursetFachonsdeFairedeTurcz,
hiswidow,is arranged, as someEuropeantapestries, in I3SXZ7S inches,s553.HarrisBrisbaneDictFund28.85.7a
228
rule
books
known
|sloplng
|"Grand
tng, |apparently
which
ofprofessing
I| /^t{ \i1toTurk,"
sultan's
s6Sx Sulayman
the
nose
sshnleans
}-1 west
wwhose
and
)@an
as
the
army,
znches,overwhelmed
long
accurate
conquests
Roxelana,
>y!t"foolhardy
Magnificent,
neck
were
dated account
were
are
who
renowned
Taggegeben.
s535. by
had
constantly
'completely
who
of
ThePlumWge
this
certain
his
came
for
public
strange
to
upset-
of
HarrlsBrlsbane
Elzsha vvals
overshadowed
their
the
their
andDlstFnd,
ithrone
Whzttelseydisplay
;:
!1the
ferocity
j |i i |tdelly's
tz |,E, !jjt
i and
32.86
n S 11
"and
! i,L)com-
tra-
!|Xin-
1{Yla
- =| - 3j l WIE X
' : >

55 AtthetimeofCoeckevanAelst'svisittoConstanti-
g. g ! ,S1 0i, , a a
nople, the Ottoman Empire was under the stern but able g : .: islii l!.r - ;, 3 j

in I520, thesameyearastheEmperor
Charles
V. The bi t 7 S # -41-wF
w S

tingEuropean
equillbrium,
wasthesubject
ofnumerous i t Q : i L . . Ei
private
life.Theimagethatemergedwasoneofadespot, | = ii; is*/§ l« ill_ ff ff
refined
andsometimes gentle,butbasically
a barbarian. f X L E l;

He wasrenowned for havlngsubmlttedto the cruel t _t _

wlshesof hlsRussian-born
sultana,
Khourrem Hassekl, f |_ l 111 | | _ [11|

forherfavorite
son. | _
Agostino
Veneziano's
portrait
is as elaborate
as the 1 s1 !2 1|1 11 |
imaginative
accounts
of Sulayman's
life.The sultan's 1 I [" ; 1 |i | , ' 15i
by the bizarre
headgear,
whichcombines
elements
of ! _, - ii
represent his supremacy m both the temporal and spir- i'X 3ayS-N ' -I E ;i
itualrealms
of Muslimlife.Venezianoseemsto have | _ _ ,1 , , "
beenmoreabsorbedin creating
ornamentaldetailthan S yE
in recording
thecharacteristics
of thelndlvidual. ;, , " tw j^ ^ L
Afgosttno
Venezzano
(fl. sSs4-s536),Italian.Engrar- ; L _ - it.< h i

Fund,49.97.176 W' ! 5 ig }&&i > i!;

I MI!FI76 i ¢;
j t SMLN05SeXls00@00
t t Lon,3 i
i \ , I
| 0\ 8 | 56 WhenMelchior Lorichs
firsttraveled
to theOtto-
| 41& ) | manEmpirein I555, curiosities suchas this"delly"
| X9 i | induced himto returnseveral timesbetweenI570 and
l \ A < g | I583 tosketchfora bookheprepared toacquaint artists
t \ \ 11 withTurkish culture.Dellys,Serbianvolunteersin the

g Eg i dle blanket,
wasof Hungarian
derivation.
Lorichs
was

t sg 8 | pletelyengulfed
horseandriderintheemblems
ofvalor
! t g for Wohlgezie Icnd,e.chrzlttene
Fzguren
znKupferund
Ft g A r<g. tag t Holz,. . .fur dzeMahlerBzldhauer
undKunstlzebenden
an

229
 _t4-* v
K * . ,.,
* {t * - ''''
', r 8z .
,-, R ZPS*-/-
- _
fe ,} Ai. i' i
/, ..............
ir- .
' , %
; t J >n'
s;* X

[d s-rla
)-4ttg&@-.
t ; ,¢ !C t

g tt<Xtw; **efts@,-f.Ff /o - ;¢-- §

2 , dS,.vP.::.--,>-- :

_ . -- ,,./ . ., is; . _ _ , # . ,

- * -S - X f- - f _

57 The mostenticingof Turkishcustomswasthe ha- Turts with their Wivesand Concubines.Engraring from
rem,andalmosteveryWesterntravelerseemsto have Aubryde La Motraye'sTrarelsthroughEurope,Asia and
felt obligedto digresson thisjealouslyguardedinstitu- into Partof Africa. . . (London,s723), so x s33Sinches.
tion whosedelightshe had neverenjoyed.Aubryde HarrisBrisbaneDict Fund,Z7.3.2838
La Motraye,whosesketchesof his journeyto Turkey
werethe basisfor Hogarth's to his travels,
illustrations
wasso inquisitivethat he dared,at perilof losinghis 58 CountCharles de Ferriol'sbookof onehundred en-
head,to poseasa Frenchwatchmaker's assistantto gain gravingsentitledLes DiferentesNationsdu Lerant,first
accessto theimperial harem.He sawsuchdazzling sights published in Parisin I7I4, wasthe sourcefora seriesof
that while confessinghis inabilityto recallthem, he Meissenporcelainfigurines modeledin the I740S. Two
nevertheless did not hesitateto describethemin print of these,figuresof a Turkishladyandgentleman, seem
andcommentary. to havehada particular appealin England,fortheywere
The womenof the imperialharemwere,with the copiednotonlyin theexpensive Bow,Derby,andLong-
exceptionof a few Turkishmaidenssoldby ambitious tonHallporcelains, butalsoin thehumblermaterials of
fathers,slavesof variousnationalitiesacquiredthrough pottery,such as the threein the upper
Staffordshire
conquest, andoccasionally by purchase. TheKoranper- corner-oneof lead-glazed earthenware,and
right-hand
mittedfourwives,the restof the womenbeingconcu- a pairof salt-glazedstoneware.
bines,or in the imperialharem"odalisques." Competi-
Left: AboutI760. Height7H inches.Gift of Mrs.Rus-
tionforthefavorof thesultanor masterwaskeen,and sellS. Carter,45.I2.85. Right:Probablyby WilliamLittler,
matronshadthe specificduty of maintaining harmony Heights7S inches.Gift of R. Thornton
aboutI755-I760.
amongthe jealouswomen.Latticedcarriages, numerous
Wilsonin memoryof FlorenceEllsworthWilson,43.I 00.5, 6
eunuchs,andan elaboratesecuritysystemassuredthe
protection of theimperialharemfromtheglanceof other
men. Such precautions werea temptationto curious
roguessuchastheintruder peeringin thewindowabove. of Turks,
59 A seriesof twenty-twogouachepaintings
WilliamHogarth(I697-I764), British.A TurtishHa- doneaboutI585-I590 by JacopoLigozzi(betterknown
rem, or the Mannerof Li?vingWithinDoors of the Rich asananimalpainter),waspreservedin Florenceduring
the eighteenthcenturyin the famousGaddicollection
of booksandmanuscripts. AboutI740 theseillustrations
werecopiedforthedecoration of a setof porcelainplates
madeat theDocciafactoryin Florence.Theoneshown
belowdepictsa pageto the sultan.Pagesbelongedto a
corpsof slaveboys(manyof non-Islamic extraction)who
werefavoritesof the sultan.Broughtup in the harem,
theyweretrainedto assumethe highestpositions in the
civiladministration
of the OttomanEmpirewhenthey
reached adulthood.
Thefigureinfrontof theplatewasmadeaboutI750 in
theCapodi MontefactorynearNaples.Thecostumeis
thatof a Muhammadan fromsomewhere in the Euro-
peanpartof the OttomanEmpireas it existedin the
eighteenth century.Knownas"Turkeyin Europe,"the
areaincludedwhatis nowGreeceandAlbania. Theyel-
lowshoesindicatethe manwasa Believer.
Plate:Hard-paste
porcelain;theporcelainpaintingis at-
tributedto Carl WendelinAnreiter.Widths2H inches.
RogersFund,o6.372a.Figure:SofPpasteporcelain.Height
4H inches.Lentby R. ThorntonWilson,L.s8.7g
 60 The idle courtiersof the eighteenthcenturyfound Turkishsubjects;one depicted her served by eunuchs.
diversionin appropriatingthe luxuriesof the Ottoman Gardenpavilionssprangup imitatingTurkishsummer-
Empire.In I700 the Duke of Chartresgave a Turkish housesknownas kiosks,andwholeroomswere decorated
masqueradeat Marly completewith dancinggirls and with turqueries.At Fontainebleaua smallTurkishbou-
menagerie.The visit of MuhammadEffendi,ambassador doir was completedfor Marie-Antoinettein I777, with
of SultanAhmet III, to the court of LouisXV in I720 paintedandcarvedwoodworkby the brothersRousseau;
fanned the flamesof curiosity,and the tantalizingde- while the Comte d'Artoishad two Turkishrooms,one
scriptionsin the popularThousandandOneNightswhet- at the Chateaudu Temple,in Paris,and the other in his
ted the imaginationof a society wearywith the tedium The Museumownstwo painted
apartmentsat Rlersailles.
of etiquette.In I748 the FrenchAcademyin Romepre- oakpanelsexecutedforthisroomin I 776. The centralme-
sented a lavish masque with a Turkish motif, where dallionof this one, supportedby two fish-tailednymphs,
painted costumesimitating rich, embroideredTurkish showsa pashawith two membersof his harem;above, a
fabricswere recordedin the prints and drawingsof a turbanedmusicianplucks a lute. The quality of the
student participant,Joseph-MarieVien (left, above). paintingdoes not supportthe attributionof the panels
Among the glittering costumesat the masked ball at to Jean-HonoreFragonard,who is known to have done
Versaillescelebratingthe marriageof the Dauphin(left, turqueriesubjects.It is more likely that they are by the
below)wereseveralgrotesqueinterpretations of Turkish decorativepainter Jean-MarieDussaux,who later did
dresswith huge headsand turbanspercheddirectly on similarschemesat the Chateaude Bagatelle.
the wearer'sshoulders.It is claimedthat on this occasion French.37 x 28h inches.Gift of J. PierpontMorgcln,
a famousgestureby LouisXV markedthe beginningof 07022St4S84
his liaisonwith Madamed'Etioles,soon to becomeMa-
damede Pompadour."Thehandkerchief is thrown,"the
courtcried,alludingto the allegedcustomof the sultan
in selectinghis favorite.
Aftore:Joseph-Mclrie Vien(I7I6-I809), French.Himan
de la GrandeMosquee,studyfor the costumeof Monszeur
Clement for the Fete at the FrenchScademyat Romein
I748. Blact chal&,heightened with whzze,on bluepaper,
2I%6 X I613/6 inches.Rogers Fund,6I.I39. Below:Charles-
NicolasCochinPere(I688-I754), French.Detail,Decora-
tiondu Bal Masque. . . dansla grandeGalleriedu Chateau
de Versailles 2 I'occc/siondu mariagede Louis Dauphznde
Francea?vecMarie Therese Infanted'Espagne . . . MDCCXLTT.
24fterCharles-Nicolas CochznFils, restrzkefrom Chalcogra-
phzedu Lourre,?vol. 34, I 8 X 30 inches.HarrisBrisbane
DlCt rUnd, 30.22(34)

61 Like chinoiserie,turqueriesthrived on their exotic

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

P-d3

tL-?
62 Easternimportsfromthe Westin the Someof the namesgiven to this pictur-
eighteenthandnineteenthcenturiestended, esqueinstrument reflectitsoriginandhistory.
asnow,to bescientific
ormanufactureditems, It hasbeencalledin Polish,KsiezycTurecti, -
suitablyadaptedfor the market.The Porte meaning"Turkishmoon";in Danish,Janit-
wouldadmitintoTurkeythetimepieces only scharspil,"Janissary
instrument"; in French,
of certainfavoredmakersand dealers,who chapeauchinois,"Chinese hat";andin Ger-
consequentlydida largebusiness.
Onthedials man,Schellenbaum, "treewithjingles."
of thewatchesshownhere,thehoursareindi- Turtishcrescent,German,earlyXIX century.
cated by stylizedArabicnumbers,and on Woody and!brass,withhorsehairpendfants,
height
the movementof one the maker'snamealso 5 feet 2 inches.The CrosbyBrownCollectionof
appearsin Arabiccharacters.
The reputation MusicalInstruments, 89.4.846
of themenwhomadethesetimepieces wasas
highin theirowncountriesasin Istanbul.
Clockwise: Traveling watch (with silver case
64 The decorativetasteof the earlynine-
open to show movement), by Isaac Rogers, Eng-
teenthcenturywasfiredby the floridOrien-
lish (Londfon), *759. IDiameter 3S incAzes. Gift
talextravaganza of theBrightonPavilionand
of J. Pierpont Morgan, I7.I90I426 Cloct-
otherroyalfollieson the Continent,andby
watch with repeating quarters, by Martwict
a sentimental interestin allthingsremoteand
Martham, Londfon, about *740-I 780. Inner
romantic.Vistasinto the colorfulreachesof
case of gilt metal, outer case of horn mounted!
theOttomanEmpireprovided bydiarists
and
tn gilt metal. Gift of J. Pierpont Morgan, z 7. I go.
artistsof thedaywereadapted intoa turquerie
,425. Three watches, with dfouble cases of silver
that combinedlight-mindedly with Gothic,
and! outer cases of tortozse shell or horn and! sil-
Chinese,Saracenic, andbucolicruralthemes
ver: by Edfward! Prior, Londfon, cases dyatemarkedy
evenmorefreelythanin thepast.Oneof the
for *8I7/I8, in a fourth case of Albanian sil-
morecharmingexamplesof this sometimes
ver fligree wort when acquired!, Rogers Fund!,
unsettlingstyleis thislittleprovincialwood-
o7.253.I; by Martwict Martham, Londfon,
block-printed cottonin blue,red,andblack,
cases dyatemarkedy for *805/6, Bequest of George
whosefloralbouquetssuggestthoseof the
White Thorne, 83.I.78; and! by Edfward! Prior,
eighteenth century,andwhosetinystifffigures
cases datemarkedy for s849/So, Gift of J. Pier-
and pavilionsleaveone wonderingwhether
pont Morgan, Z7.sgo.I4s2. Repeating watch by
theyareTurkishor Chinese.
George Prior, Londfon. Triple gold! case dfate-
Englzsh,aboutI 805. s4h x 23h inches.Gzjzt
martedfor ,8,2/,3. Bequest of Laura Frances
of JeanMontgomery Greenman, 67.91.4
Hearn, I7.IoI.6g. Watch by Jean Hubert (ac-

tive *663-,695), French (Rouen). Case of crys-

tal mounted! in gold!. Gift of J. Pierpont Morgan,

I7.I9orI633

63 Theinstrument at theupperright,known
as a jinglingJohnny,wasderivedfromthe
Janissarybandof the Turkisharmy,where
it representedthe pasha'sstandard and was
bornebeforehisregiment in battle.Asa result
of the seventeenth-century Austro-Turkish
warsit infiltratedEuropean armiesandwas
carriedin frontof themarching bands.
65 In I8I3 Ingreswascommissioned by Caroline,queen
of Naples, to paint a pendant to the SleepingWoman
(now lost) that he had done for her in I809. The Muse-
um'spaintingis a study in grisaillefor this secondcom-
mission.Ingresdid not originallyconceivethe Sgureas
Oriental:a preparatorydrawingin the Courtauldcollec-
tion showsonly the recliningnude. He added the Ori-
ental accessoryof a turbanin the grisaillestudy and en-
titled the pictureOdalisque.This thememay have been
inspiredby the generalinterest in the Near East that
236
grewout of the Napoleonicinvasionsof Egypt (thenpart
of the Ottoman Empire). Soldiersreturnedto France
with tales of the exotic placesthey had seen and often
broughteasily portablesouvenirswith them. The Snal
versionof the painting,now in the Louvre, has many
suchOrientalobjects,includinga waterpipeanda Turk-
ish incenseburner,scatteredthroughoutthe picture.
Jean-Auguste-Dominique Ingres(1780-1867), French.
Oil on canvas,323Sx 43 inches,about1813. WolfeFund
38.65
66 Alexandre Decampswasone of the Srst
of manynineteenth-century Frenchartists
whowentto Turkeyto sketchandpaintcon-
temporary Turkish life.Herea groupofTurk-
ishsoldiersis patrollingthestreetsof Smyrna,
andDecamps hascarefully recordedeveryde-
tailof the scene.The leaderis distinguished
by his whiteturbanandis the onlymanon
horseback. The ornatemacethathe holdsin
hisrighthandisanemblemof rankandthein-
signeof anofficer.Theothersoldiers, running
barefoot,wearscabbards andpistolsin their
beltsandcarryknivescalledyataghans. Their
Albanian rifleshavelong,narrowbarrels with
fancy,fish-shaped butts.The artisthas also
noted the pointedTurkishstirrups,which
doubledasspurs.
Dramaandmovement areevokedby using
sharpcontrastsof light and dark,and by
placingthe weaponsandlegsof the soldiers
in strongdiagonals againstthe solidvertical
blocksof the buildingsin the background.
Anearlierandlargerversionof thispainting
wasshownat the Salonof I83I in Parisand
causeda sensation withitsdramatic rendering
of thisnewandexoticsubject.
SlexandreDecamps(I 803-I 860), French.Oil
on can?vas,
29S x 36 inches,aboutI855. Be- 67 This study of a Turkishsoldierwas
questof Catharine
LorillardWolfe,87.I5.93 paintedbyCharles Barguein I875. Thefigure
shownis a BashiBazouk,a reputedlyfero-
cioustype of irregular
in the Turkisharmy.
Thesesoldierswereenlistedto fightagainst
Napoleonwhenhe invadedEgypt in I798,
andweresupposedly responsible for the hor-
ribleTurkish massacres
in the I 870S. Nothing,
however,of thefearsome soldieris evidentin
this calmlyseatedfigurewho smokesa nar-
ghileandhashis coffeecup besidehim.The
paintingdoesnot seemto be takenfromlife,
but is an arbitraryarrangement of Turkish
weapons, clothing,andobjectsonandaround
the model.Barguewasa studentof Gerome
and sharedhis teacher'senthusiasm for the
Orient.GeromehadcollectedNearEastern
costumes andobjectsin hisParisstudio;this
composition couldeasilyhavebeenassembled
andpaintedby Bargueusingtheseor similar
Turkishsouvenirs.
CharlesBargue(I 825-I 883), French.Oil on
canvas,I8 X I3 inches,dated[I8]75. Be-
questof CatharineLorillardWolfe,87.15.102
68 Thingsthoughtof as Turkishcouldbe foundin
Americalong beforethe voguesparkedby the Phila-
delphiaCentennial Expositionin I876 and culminating
in theclutterof the"Turkish cozy-corner" of the I880S.
Fifty yearsearlier,therewasa widerangeof historical
stylesin fashionin American architecture.One of the
leadingarchitectsthen was AlexanderJacksonDavis,
who,thoughprimarily a Gothicist,occasionallytriedhis
handat Orientaldesigns.ThisTurkishvilla,probably
drawnaboutI835, illustrates the eclecticyet pragmatic
Westernmindat work.The oniondome,the window
anddoorsurrounds, andthescalloped corniceareEastern
in feeling,whilethe minaretsand the crescentsabove
themaredemonstrably Turkish.TheTurkishminaret-
mostcharacteristicof thatcountry's architecturalmotifs
-housed a balconybeneathits peakfromwhichthe
muezzincalledthe faithfulto prayer.Davisalteredhis
minarets fromtheTurkishmodelsin onlyoneparticular:
he replacedthe muezzin'sbalconywith ventsfor the
fluesof thefireplacesbelow!
Wa-
AflexanderJactson Daris (s 803-I892), A!merican.
tercolor,s4S, x s oM inches.HarrisBrisbaneDict Fund,
24.66.765

69 AlbertoPasini,an Italianwho came to Paristo

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

1-4 50, 65-67,69

OscarWhite A4uscarella Anne Poulet
AssistantCurator,AncientlVearEasternArt l\teuJYort University Instituteof Fine
i 4 rts- .Hetro
politan ,0l u seum Fellow,
EuropeanPaintings
S-8
AndrewOliver, Jr. 51, 64
AssistantCurator,GreetandRomanArt Jeanl\4ailey
AssociateCuratorin Chargeof the Textile
9-15,52 StudfyRoom, Western EuropeanArts
VeraK. Ostoia
53
AssociateCurator,MedieralArt and The
Cloisters lSIaryGlaze
AssistantCurator,24merican
Wing

16-29,31-38,44-48 54.57,60
Ernst J. Grube AlexandrineSt. Clair
Curator,IslamicAfrt Formerly Curatorial j4sslstant, Prints

58, 59, 62
30
Jessie lSIcNab Dennis
Don Aanavi AssistantCurator,Tl'e.tern
Europerzn
Arts
Curatorial
Assistant,Islamic 4rt
61

39-43 JamesParker
Helmut Nickel AssociateCurator,l lSre.tern
Europeandrts
A!ssociate
Curatorin Charge,drms and!Srmor
68
lSIorrison
H. Heckscher
49, 63 ChesterDale Fellot, Prints
EmanuelBlinternitz
Curator,MusicalInstruments Drawingsby JoanK. Foley

240

The Metropolitan Museum of Art

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