^_.

MUSEUM LET lb JRLI1V COLLEGE WINTER 1967

ALLEN MEMORIAL ART MUSEUM BULLETIN

VOLUME XXIV, NUMBER 2 WINTER 1967

Contents

An Exhibition of Paintings, Bozzetti and Drawings by Baciccio January 16 to February 13, 1967

Foreword by John R. Spencer ----- 63

Introduction to the Paintings by Ellis Waterhouse 65

Introduction to the Drawings by H. Lester Cooke ----- 71

Catalogue ...... 77

Illustrations ...... 99

Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art.

An Exhibition of

Paintings, Bozzetti and Drawings

by

Giovanni Battista Gaulli

called

II Baciccio

under the Sponsorship of

His Excellency the Ambassador of the Republic of Italy to the United States of America Sergio Fenoaltea

January 16 to February 13, 1967

Foreword

Until quite recently the artistic reputation of Giovanni Battista Gaulli, called II Baciccio, rested almost exclusively upon his fresco deco­ ration of the vaults of II Gesu in Rome. Studies by Zeri, Brugnoli and Enggass have added substantially to his known work and to our under­ standing of him as an inventive and prolific painter. This exhibition should be considered as a first attempt to integrate the literature with the works of art. It does not pretend to make any new discoveries. It is designed, rather, to enable the viewer to make his own discoveries in the art of Baciccio. To this end many of the drawings and bozzetti for the major fresco cycles are brought together for the first time to il­ luminate his well-known ceiling decorations. Although Baciccio exe­ cuted a large number of altarpieces, thev are so widely dispersed and often so inaccessible that this aspect of his career is less well-known than his work in fresco. Among the representative examples of the religious paintings in this exhibition some are appearing away from their home museums or collections for the first time. The Dijon Preaching of John the Baptist, Denis Mahon's Madonna della Serpe and Andrea Busiri Vici's two Apostles Baptizing are making their debut here. The Rest on the Flight into Egypt, from the Corsini gallery, has never before been exhibited outside Rome. Baciccio's mythologies and portraits are prob­ ably even less known than the altarpieces. The restricted number of portraits in this exhibition will serve to illustrate his artistry in this difficult genre. The mythological subjects may be equally revealing for an understanding of Baciccio's debt to Bernini and Correggio and o no for his contribution to the nascent Rococo. The Ajaccio bozzetto The Continence of Scipio has never before appeared outside the Musee Fesch. The Oberlin Death of Adonis is reunited for the first time with 63 its companion from Burghley House. In a sense this exhibition is to be taken as Baciccio's first "retrospective." Like all such first attempts it is necessarily both restricted in scope and selective. Some lacunae were impossible to fill, but the exhibition, taken with the two excellent essays that follow, cannot fail to arouse in the viewer an awareness of the richness and variety in the art of Giovanni Battista Gaulli. The name Baciccio, or Baciccia, as it is also spelled in the old docu­ ments, is a Genoese dialect pronunciation of Battista and appears fre­ quently among Genoese painters. Giovanni Battista was born in Genoa in 1639. Nothing certain is known of his early training, although it is quite likely that he copied the works of Pierino del Vaga in his native city and that he was influenced by the painters of Genoa and by Van Dyck. He left Genoa for Rome either in 1653 or 1657 after his parents, brothers and sisters had died in the plague. In Rome he met Bernini, who was of considerable importance in forming his style and in ad­ vancing his career. By 1662 Gaulli was a member of the Accademia di S. Luca. In 1669 he made a trip to Parma to study the frescoes of Correggio and the paintings in the Ducal collection. By 1685 his style began to change, apparently due to the dominance of Maratti in Roman painting. He died in Rome in 1709. In preparing this exhibition we have relied heavily on the advice of Prof. Ellis Waterhouse and of H. Lester Cooke. Robert Enggass gra­ ciously gave permission for us to rifle his monograph on Baciccio and consulted with us on the selection of paintings for the exhibition. The catalogue entries for the paintings are derived in the main from his monograph. H. Lester Cooke made available to us his notes for the cataloguing of the drawings. In addition to the lenders, the museum directors, and the Ministero della Pubblica Istruzione we must single out for our especial thanks Italo Faldi, M. V. Brugnoli, and Giovanni Caran- dente for their encouragement and assistance. The staff of this museum, Mrs. Chloe H. Young, Mrs. Athena T. Spear, and in particular Mrs. Jan K. Muhlert, have accomplished the formidable task of gathering and presenting this exhibition with enviable calm and dispatch. We recognize with gratitude the assistance of the Trustees and Administra­ tion of Oberlin College in making this exhibition possible. Finally, and by no means last, we express our thanks to our colleague on leave, Richard Spear, "our man in Rome," who first suggested the exhibition and who has since served as excellent liaison.

John R. Spencer

64 Introduction to the Paintings

The notion of an exhibition of the work of Baciccio which does not happen to be held in the Church of the Gesu at Rome might seem, at first thought, to be a little like Hamlet without the Prince of Den­ mark. The only more or less one-man exhibition of the Roman Seicento that has ever, to my knowledge, been attempted was that of Pietro da Cortona (and his circle) which actually was held in the Salone of the Palazzo Barberini, but this august precedent need not frighten off those who want to make the Roman Seventeenth Century come alive to us. There can, after all, never be an exhibition of the work of Bernini, who was the central creative force of the age in all the arts. A Baciccio ex­ hibition is one of the necessary prolegomena to the exposition imaginaire of Bernini, and perhaps the central problem which must be raised bv an exhibition devoted to Baciccio is What was the nature of Baciccio's per­ sonal talent? or, in other words, How far was the artist we know the creation of that great impresario, Bernini? We know from Rangoni's letter to the Duke of Modena of Christ­ mas Day 1666 that Baciccio had already then done a portrait of Bernini (Enggass doc. 53), and I suspect that Bernini's support of Baciccio per­ haps began in that year, when he helped to get him the commission for the S. Agnese pendentives (no. 3). But no powerful impression of Bernini's style is apparent until the Diana and Endymion of 1668. There has been an enormous gain in the possibility of our under­ standing of what Baciccio's art was like before this, from the fact that the Italian State has acquired the Chigi/Incisa Pietd during the past year, and that it is now, after a light surface cleaning, exhibited for all to see in the Palazzo Barberini. The suggested derivation of this from Annibale Carracci's Farnese Pieta (except for the motif of the steps

65 behind) does not seem to me convincing. The origin of its stylistic re­ finement seems rather to be Genoese Van Dyck; the way the right arm and hand of the Virgin echo Christ's right arm and hand, and the deli­ cate tonal contrast between the fennel-colored wimple of the Virgin and the lovely snowy drapery on which Christ's legs are lying are a very long way from Annibale's interests. The beautiful texture of this white drapery is also instructive if one compares it with the pink drapery which half covers the Endymion in the picture of 1668. The latter drapery is like Bernini's sculptured folds, with no real texture to it — and this lack of texture remains constant for the rest of Baciccio's life, and is almost disagreeably insistent in those of the late altarpieces which have lately been cleaned. There is another element, which persists in Baciccio's art until the end of his life, and which is quite independent of Bernini — a liking for rolling mountain landscapes with noble trees. This also appears first in the early pictures painted for the Chigi, finest perhaps in the Rest on the Flight (? of 1669) (no. 4) in the Roman Galleria Nazionale, but no less impressive in the huge B. Giovanni Chigi of 1671/72 still in the Palazzo Chigi at Ariccia. These are very much more like the work of Gaspard Poussin than anything else, and I have allowed myself to wonder whether the mysterious "French painter" to whom Baciccio was apprenticed for a short time on his first coming to Rome could have been Gaspard Poussin. This apprenticeship was said to have been ar­ ranged with the help of the Genoese Ambassador, who was probablv Agostino Franzone (Ambassador 28 May 1657 to 11 November 1658), and it mav be worth noting that, in the eighteenth century, among the O O i ' o pictures in the Franzone Palace in Genoa were "due paesi ovati, bellissi- mi, di Gasparo Poussin." This feeling for Gaspardesque landscape per­ sists in the Preaching of John the Baptist from Dijon (no. 19). Certainly the annus mirabilis for Baciccio was 1666. Before that date Morandi was regarded as the best native Italian portraitist, and, presumably for that reason, it was Morandi who was summoned to Vienna to paint the Emperor. He had been the official Chigi portrait painter until that year, and, while he was away in Vienna, since the Chigi constantly needed portraits to distribute to loyal supporters, they tried out Baciccio. Alreadv bv December 1666 Rangoni could write (Enggass doc. 53) that Baciccio was a better portrait painter than Moran­ di "di gran lunga," and, among his sitters, had been Bernini (no. 5). Bernini seems to have been looking for a pliable painter of great vir­ tuosity whom he could influence and, quite literally, "inspire" with his own stylistic views. Looking at the Chigi commissions for Bernini's church at Ariccia of a year or two earlier one can see that Ludovico

66 Gemignani's Flight into Egypt of 1664/5 is clearly an attempt at trans­ lating Bernini into paint, and Bernini may have first thought that Ludo- vico — who was only four years older than Baciccio — might be his man. But there is a classical substructure to Ludovico's art and a certain prosiness which Bernini could not overcome. It is instructive to com­ pare Ludovico's Venus and Adonis of 1677 at Lamport Hall with Ba­ ciccio's Diana and Endymion, as it shows why Ludovico would not have done for Bernini. He was incapable of that tendency towards the ro­ coco, which is splendidly manifest in the new Oberlin Death of Adonis (no. 13). Presumably Bernini recognized that he himself owed a great debt to Correggio, and recommended to Baciccio the studv of Correggio as the best way to mold his art in the direction he wanted. The lovely figure of Temperance in the S. Agncse pendentivcs is not only a first cousin to Bernini's Angels for the Ponte S. Angelo; she is also unthink­ able without the figure of the Magdalen in Correggio's 11 Giorno. And Correggio also came in very usefully when Baciccio was faced with the problem of the nave of the Gesu. Professor Enggass has explored very fully the iconography of the Gesu frescoes and has shown how the fresco of the nave fits into the history of Illusionism: but no one seems to have given all the attention that might be given to what happens in the nave of the Gesu above the point where the vault meets the nave walls. The frescoed part, for all that it spreads out over the frame, is really only a sort of pool in the center, which demands to be looked at from the center line of the nave. Just as one of the Canons of Parma Cathedral referred to Correggio's dome as a frog-pool, Baciccio's fresco is like a great bathing-pool, upside- down, into which a host of figures has dived, causing a tremendous splash — but it is only the equivalent to the central area within the fic­ titious frame of Pietro da Cortona's Barberini ceiling. The rest of the ceiling down to the springing of the vault is the equivalent to that area of earth, peopled with many figures, which Cortona set within his frame and painted to be looked at as one walks round the room. As far as the rest of the ceiling in the Gesii is concerned we are still on the earth, and, I think, still within the four walls of the church. The fresco is meant to be looked at from a West-East axis: the rest of the ceiling demands to be looked at on a North-South axis, and bav bv bay. The putto friezes are actually not visible from the center of the nave and can only be properly seen from the extreme edges. The stuccoes in the window embrasures (said to be from Baciccio's designs, but surely owing a great deal to Bernini) seem to be personifications of the higher aspirations of man — there seem to be too manv of them

67 to be Virtues — and are transfixed by the Name of Jesus in the vault. They too are meant to be looked at bay by bay. An iconographic study of these is very much to be desired, since they are as much a part of the whole program as the frescoed part. It seems to me reasonable to suppose that this whole complex unity was Bernini's contribution: it is his answer to Pietro da Cortona's ceiling done in terms of painting and stucco and sculpture as well, in the tradition of what he had done in S. Maria della Vittoria. It is a curious fact, but perhaps accidental, that the finished bozzetto for the central fresco, in the Spada Gallery, should remind one of the shape of Bernini's Cathedra Petri. It is only in recent years, since a number of his altarpieces have been cleaned, that we can get an idea of what Baciccio's intentions may have been in the matter of color. Like Murillo or Guido (perhaps like all painters who were much concerned with the devotional effect of their altarpieces) he seems to have been concerned to produce a striking effect at the distance at which the worshipper (rather than the art historian!) normally saw them. We are so accustomed to baroque altarpieces being covered with impenetrable grime that Baciccio's high key appears almost as shocking when inspected from too near. He was certainly more interested in striking effects of color than Maratta, and Bernini had taught him, in their joint operation in the Altieri Chapel in S. Francesco a Ripa, to take into account a due consideration of frames and settings. Bernini's violent contrast in S. Francesco a Ripa between his white figure of the Saint and the exotic marbles of the altar and drapery on which she rests is echoed, in that splendid work, by the very rich colors of Baciccio's altarpiece contrasted with the white marble cherub-heads which Bernini clustered onto its frame. How im­ portant this setting in the frame is can be seen from a comparison of the two altarpieces which have been cleaned in recent years. The picture in S. Maria in Campitelli has been removed from its altar and hung high on the chancel wall without a frame. It is admir­ ably visible but somehow contrives to look vulgar without anv control from its setting. The lmmaculata in S. Margherita in Trastevere is quite another matter. This used to be a depressing object with a zinc crown and a halo of metal stars above the Madonna's head, and the sky at the top was a subdued honey-gold. Now the skv is a rich apricot, declining to shrimp where it merges into shrimp-pink cherub heads — but this gaudy object is set in a frame with simple mouldings of muted breccia, which produces an extremely beautiful effect. It is only in the last year or two that the discovery has been made that soap and water- on colored marble can produce wonders. We are beginning to see what the interior of a baroque church was meant to look like.

68 It is curious that it does not seem to have been until after Bernini's death in 1680 that a figure stvle based on late Bernini seems to have become common form with those painters who were not in the Maratta camp and belonged more or less to the generation of Baciccio. Filippo Gherardi's ceiling in S. Pantaleo (1687-90) owes a good deal to the Gesii nave, but the phenomenon can best be observed in S. Silvestro in Capite, in the series of chapels painted in the middle 1690's, which have also all been cleaned in recent years. It is not surprising to find Ludo- vico Gemignani in this Berninesque mood, but Giuseppe Ghezzi is quite another matter. The move from the rough, almost plebeian, style of Ghezzi's 1676 altarpiece in S. Cecilia to his chapel in S. Silvestro is astonishing, though the same rude power of handling persists. The Magdalen's head in Ghezzi's Pentecost in S. Silvestro might almost have been copied from Baciccio. How much of this common style is due to any preponderance of Baciccio is hard to say. Johann Carl Loth's 1681 altarpiece in S. Silves­ tro, Venice, seems to betray an interest in Baciccio, but we normally think of Baciccio as an artist who absorbed style from others rather than transmitted it. Ratti is critical of Pascoli for saving that Baciccio did not have much of a following, but in fact Pascoli was quite right. What is surprising is the general view of the earlier biographers that the side pictures in the St. Francis Xavier chapel in S. Andrea al Quirinale show a falling off in quality after 1700. They seem to me to be among the loveliest of his works. The present exhibition brings particularly to the fore the gifts of Baciccio as a painter of mythologies. The biographers of all Seicento Roman painters naturally tend to concentrate on their public commis­ sions, most of which were for altarpieces, and their secular works get omitted. It is clear that Baciccio had special gifts for proto-rococo mythologies, and we can perhaps look forward in the next decade to the reappearance of a number more. Perhaps even more to be desired is the reappearance of more portraits. The number known from engrav­ ings and still missing is surprisingly large: and Ratti states that he painted a number of visiting Englishmen. Although a number of Maratta portraits of Englishmen have been discovered in the last twenty years I have never yet met a portrait in England for which an attribu­ tion to Baciccio seemed remotely likely. An exploration is also much needed in the Clausura of Roman convents. But it is the task of ex­ hibitions to draw attention to what we do not know and to stimulate the discovery of these missing elements. j o Baciccio remained until the end one of "the most famous painters in Rome" — as the Director of the French Academy called him when

60 reporting his death in 1709. In the 1690's he and Maratta and Morandi were reported as the best painters in Rome by the same source. There is still a vast area of research which can be indicated and encouraged by an exhibition such as this.

Ellis Waterhouse Barber Institute of Fine Arts University of Birmingham, England

70 Introduction to the Drawings

"An artist's drawings," wrote an eighteenth-century French author, "put him in the confessional." A more recent critic compared drawings to an artist talking in his sleep. There are many other definitions stressing the fact that an artist reveals more of himself, his moods, his methods, his sources of inspiration, his imagination, and the subcon­ scious workings of his mind in his drawings than in his finished works. Gaulli is no exception to this. The image we have of him from his finished paintings, particularly his ceiling decorations, is of an artist whose imagination worked on a cosmic scale, and who seemed to be swept along by the grandeur of his visions and, like the heavenly fig­ ures he painted, to live and work among celestial clouds. His drawings show him in a somewhat different light, both as a person and as an artist. Stylistically, his drawings can be divided into three groups. First, those dating up to the time he finished his work for the Church of S. Agnese in Rome (ca. 1671); secondly, those associated with his work for the Gesu (ca. 1672-1683); and, lastly, those covering the remainder of his career, culminating in the ceiling frescoes for the SS. Apostoli (1707). The first group, typified by the Windsor drawing in the present exhibition (no. 25; Windsor no. 146) are characterized by an underly­ ing mood of gaiety, and an impression of languorous charm. The elongated figures are almost manneristic in their proportions, the lines are short and nervous, the washes applied with freedom and verve. Over all there is a sense of movement and moving light. The Genoese derivation of this style, and the links with Cambiaso, are evident. The second group, relating to his work in the Gesu, shows the strong and decisive influence of Bernini. The mood is more serious

71 than in his earlier works, the figures more staid and dignified, the poses more dramatic, and the rhythm of design more ponderous. The pen lines, still broken and nervous, gain in strength, and the accents of ink washes are deeper and more decisive. In these the impressionable Gaulli shows clearly his subservience to the older man and also his eclectic tendency to absorb and profit from the work of others. The third group represents the plateau on which Gaulli's talent rested after he had attained recognition as the most successful Roman Baroque artist of his generation. The spirit of these later drawings be­ comes drier, and more conservative. Every line is made to count. These are the documents of a busy man who has not the time to spend on ex­ periments or fantasy. Stylistically, during the last twenty-five vears of his career, there is practically no development. Unless there is some other dated evidence, a drawing of this period cannot be dated on the basis of style to within twenty-five years. Although Gaulli's drawings were included in the cabinets of the O o conoscenti of the eighteenth century, he was not considered a great draughtsman. Biographers of the late Baroque period refer to his draw­ ings politely but without enthusiasm. This faint praise probably would not have offended Gaulli, because there is no evidence that he con­ sidered his drawings as anything more than means to an end. He was a painter first and foremost, and drawings were one of the tools of his trade. Some of his pen-and-ink drawings are so finished that it is tempting to sav that he followed the practice of his day, and created drawings as a separate form of art — to be bought and exhibited in the private collections of the amatori. He may have made such drawings for his patrons, but the evidence is not clear. Among his known draw­ ings, which may number as many as five hundred, such finished works are rare. Certainly, from a studv of his life and work we have the im­ pression of a man who had neither the time nor the inclination for works on such a minor scale. The great value of Gaulli's drawings lies not so much in their in- trinsic quality as in the information thev give about both the artist and the age in which he lived. In this respect they are unique in several ways. At Diisseldorf there is a packet of two hundred drawings which had remained separate and unlabeled for almost two centuries. In 1961 they were identified as the work of Gaulli, and subsequent study showed that they were his working drawings, covering most of his active career. They had been purchased by a German collector during the later eighteenth century and placed in Diisseldorf Academy as an inspiration and help to young painters. Perhaps they were used by art students; more probably, the passion for neo-classicism made them obsolete short-

72 ly after they arrived, and thus the collection remained untouched and unrecognized until a few years ago. Today the value of these drawings is that they form a unique blueprint of Baroque working methods. For the artist and the art historian the interior of a Baroque church like the Gesit is not only a fascinating optical experience, but a prob­ lem in technique. How was it possible for an artist to execute such a complicated design on such a vast scale, involving interlocking areas of architecture, sculpture, paintings, and controlled light. Gaulli's draw­ ings provide the answer. And it is so simple that our wonder, if any­ thing, is increased. The first stage was a sketch, as vague as a skein of unravelled wool (no. 44; Diisseldorf no. 11139). There is no indication of scale; they could be either for the frontispiece of a book or for the apse of a vast church. The technique is the same in cither case. Furthermore, for the church frescoes there is no indication of the architectural setting, the viewing angle, or the source of light. The next stage was a more finished drawing of the total composition, with the principal elements decisively outlined. The third stage was a bozzetto, a small scale rendi­ tion in color to be presented to, and approved by, the patron. Probably a rough model of the interior of the church where the painting was to be placed would have been presented at the same time, but in the case of Gaulli only the painting bozzetti have survived. The fourth stage consisted of detailed studies of individual figures. Apparently Gaulli first drew the figures nude. His models seem to have been manikins rather than living persons, because the proportions are too uniform and generalized, and the faces too stereotyped. There is one series of nine drawings of the same flying figures seen from below and from very slightlv different angles. Such a series could not have been made from a living model, and the differences are so slight that it seems most unlikely they were made from memory or imagination. The use of manikins was a recommended procedure in Italy since the late six­ teenth century, and it is logical to assume that Gaulli used this method, although no actual models have been found. The fifth stage was to clothe the figures with drapery. This introduced problems of rhythm, counterpoint, repeat motifs, directional lines, and the other elements which Baroque artists used to give movement, harmony, and action to their designs. Gaulli was a past master at using this form of abstract design, and devoted a great deal of careful work to preparing the drap­ ery for his figures. There are more preparatory sketches for draperies than for any single subject. Having arrived at a satisfactory solution for a given figure, Gaulli squared the drawing off, and judging from his paintings never altered or extemporized on it when working on the painting. Once the drawing had been copied, it was carefully filed

73 away, as the Diisseldorf packet shows, among Gaulli's most treasured possessions. Years later, if an order was received for a picture which could include a similar figure, the drawing was used and copied again without significant change; for example, compare the figure of Zacharias (no. 38; Diisseldorf no. 11214) with that of Noah in the Atlanta paint­ ing (no. 17). Sometimes the figure was copied in reverse, presumably by holding it up to a bright light and making a tracing, and this drawing also was added to the stockpile for future reference. Another most un­ usual tvpe of drawing in the Diisseldorf packet are the red chalk draw­ ings for some figures in the Gesu (no. 32; Diisseldorf no. 11243). On the basis of style, these would not seem to be Gaulli, and yet they are among his known drawings and correspond exactly with figures in the Gesu. A reasonable explanation for this is that Gaulli used a different drawing style when making preparatory sketches to be copied by other artists, particularly sculptors and stucco workers, which were more de­ tailed, more specific, and with every change in contour and form pre­ cisely indicated. These drawings are the final stage in the preparatory work. Each was squared off, the ceiling was squared off in corresponding segments, and the actual painting began. The numerous spots of paint, well worn edges, and other evidence of handling on these drawings indicate that they were the blueprints being followed during the final painting stage. No full scale cartoons by Gaulli in the Renaissance tradition are known, and indeed it is most unlikely that a pounce technique using large scale paper cartoons would have been practical on such a vast scale. The Diisseldorf packet, which is unique in Baroque art, therefore, seems to provide the answer to the question of how a painter of the time physically coped with the problem of completing his task, and when we compare the drawings with the splendor of the final achievement we are left with a profound sense of awe and admiration for an artist who could visualize such a complicated process, and transpose his imagination in practical terms on such a magnificent scale. For understanding Gaulli as a person, the drawings are also re­ vealing. The fact that the drawings have remained untouched since Gaulli's day means that they form a kind of diary and artistic credo, and thus we can judge him directly without the intervening interpreta­ tions and editing of later critics. Thus we have an impression that he had a certain pragmatic hard­ ness towards those things which affected his art. Among the sketches o o there are no incidental drawings of friends, or glimpses of landscape which caught his fancy, or even a pet dog. Also, curiously, there are no sketches for other possible ceiling projects. From the creator of the 74 Gesu we might expect fantasies rivalling those of Bibiena, with wonder­ ful assemblages of celestial figures and interlocking planes of light and architecture. In fact, we find only specific drawings for specific projects. For Gaulli, evidently, business came first. On the other hand, the drawings also reveal the positive side of Gaulli's talent. We see from them a man who could take a stereotyped figure of Baroque iconography, and by refining each gesture, each fold of draperv, each twist of limb, could eventually evolve a tvpe of perfect beautv. Not unlike the Greek sculptor of the fifth century before him, and Degas in a later century, he refined, distilled, and polished motifs, until thev reached a high de­ gree of perfection and beauty, and it is this ability which is perhaps the truest measure of his greatness as an artist.

H. Lester Cooke National Gallerv Washington, D. C.

75

Catalogue

Arrangement of the catalogue and of the illustrations is roughly chronological, the paintings followed by the draw­ ings. The catalogue entries and the illustrations bear the same number. Unless otherwise indicated, the number in parentheses following a title in the text refers to the entry in this catalogue. All objects in the exhibition are illustrated. 1 Self Portrait Oil on canvas, 26%o x 19ir>ie in. (66.5 x 50.7 cm). Dated c. 1667 by Enggass on the basis of the apparent age of the sitter. From the collection of artist's self-portraits begun by Cardinal Leopoldo de' Medici. Enggass cites engravings related to this painting which sug­ gest it has been cut down on bottom and sides. An old inscription on the back of the canvas reads: Battista Gaulli D°. il Baciccia. REFERENCES: O. Giglioli, "R. Galleria degli Uffizi," Rivista d'arte, VI, 1909, p. 338; Thieme-Becker, XIII, 1920, p. 278; H. Voss, Die Malerei des Barock in Rom, Berlin, 1924, p. 586; A. Bertini-Calosso, "Baciccio," Enciclopedia italiana, Milan, V, 1930, p. 798, pi. CLXVII; M. Masciotta, "I ritratti del Baciccia," Primato, II, 1941, p. 19; M. V. Brugnoli, "Con- tributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 238, fig. 3; Robert Enggass, The Painting of Baciccio, University Park, Pa., 1964 (hereafter cited as Enggass, Baciccio, 1964) p. 124, fig. 1.

LENT BY THE GALLERIA DEGLI UFFIZI, FLORENCE

2 Portrait of Cardinal Paluzzo Paluzzi degli Albertoni (Altieri) Oil on canvas, 28ir?ir, x 231:J'io in. (73.5 x 60.5 cm). Dated c. 1666 by Enggass. The sitter, formerly called Cardinal Altieri or Albani in the literature, has been identified by Enggass, who argues convincingly for a date c. 1666. The painting was acquired for the Kunsthalle in 1857 from the collection of A. Kobe], a German painter residing in Rome. REFERENCES: G. G. de Rossi, Effigies, nomina et cognomina, S.D.N. Alexandri Papae VII et RR. DD. S.R.E. Cardd. nunc viventium. AEdit. a lo. lacobo de Rubeis, Rome, ca. 1675, p. 26 (engraving by A. Clouwet after painting); G. Parthey, Deutscher Bildersaal, II, Berlin, 1864, p. 826, no. 58 (as unknown cardinal by Domenichino); W. Woltmann, Beilage zur Allgemeinen Zeitung Augsburg, 1873, no. 10; K. Koelitz, Gross- herzogl. Kunsthalle zu Karlsruhe. Katalog der Gemalde-Galerie, Karls­ ruhe, 1881, pp.22, 118; Thieme-Becker, Kiinstlerlexikon, XIII, 1920, p. 278; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 238; Enggass, Baciccio, 1964, pp. 76, 128 ff., fig. 104; J. Lauts, Katalog Alte Meister bis 1800, Karlsruhe, 1966, p. 125, no. 465.

LENT BY THE STAATLICHE KUNSTHALLE, KARLSRUHE

78 3 Faith and Charity Oil on canvas, 2314 x 19V4 in. (59 x 49.5 cm). A bozzetto for Baciccio's pendentive fresco in the church of S. Agnese in Piazza Navona, Rome. Enggass (1964) dates the fresco project be­ tween 1666 and 1672. EXHIBITIONS: "Mostra di Castel S. Angelo," Rome, 1920; "Mostra della pittura italiana del sei e settecento," Florence, 1922, nos. 32-33; "Mostra della pittura seicentesca romana," Rome, 1930; "Mostra di Piazza Na­ vona," Rome, 1942; "Mostra dell'allegoria dalla Controriforma al Barocco," Rome, 1952; "II Seicento europeo," Palazzo delle Esposizioni, Rome, 1956- 1957, no. 108. REFERENCES: L. Pascoli, Vile de' pittori, scultori, ed architetti moderni, Rome, 1730, I, p. 199; M. Perotti, "L'Opera di Gian Battista Gaulli in Roma," L'Arte, XIX, 1916, pp. 209-210, fig. 3; Mostra della pittura italiana del seicento e del settecento a Palazzo Pitti, 1922, p. 25; F. Hermanin, Catalogo della Galleria Corsini, 1924, p. 72; H. Voss, Die Malerei des Barock in Rom, Berlin, 1924, p. 586; V. Golzio, "Pittori e scultori nella chiesa di S. Agnese, a Piazza Navona in Roma," Archivi d'ltalia, II, 1933- 1934, p. 302; E. Waterhouse, Baroque Painting in Rome, London, 1937, p. 66; L. Grassi, Bernini pittore, Rome, 1945, p. 50, fig. 85; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 237; 11 Seicento europeo (cat.), 1956, p. 129; Enggass, Baciccio, 1964, p. 152, fig. 10.

LENT BY THE GALLERIA NAZIONALE D'ARTE ANTICA IN PALAZZO CORSINI, ROME

4 Rest on the Flight into Egypt

1, Oil on canvas, 84 /in x 61'%.; in. (210 x 160 cm). Dated c. 1669-1671 by Enggass; c. 1673 by Brugnoli. Perhaps to be identified with the "Madonna" painted for the chapel of Cardinal Flavio Chigi for which Baciccio received payment in 1669. The painting passed from the Chigi collection to the Galleria Corsini in 1918. EXHIBITIONS: "II Seicento europeo," Palazzo delle Esposizioni, Rome, 1956-1957, no. 110; "II Caravaggio e la pittura italiana del seicento," Paris, 1965. REFERENCES: M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV 1949, pp. 228 ff. (230, 235, 237), fig. 6; 11 Sei­ cento europeo (cat.), 1956, p. 129; Enggass, Baciccio, 1964, pp. 151, 181, fig. 20.

LENT BY THE GALLERIA NAZIONALE D'ARTE ANTICA IN PALAZZO CORSINI, ROME.

79 5 Portrait of Gian Lorenzo Bernini Oil on canvas, 2934 x 2414 in. (75.5 x 61.5 cm). This portrait is not a version of the portrait in the Palazzo Corsini, but it probably comes from the same period, c. 1673. It seems to be a superior variant of the portrait in a private collection in Lucerne cited by Enggass following Voss (Enggass, 1964, p. 130; H. Voss, Die Malerei des Barock in Rom, Berlin, 1924, p. 586 and ill. p. 327). It is related in many ways to two late self-portrait drawings by Bernini (Brauer and Wittkower, Die Zeichnungen des Gianlorenzo Bernini, Berlin, 1931, I, pp. 16-17, nos. 108 and 143) only reversed. Earlier in the collections of Principi Altieri, Palazzo Altieri, Rome; S. E. Architetto Armando Brasini, Rome; Prof. Antonio Munoz, Rome, 1938; acquired from Munoz estate in 1965. REFERENCE: Sales catalogue, "Vendita pinacoteca di S. E. Armando Brasini," Borne, April 1938, no. 89.

LENT BY N. U. L'ARCHITETTO ANDREA BUSIRI VICI, ROME

6 Lawgivers and Leaders of Israel

Oil on canvas, 29V^ x 24 in. (75 x 61 cm). This and the following entry are bozzetti for the pendentive frescoes of II Gesu, Rome, and hence datable c. 1675-1676. Enggass (1957) sug­ gests that the arcade and landscape seen to either side of the pendentive outline are perhaps 18th century additions. Another bozzetto of the same subject is at Ponce. These two Naples bozzetti are to be related to the slightly smaller, and perhaps slightly earlier, bozzetti in the Pinacoteca Communale, Deruta (Perugia). REFERENCES: R. Enggass, "Three Bozzetti by Gaulli for the Gesu," The Burlington Magazine, XCIX, 1957, pp. 51-53, fig. 24; B. Molajoli, Notizie su Capodimonte, Catalogo delle gallerie e del museo, Naples, 1958, pp. 57-58; Enggass, Baciccio, 1964, p. 132, fig. 66.

LENT BY THE MUSEO E GALLERIE NAZIONALI DI CAPODIMONTE, NAPLES

7 The Four Doctors of the Latin Church Oil on canvas, 29Vi x 24 in. (75x61 cm). c. 1675-1676 See preceding entry.

80 REFERENCES: R. Enggass, "Three Bozzetti by Gaulli for the Gesu," The Burlington Magazine, XCIX, 1957, pp. 51-53, fig. 22; B. Molajoli, Notizie su Capodimonte, Catalogo delle gallerie e del museo, Naples, 1958, pp. 57-58; Enggass, Baciccio, 1964, p. 132, fig. 66.

LENT BY THE MUSEO E GALLERIE NAZIONALI DI CAPODIMONTE, NAPLES

The Four Doctors of the Latin Church Oil on canvas, 29 x 26V2 in. (75 x 66 cm). c. 1676-1677 Dating based on Baciccio's commission to execute the pendentive frescoes in II Gesu, Rome for which this painting is a bozzetto. Another oil sketch of the same subject is in the Museo di Capodimonte, Naples. The Ponce sketch, possibly the final study, is free of the landscape additions appear­ ing in the Naples work (no. 7). Purchased in the German art market by Luis A. Ferrc. EXHIBITION: I.B.M. Gallery, New York, 1963. REFERENCES: R. Enggass, "Three little known paintings from Gaulli's early years in Rome," Gazette des Beaux-Arts, ser. 6, vol. 54, 1959, pp. 188-189, fig. 4; J. Held, "A New Museum in Ponce," The Burlington Magazine, CIII, 1961, p. 317; Enggass, Baciccio, 1964, pp. 40, 134, fig. 62.

LENT BY THE PONCE ART MUSEUM, PUERTO RICO (THE LUIS A. FERRE FOUNDATION)

9 Adoration of the Lamb Oil on canvas, 25% x 44V2 in. (64.5 x 113 cm). c. 1679 Bozzetto for the fresco of the half-dome over the apse of II Gesu. Work on this part of the Gesu decoration was begun after November 1679, hence this bozzetto and a slightly later version in the Galleria dei Marmi at II Gesu must have been executed around this date.

SI An old label on the back of the canvas reads: Q . . . sto quadro rappresante la visione avuta da S. Giova Evangelista del . . . rono di Dio l'aspetto dcll'Agnello pasquale. Monsignor Domestico, ebbe de N Pio Papa IX nel 21 g. giorno anniversario Lui coronazion

Acquired from the collection of J. Gollober, 1935, who acquired it from M. Lucioni, Rome. EXHIBITIONS: "Genoese Masters, Cambiaso to Magnasco, 1550-1750," Dayton Art Institute, John and Mable Ringling Museum of Art, Wads- worth Atheneum, October 19, 1962-May 5, 1963, no. 35; "Art in Italy 1600-1700," The Detroit Institute of Arts, 1965, no. 49. REFERENCES: E. Fcinblatt, "Jesuit Ceiling Decoration," Art Quarterly, X, 1947, p. 253, fig. 12; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, pp. 235, 237; W. Heil, M.H. de Young Museum . . . Selected Works, 1950, ill. pp. 28-29; P. Pecchiai, 11 Gesu di Roma, Rome, 1952, p. 269; Enggass, Baciccio, 1964, pp. 137, 157, figs. 86 and 88.

LENT BY THE M. H. DE YOUNG MEMORIAL MUSEUM, SAN FRANCISCO

10 St. Ignatius in Glory

Oil on canvas, 18% x 25 in. (48 x 63.5 cm). A bozzetto for the decoration in the vault of the left transept of II Gesu, Rome. Enggass dates the fresco (and by extension, the bozzetto) 1685 on the basis of a recorded visit by Queen Christina of Sweden (Enggass, 1964, p. 139). Marabottini (Seicento europeo catalogue) prefers 1679 when the fresco was unveiled. Another version has been noted in the Pittaluga Collection, Genoa. EXHIBITIONS: "Mostra della pittura italiana del sei a settecento," Flor­ ence, 1922, no. 34; "Mostra della pittura seicentesca romana," Rome, 1930; "Mostra deH'allegoria dalla Controriforma al Barocco," Rome, 1952; "Da Caravaggio a Tiepolo," Sao Paulo, Brazil, 1954, no. 53; "II Seicento euro­ peo," Rome, 1956-1957, no. 111. REFERENCES: L. Pascoli, Vite de' pittori, scultori, ed architetti moderni, Rome, 1930 I, p. 202; F. Hermanin, Bollettino d'arte, 1908, p. 86; A. Rusconi, Emporium, 1908, p. 138; M. Perotti, "L'Opera di Gian Battista Gaulli in Roma," L'Arte, XIX, 1916, p. 223, fig. 20; O. Giglioli, "Le

82 mostre d'arte antica a Firenze," Rassegna d'arte antica e moderna, IX, 1922, p. 209; M. Labo, "Un altro bozzetto del Baciccio per la capella di S. Ignazio," L'Arte, XXV, 1922, p. Ill; P. Tacchi Venturi, "Le conven- zioni tra Giov. Battista Gaulli e il generale dei Gesuiti Gian Paolo Oliva per le pitture della cupola e della volta del Tempio Farnesiano," Roma, XIII, 1935, pp. 147-156; E. Waterhouse, Baroque Painting in Rome, Lon­ don, 1937, p. 66; L. Grassi, Bernini pittore, Rome, 1945, p. 37; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 237; B. Canestro Chiovenda, "Della 'Gloria di S. Igna­ zio' e di altri lavori del Gaulli per i Gesuiti," Commentari, XIII, 1962, p. 290, fig. 4; Enggass, Baciccio, 1964, p. 152, fig. 96.

LENT BY THE GALLERIA NAZIONALE D'ARTE ANTICA IN PALAZZO CORSINI, ROME

11 Rinaldo and Armida Oil on canvas, 14lr/u: x 19"fte in. (38 x 49 cm). Sketch for an unknown canvas. Dated c. 1680-1685 by Enggass. This would appear to be the only known extant painting by Baciccio based on a late Renaissance literary theme. EXHIBITION: "Art in Italy 1600-1700," The Detroit Institute of Arts, 1965, no. 50. REFERENCE: Enggass, Baciccio, 1964, pp. 133-134, fig. 41.

LENT BY ROBERT AND BERTINA SUIDA MANNING, NEW YORK

12 Venus Dissuading Adonis from the Chase Oil on canvas, 71 x 58% in. (180.3 x 148.6 cm). Identified by Waterhouse (1965). R. Spear (1966) places it close to the Mahon painting (no. 15) in date. Not cited by Enggass (1964). Probably acquired by the 9th Earl of Exeter be­ tween 1750 and 1794. Formerly attributed to Philippe de Champaigne. It was no doubt conceived originally as a pendant to Venus and Adonis (Oberlin). R. Spear has noted the similarities in style and format of the preparatory drawings in Windsor for this painting and in the British Muse­ um for the Oberlin painting. REFERENCES: E. Waterhouse, Review of R. Enggass, The Painting of Baciccio. Giovanni Battista Gaulli 1639-1709 in The Burlington Maga-

83 zine, CVII, 1965, p. 531; R. Spear, "Baciccio's Pendant Paintings of 'Venus and Adonis'," AMAM Bulletin, XXIII, no. 3, Spring 1966, pp. 98-112.

LENT BY THE MARQUESS OF EXETER, BURGHLEY HOUSE, STAMFORD, LINCOLNSHIRE

13 Death of Adonis

Oil on canvas, 60'/4 x 48W in. (153 x 122.5 cm). Dated c. 1680-1685 on stylistic grounds by Spear (1966) who also re­ lates it to the Venus Dissuading Adonis from the Chase from the collection of the Marquess of Exeter (no. 12). Spear (1966 n. 5) believes it to be slightly later than the Death of Adonis in Ponce (no. 14). First iden­ tified by Zeri (1955) when it was in the Leger Galleries, London. The painting then passed to Giovanni Salocchi, Florence, then to Gualtiero Volterra, Florence, from whom it was acquired for the museum in 1966. EXHIBITION: "Genoese Masters, Cambiaso to Magnasco, 1550-1750," Dayton Art Institute, John and Mable Ringling Aluseum of Art, Wads- worth Atheneum, October 19, 1962-May 5, 1963, no. 36. REFERENCES: F. Zeri, "Quattro tele del Baciccia," Paragone, VI, no. 67, 1955, pp. 56-57; Enggass, Baciccio, 1964, p. 133, fig. 43; R. Spear, "Bacic­ cio's Pendant Paintings of 'Venus and Adonis'," AMAM Bulletin, XXIII, no. 3, Spring 1966, pp. 98 ff.; R. Enggass, "Addenda to Baciccio: III," The Burlington Magazine, CVIII, 1966, p. 365.

ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE

14 Death of Adonis (Venus and Adonis)

Oil on canvas, 58 x 4534 in. (147.3 x 116.2 cm). Dated by Enggass c. 1685 on the basis of the color which seems to be more characteristic of the later works. Another version of the subject is in the Allen Art Museum (no. 13). Formerly in the collection of Paul Ganz, New York, 1966. EXHIBITION: Metropolitan Museum of Art, New York, 1965-66. REFERENCES: R. Enggass, "Addenda to Baciccio: III," The Burlington Magazine, CVIII, 1966, pp. 365-366, fig. 37.

LENT BY THE PONCE ART MUSEUM, PUERTO RICO (THE LUIS A. FERRE FOUNDATION)

84 15 The Virgin Seated in a Landscape, with the Child Piercing the Head of the Serpent of Heresy (Madonna della Serpe) Oil on canvas, 56% x 39% in. (143 x 99.3 cm). The attribution is by E. Waterhouse. Dated by Enggass c. 1683-1685. Enggass bases the dating and attribution on similarities to the altarpiece for the Altieri chapel in S. Francesco a Ripa, Virgin and Child with St. Anne, datable c. 1674-1686. Inscribed on back of canvas in capital letters: Presented to Swanage Parish Church by Rev. H. V. Nicoll-Griffith. Rector. 1941. REFERENCE: R. Enggass, "Addenda to Baciccio: II," The Burlington Magazine, CVI, 1964, p. 510, fig. 41.

LENT BY DENIS MAHON, LONDON

16 Abraham's Sacrifice of Isaac Oil on canvas, 63V2 x 5156 in. (163 x 132 cm). A companion to the Thanltsgiving of Noah, also in the Atlanta Art Associ­ ation Galleries. Dated by Enggass c. 1685-1690. Acquired by Conte Contini-Bonacossi in 1948 or 1949 and by the Samuel H. Kress Foundation in 1950. Transferred by the Kress Foundation to Atlanta in 1958. Earlier provenance unknown. EXHIBITIONS: "Genoese Masters, Cambiaso to Magnasco 1550-1750," Dayton Art Institute, John and Mable Ringling Museum of Art, Wads- worth Atheneum, October 19, 1962-May 5, 1963, no. 34; "Art in Italy, 1600-1700," The Detroit Institute of Arts, April 6-May 9, 1965, no. 51; "Masterpieces in the High Museum of Art," The High Museum of Art, Adanta, November 13, 1965-January 9, 1966.

REFERENCES: F. Ferguson, Signs and Symbols in Christian Art, New York, 1954, pi. V; R. Enggass, "Baciccio: Three Little Known Paintings," Paragone, no. 73, 1956, pp. 30-35, fig. 30; W. Suida, ed., Italian Paintings," and Northern Sculpture from the Samuel H. Kress Collection, Atlanta Art Association, 1958, pp. 63-65, ill. p. 65; Enggass, Baciccio, 1964, p. 121, fig. 126; Art in Italy 1600-1700, The Detroit Institute of Arts, 1965, pp. 63- 64, no. 51.

LENT BY THE SAMUEL H. KRESS COLLECTION, ATLANTA ART ASSOCI­ ATION GALLERIES, ATLANTA, GEORGIA

85 17 The Thanksgiving of Noah Oil on canvas, 64V4 x 52V4 in. (163 x132.5 cm). A companion to Abraham's Sacrifice of Isaac (no. 16), also in the Atlanta Art Association Galleries. Dated by Enggass c. 1685-1690. Acquired by Conte Contini-Bonacossi in 1948 or 1949 and by the Samuel H. Kress Foundation in 1950. Transferred by the Kress Foundation to Atlanta in 1958. Earlier provenance unknown. EXHIBITIONS: Philadelphia Museum, 1950-1953, as Abraham's Offer­ ing; "Masterpieces in the High Museum of Art," The High Museum of Art, Atlanta, November 13, 1965-January 9, 1966. REFERENCES: W. Suida in Philadelphia Museum Bulletin, XLVI, Au­ gust 1950, p. 18, no. 15 (as Abraham's Offering); R. Enggass, "Baciccio: Three Little Known Paintings," Paragone, no. 73, 1956, pp. 30-35, fig. 31; W. Suida, ed., Italian Paintings and Northern Sculpture from the Samuel H. Kress Collection, Atlanta Art Association, 1958, pp. 62-64 (ill.); Enggass, Baciccio, 1964, p. 121, fig. 127; R. Enggass, "Addenda to Baciccio: I," The Burlington Magazine, CVI, 1964, p. 79.

LENT BY THE SAMUEL H. KRESS COLLECTION, ATLANTA ART ASSOCI­ ATION GALLERIES, ATLANTA, GEORGIA

18 St. Agnes in Glory Oil on canvas, I8V2 x 211:5'i« in. (47x55.5 cm). Dated c. 1690 by Enggass, following Chiovenda. Probably a study for Baciccio's project to repaint the frescoes in the dome of S. Agnese in Piazza Navona left unfinished at the death of Ciro Ferri in 1689. The frescoes were completed by Ferri's pupil Corbcllini. Acquired from Colnaghi, London, who in turn had it from a private collec­ tion in Rome. REFERENCES: B. Canestro Chiovenda, "Ciro Ferri, G. B. Gaulli e la cupola della chiesa di S. Agnese in Piazza Navona," Commentari, X, 1959, pp. 21-23, fig. 7; Paintings by Old Masters, P. and D. Colnaghi and Co., Ltd., London, 1962, no. 17; Emporium, CXXXV, 1962, p. 229, ill. p. 230; Enggass, Baciccio, 1964, pp. 129-130.

LENT BY BRIAN THOMAS, LONDON

86 19 The Preaching of John the Baptist Oil on canvas, 72s/io x 68% in. (184 x 173 cm). Dated c. 1685-1695 by Enggass. Enggass cites the existence of this painting in an inventory made in 1695 by Antoine Paillet of the royal collection in Versailles. The painting was transferred to Dijon in 1811. REFERENCES: A. d'Argenville, Abrege de la vie des plus famepx-peintxei^ ^_J Paris, I, 1745, p. 392; R. Soprani and C. G. Ratti, Vite de pittori, scul­ tori, ed architetti genovesi, di Raffaello Soprani, Genoa, II, 1769, p. 90; Thieme-Becker, XIII, 1920, p. 278; H. Voss, Die Malerei des Barock in Rom, Berlin, 1924, p. 586; J. Magnin, La peinture au Musee de Dijon, Besancon, 1933, p. 222 (ill.); L. Grassi, Bernini pittore, Rome, 1945, p. 52, fig. 91; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, pp.231, 236; R. Enggass, "Baciccio: Three Little Known Paintings," Paragone, no. 73, 1956, p. 32; Enggass, Baciccio, 1964, p. 123, fig. 125.

LENT BY THE MUSEE DES BEAUX-ARTS DE DIJON

20 Continence of Scipio Oil on canvas, 13% x 18% in. (35 x 46 cm). A bozzetto for the large canvas in the Palazzo Doria, Genoa, dated by Enggass c. 1695-1705. Attributed to Baciccio by Michel La Clotte (in­ formation from Musee Fesch). From the collection of Joseph Cardinal Fesch, uncle of Napoleon Bona­ parte. Donated to the city of Ajaccio after the Cardinal's death in 1839. Provenance prior to the Fesch collection is unknown. REFERENCES: Catalogue des tableaux composant la galerie de feu son eminence le Cardinal Fesch, Rome, 1841, p. 67, no. 1529; Galerie de feu S.E. le Cardinal Fesch . . . catalogue des tableaux des ecoles italiennes et espagnoles, 1845, IV, no. 1127; Catalogue Peraldi, Ajaccio, 1892, no. 144; Enggass, Baciccio, 1964, p. 120, fig. 131.

LENT BY THE MUSEE FESCH, AJACCIO (CORSICA)

Apostle Baptizing Youthful Negress Oil on canvas, 22% x 15% in. (57.5 x 39 cm). c. 1700-1709 One of two panels once jointly framed. When joined they were possibly studies for unexecuted lunette frescoes. Stylistically related to the laterals of S. Andrea al Quirinale done after 1704 (Enggass, 1964).

87 Formerly in the collections of Giovanna di Bauffremont, Princess di Viggiano, Rome; Prof. Aldo Briganti, Rome. REFERENCES: Catalogo della vendita all'asta delle raccolte artistiche per- tinenti alia successione Giovanna di Bauffremont Principessa di Viggiano, 1936, p. 72; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 237 ("Due figure di santi . . .")?; Enggass, Baciccio, 1964, p. 154, fig. 137.

LENT BY N. U. L'ARCHITETTO ANDREA BUSIRI VICI, ROME

22 Apostle Baptizing Kneeling Man

Oil on canvas, 22% x 15% in. (57.5 x 39 cm). c. 1700-1709. See preceding entry. REFERENCES: Catalogo della vendita all'asta delle raccolte artistiche per- tinenti alia successione Giovanna di Bauffremont Principessa di Viggiano, 1936, p. 72; M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 237 ("Due figure di santi . . .")?; Enggass, Baciccio, 1964, p. 154, fig. 138.

LENT BY N. U. L'ARCHITETTO ANDREA BUSIRI VICI, ROME

23 Allegory of Prudence Pen and ink, with India ink and bistre washes, 10;?'»i x 71%

LENT BY THE MUSEE DES BEAUX-ARTS, BESANgoN

24 Allegory of Temperance Pen and ink with India ink and bistre washes, 1034 x 8V4 in. (27.3 x 20.7 cm). Study for one of the pendentive frescoes in S. Agnese, Rome, executed between 1668 and 1671. Two other studies belonging to the series are in this exhibition (see nos. 23 and 25).

88 Previously in the collection of Jean Gigoux. REFERENCE: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, p. 22 n. 3, fig. 14b.

LENT BY THE MUSEE DES BEAUX-ARTS, BESANCON

25 Study for the Allegory of Justice Pen and brown ink, brown wash over black chalk indications, 9 x 7% in. (22.9 x 19.6 cm). Inv. no. 146. Study for a pendentive fresco at S. Agnese, Rome, executed between 1668 and 1671. Brugnoli, Blunt, and Cooke tentatively ascribe the drawing to Baciccio. It was discovered among the Bernini drawings at Windsor (Brugnoli, 1956). Studies for two of the other pendentives are in this exhibition (nos. 23 and 24). EXHIBITION: Palazzo Venezia, Rome, 1961, no. 45. REFERENCES: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, p. 22, fig. 15a; A. Blunt and H. L. Cooke, The Roman Drawings at Windsor Castle, London, 1960, p. 39, no. 146, pi. 48.

LENT BY GRACIOUS PERMISSION OF HER MAJESTY QUEEN ELIZABETH II

26 Female Nude Study, recto Urn or Finial, verso (not illustrated) Black chalk, brown ink, black wash; squared for transfer, 161>ln x 101%o in. (43 x 27.5 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11104. Study for the allegorical figure of Truth in the pendentive fresco of S. Agnese, Rome. L. Pascoli (Le vite de' pittori, scultori, ed architetti mo- derni, I, Rome, 1730, p. 199) states that Baciccio was commissioned for the pendentives project in 1663; however, other sources give a date be­ tween 1668 and 1671 (M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 236). Cooke believes that the preparatory drawings probably date about 1667. Other drawings connected with this work are in the Louvre (Inv. no. 9512); Besancon (nos. 23 and 24 above) and Windsor Castle (no. 25 above). In an early stage of the design the figure of Truth was in the foreground of the com­ position (cf. Windsor drawing, Study for the Allegory of Justice). In the final version, however, the figure is placed in the right background. Below the figure of Truth is a study for a flying angel carrying a trumpet in its right hand. This also is squared for transfer. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Diisseldorf.

LENT BY THE KUNSTMUSEUM DER STADT DUSSELDORF

89 27 Head of a Young Man Black chalk on blue paper, 5% x 414 in. (14.3 x 10.8 cm). Inscribed lower left: "Baciccia;" Licht collector's mark (Lugt 7896, sup.), lower right. A drawing from Baciccio's maturity. Mr. Manning relates it in style to Bernini's Ecstasy of St. Teresa and notes similarity of the head to that of the saint in Baciccio's The Death of St. Francis Xavier in S. Andrea al Quirinale, Rome, dated by Enggass 1676 (Baciccio, 1964, p. 141). Previously in the collection of Dr. S. von Licht, Vienna. EXHIBITION: "Genoese Masters, Cambiaso to Magnasco 1550-1750," Dayton Art Institute, John and Mable Ringling Museum of Art, Wads- worth Atheneum, October 19, 1962-May 5, 1963, no. 85.

LENT BY ROBERT AND BERTINA SUIDA MANNING, NEW YORK

28 Christ Enthroned in the Clouds Ink wash over black chalk, 16% x 11 in. (42.5 x 25 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11117. Cooke believes this to be a study for the figure of Christ in the cupola fresco of II Gesu. Condition of the frescoes in this section of II Gesii make exact comparisons difficult. The cupola project was commissioned to begin in 1672; it was unveiled to the public on April 20, 1675 (B. Enggass, "Three Little Known Paintings from Gaulli's Early Years in Rome," Gazette des Beaux-Arts, ser. 6, vol. 54, 1959, p. 190 n. 6). The sketch could also be a possible study for the figure of Christ in the paint­ ing of St. Agnes in Glory of c. 1690 in the Brian Thomas collection (no. 18). Formerly in the collections of the Bergischcn Staatcn; Lambert Krahe; and Akademiesammlung Diisseldorf.

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29 Study for a Father of the Church Black chalk, brown ink, black wash, ll°'io x 7% in. (29.3 x 18.8 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11160. Cooke suggests that this is a sketch for the figure of Aaron (?) in the Lawgivers and Leaders of Israel, one of the pendentive frescoes under the central dome of II Gesu, Rome. Two of the pendentives (it is not known which ones) were finished by 1676 (P. Tacchi Venturi, "Le Convenzioni tra Giov. Battista Gaulli e il generale dei Gesuiti Gian Paolo Oliva per le pitture della cupola e della volta del Tempio Farnesiano," Roma, XIII, 1935, p. 153) and the others were probably finished shortly after (M. V. Brugnoli,

90 "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 236; R. Enggass, "Three Little Known Paintings from Gaulli's Early Years in Rome," Gazette des Beaux-Arts, ser. 6, vol. 54, 1959, p. 190 n. 6). Cooke believes this sketch to be from the early stages of Baciccio's develop­ ment of the composition. Bozzetti for this subject are in Naples (no. 7) and Deruta. Both the bozzetto in Naples and the sketch are variations of the final version.

Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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30 Fowr Studies of Figures for Pendentives Black chalk, brown ink, black wash, llvio x \6WIB (29 x 43 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11248. Studies for the figure of Moses in the II Gesii pendentive, Lawgivers and Leaders of Israel, c. 1675-1676. Three of the figures are reversed, with Moses holding the tablet in his right hand. The fourth shows the patri­ arch holding the tablet with his left hand and pointing towards it with his right. The latter is the closest to the final version. A bozzetto for the pendentive is in Naples (no. 7). Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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31 Sketch for a Pendentive Black chalk, brown ink, black wash, 10% x 12 in. (27 x 30.5 cm). Watermark: E. Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11247. Study for the figure of Moses in the Gesu pendentive, Lawgivers and Leaders of Israel, dated c. 1675-1676. Apparently a further development of the preceding entry (no. 30) with additions of winged putti. The putto at the bottom right is close to the one in the bozzetto in Naples (no. 7). A very faint sketch shows Baciccio's final disposition of Moses, his left hand around the tablet and grasping it from the side. The hand of the figure holding up the cloud upon which the group is seated is faint­ ly sketched in on the left; this compares very closely with the final version.

Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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91 32 Flying Angel with Wind Instrument Red chalk, 15% x I (We in. (38.4 x 27.8 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11243. Corresponds exactly to the figure in the upper left section of the apsidal fresco in II Gesu, Adoration of the Lamb, painted between 1679 and 1683. A bozzetto for the whole composition is in the de Young Museum, San Francisco (no. 9); another is in the sacristy of the church of II Gesu. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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33 Standing Youth with Folded Arms, recto (not illustrated) Study for Venus, Adonis and Amor, verso Black chalk and brown ink on brown paper, 10% x 16% in. (27 x 42 cm). Watermark: B. Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11200. Recto: possible study for figure on right side of no. 47. Verso: study for Venus Dissuading Adonis from the Chase, Burghley House (no. 12), (cf. R. Spear, "Baciccio's Pendant Paintings of 'Venus and Adonis'," AMAM Bulletin, XXIII, no. 3, Spring 1966, pp. 107-110). The figures of Venus, Adonis and Amor are closely related to the final work. A sketch for the entire composition is at Windsor (no. 34). Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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34 Venus and Adonis Pen and dark brown ink, grey wash. Inscribed in pen at foot of dog: "Baciccia." 91/i6 x 6% in. (23.1 x 16.8 cm). Inv. no. 155. Study for the Burghley House, Venus Dissuading Adonis from the Chase (no. 12). Blunt and Cooke (1960) suggest that the figure group may be based on a painting of the subject by Peter Paul Rubens now in The Hague. Spear (1966) finds a closer relationship of the Venus to two other paintings by Rubens and the derivation of the Adonis from the Venus and Adonis (studio of Rubens) in the Uffizi. REFERENCES: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, pp. 21 ff., p. 29; A. Blunt and H. L. Cooke, The Roman Drawings at Windsor Castle, London, 1960, p. 40, no. 155, pi. 50; R. Spear, "Ba­ ciccio's Pendant Paintings of 'Venus and Adonis'," AMAM Bulletin, XXIII, no. 3, Spring 1966, pp. 110-111.

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92 35 Study for Abraham Black chalk, brown ink, black wash, 17% x 11%; in. (43.5 x 28.5 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no.11292. A sketch for the figure of Abraham in Atlanta's Abraham's Sacrifice of Isaac (no.16), dated c. 1685-1690. (Enggass, Baciccio, 1964, p. 121). The drawing is squared for transfer and corresponds exactly with the painting. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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36 Youth with Sacrificial Ox, recto Kneeling Figure Holding a Salver, verso (not illustrated) Black chalk, brown ink, black wash, 161%,J X 11 in. (43 x 28 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11259. The recto, squared for transfer, is a finished study for the figure on the right in The Thanksgiving of Noah in Atlanta (no. 17). The verso, also squared for transfer, is a study for the figure in the fore­ ground of the Atlanta painting. Cooke, on the basis of style and tech­ nique, dates the drawing and painting about 1705; Enggass dates the painting c. 1685-1690 (Baciccio, 1964, p. 121). Two other studies for the Adanta work are at Dusseldorf (Inv. nos. 11232 and 11180). Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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37 The Head and Hand of a Turbaned Youth, recto Studies of Legs and a Head, verso Red chalk heightened with white on light brown paper, 1054 x 16% in. (27.2 x 41 cm). c. 1685-1690 This sheet is thought to be part of a sketchbook attributed to Baciccio, separated and sold in Rome in the late 1950's (S. Ostrow, 1966). Since there are very few works by Baciccio done in chalk it is difficult to attri­ bute or date the work on the basis of style alone. It is believed to be the only sheet from the sketchbook related to a known painting. The Tur­ baned Youth on the recto is similar to the figure appearing near the left edge of the painting in Atlanta, The Thanksgiving of Noah (no. 17), c. 1685-1690. On the basis of this observation and comparison with two

93 other chalk drawings in Oxford and Rome, Ostrow attributes the sheet to Baciccio and dates it c. 1685-1690. The studies on the verso of the drawing can very possibly be related to the lower right group of figures in the drawing from Windsor, Joseph and His Brethren (no. 47), and to a painting at Ajaccio of the same sub­ ject, attributed to Baciccio. Earlier in the collection of Dr. Leo Steinberg, New York. REFERENCE: S. Ostrow, "Some 16th and 17th Century Italian Drawings for Known Works," Bidletin, no. 1, Museum of Art and Archaeology, Uni­ versity of Missouri, Fall, 1966. LENT BV THE MUSEUM OF ART AND ARCHAEOLOGY, UNIVERSITY OF MISSOURI (DAVID T. OWSLEY PURCHASE FUND)

38 Figure of Apostle, recto Possible Study for Zacharias, verso (not illustrated) Black chalk, brown ink, black wash, 15% x 11 in. (39.3 x 28 cm). Mark: Status Montium (Lugt 2309, sup.) Inv. no. 11214. Cooke cites this as a "study for the figure of Zacharias" for the altar- piece, The Birth of ]ohn the Baptist, in S. Maria in Campitelli, Rome, dated c. 1692-1698 (M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, p. 237; R. Enggass, "Baciccio: Three Lit­ tle Known Paintings," Paragone, no. 73, 1956, pi. 29). This drawing corresponds closely to the final version. The same figure, with minor variations, was also used for the figure of Noah (The Thanksgiving of Noah, no. 17). The verso is related to the bozzetto of the same subject in the Accademia di San Luca, Rome. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf. LENT BY' THE KUNSTMUSEUM DER STADT DUSSELDORF

39 Draped Reclining Female Figure, recto (not illustrated) Nude Study for a Madonna, verso Ink wash over black chalk, 17% x llv'ic, in. (44.4 x 28 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11119. Cooke believes this to be a study for the figure of St. Elizabeth (?) and her child since it corresponds very closely to the figure group in the altar- piece of S. Maria in Campitelli, The Birth of ]ohn the Baptist, c. 1692- 1698. Another drawing for the same figures, fully clothed, is in the Louvre (Inv. no. 9494). Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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94 40 Seated Male Figure, recto Sketch for a Scene of Judgment, verso (not illustrated) Black and white chalk on brown paper, 16% x 10% in. (42 x 27 cm). Watermark: B. Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11268). The figure on the recto is very possibly a study for God the Father in St. Agnes in Glory in the collection of Brian Thomas, London (no. 18). The verso in its general design is reminiscent of the Continence of Scipio at Palazzo Doria, Genoa (M. V. Brugnoli, "Contributi a Giovan Battista Gaulli," Bollettino d'arte, XXXIV, 1949, pp.233, 236, fig. 12). How­ ever, only a few of the figures seem to correspond. Cooke notes, on the basis of style, that the drawing seems to be about fifteen years earlier (c. 1680) than the date given to the painting, c. 1695-1705 (Brugnoli, 1949). Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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41 Study for the Holy Family with St. Elizabeth and St. John Pen and black ink, grey wash over some black chalk; squared in black chalk, 8%o x 57/ie in. (20.8 x 13.8 cm). Inv. no. 150. Agrees almost exactly with the painting in the Czernin Collection, Vienna, for which this drawing is a study. Enggass places the painting in Baciccio's late phase, c. 1690 (R. Enggass, "Gaulli's Late Style 1685-1709," The Art Quarterly, XX, 1957, pp. 5-6, fig. 3). The drawing was discovered among the Bernini drawings at Windsor (Brugnoli, 1956). Another preparatory drawing is in the Kupferstichkabinett, Berlin. REFERENCES: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, p. 31 n. 1; R. Enggass, "Drawings Related to the Czernin 'Holy Family' by Gaulli," The Art Quarterly, XXI, 1958, pp. 283-285, fig. 1; A. Blunt and H. L. Cooke, The Roman Drawings at Windsor Castle, Lon­ don, 1965, p. 39, no. 150.

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42 Study for Christ Black chalk, brown ink, black wash, 16% x 11!4 in. (42.5 x 28.5 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11147. Study for the figure of Christ in the ceiling fresco, Triumph of the Fran­ ciscan Order, in the nave of SS. Apostoli, Rome, executed in 1707 (F.

95 Santilli, La Basilica dei SS. Apostoli, 1925, p. 56; L.Pascoli, Vite de pittori, scultori ed architetti moderni, I, Rome, 1730, p. 205). This sketch cor­ responds exactly with the painted version. Another study for this figure is at Dusseldorf (Inv. no. 11145). Formerly in the collections of the Bergischen Staaten; Lambert Krahe: and Akademiesammlung Dusseldorf.

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43 St. James, the Less Black chalk, brown ink, black wash, 16% x 11% in. (42.5 x 28.3 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11120. Study for the figure on the middle left side of the ceiling fresco, Triumph of the Franciscan Order, in the nave of SS. Apostoli, Rome, dated 1707. Identified by Cooke as St. Paul. The drawing is squared for transfer and corresponds exactly with the final version. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf. EXHIBITION: "Italienische Handzeichnungen des Barock," Dusseldorf, 1964, no. 59.

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44 Flying Angel with Flute, recto Sketch for Triumph of the Franciscan Order, verso (not illustrated) Recto: ink wash over black chalk; verso: black chalk, 16% x 10%. in. (42.8 x 27.5 cm). Mark: Status Montium (Lugt 2309, sup.). Inv. no. 11139. The recto is squared for transfer but a corresponding work has not yet been discovered. The verso is a rough sketch for the entire composition of the ceiling fresco, The Triumph of the Franciscan Order, in the nave of SS. Apostoli, Rome, dated 1707. Formerly in the collections of the Bergischen Staaten; Lambert Krahe; and Akademiesammlung Dusseldorf.

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96 45 Seated Male Nude, recto Seated Male Nude with Stick or Spear, verso (not illustrated) Black chalk heightened with white on light-brown paper; verso: black chalk, 10% x 141%6 in. (27 x 38 cm). In sale, Berlin (Bassenge), May 1966, no. 186.

LENT BY HEINZ GRUNERT, COLOGNE

46 Study for the Sacrifice of Noah Pen, grey wash over black chalk, heightened with white on brown paper, 10% x 13% in. (27 x 35 cm). Inv. no. 149. Study for two versions of The Sacrifice of Noah, one in a private collec­ tion in Rome and the other at the Adanta Art Association Galleries, The Thanksgiving of Noah (no. 17). The drawing differs substantially from both paintings. God the Father supported by putti is shown appearing to Noah and his family. It is thought that Baciccio probably took his idea for this group from the Poussin and Castiglione versions of the subject (Blunt, 1960). REFERENCES: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, pp.21 ff., fig. 17b; A. Blunt and H. L. Cooke, The Roman Draw­ ings at Windsor Castle, London, 1960, p. 39, no. 149, pi. 49.

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47 Joseph and His Brethren Pen with brown ink and black wash on brown-tinted paper, 8% x 12v"io in. (22.5x31.9 cm). Inv. no. 153. Related to a painting of the same subject attributed to Baciccio at Ajaccio. The lower right hand group of figures is also very possibly connected with the verso of the drawing at the University of Missouri, Studies of Legs and a Head (no. 37, verso). This sheet was discovered among the Bernini drawings at Windsor (Bru­ gnoli, 1956). REFERENCES: M. V. Brugnoli, "Inediti del Gaulli," Paragone, no. 81, 1956, p. 31 n. 1; A. Blunt and H. L. Cooke, The Roman Drawings at Windsor Castle, London, 1960, p. 40, no. 153.

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97 Death of Adonis (Study for the Oberlin Death of Adonis) British Museum Not in the Exhibition By courtesy of the Trustees of the British Museum Illustrations 1 Self Portrait Uffizi, Florence Alinari photo 2 Portrait of Cardinal Albertoni (Altieri) Kunsthalle, Karlsruhe 3 Faith and Charity Palazzo Corsini, Rome 4 Rest on the Flight into Egypt Palazzo Corsini, Rome 5 Portrait of Gian Lorenzo Bernini Andrea Busiri Vici Coll., Rome 6 Lawgivers and Leaders of Israel Capodimonte, Naples 7 The Four Doctors of the Latin Church Capodimonte, Naples 8 The Four Doctors of the Latin Church Ponce Art Museum, Puerto Rico

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13 Death of Adonis Oberlin 14 Death of Adonis Ponce Art Museum, Puerto Rico 15 Madonna della Serpe Denis Mahon Coll., London 16 Abraham's Sacrifice of Isaac Atlanta Art Association Galleries, Atlanta 17 The Thanksgiving of Noah Atlanta Art Association Galleries, Atlanta

19 The Preaching of John the Baptist Musee des Beaux-Arts, Dijon

21 Apostle Baptizing Youthful Negress Andrea Busiri Vici Coll., Bome 22 Apostle Baptizing Kneeling Man Andrea Busiri Vici Coll., Rome cc

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7* 32 Flying Angel with Wind Instrument Kunstmuseum, Dusseldorf V

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•f IT, 34 Venus and Adonis Windsor Castle Reproduced by gracious permission of Her Majesty Queen Elizabeth II 35 Study for Abraham Kunstmuseum, Dusseldorf 36 Youth with Sacrificial Ox, recto Kunstmuseum, Dusseldorf 37 The Head and Hand of aTurbaned Youth, recto Museum of Art and Archaeology, University of Missouri

37 Studies of Legs and a Head, verso Museum of Art and Archaeology, University of Missouri 6

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45 Seated Male Nude, recto Heinz Grunert Coll., Cologne

46 Study for the Sacrifice of Noah Windsor Castle Reproduced by gracious permission of Her Majesty Queen Elizabeth II 47 Joseph and His Brethren Windsor Castle Reproduced by gracious permission of Her Majesty Queen Elizabeth II

STAFF OF THE MUSEUM

John R. Spencer, Director Mrs. Doris B. Moore, Assistant to Clarence Ward, Director Emeritus the Director Mrs. Chloe H. Young, Mrs. Jan K. Muhlert, Curatorial Curator of Collection Assistant Mrs. Athena Tacha Spear, Delbert Spurlock, Curator of Modern Art Technical Assistant Mrs. Margery M. Williams, Librarian Arthur Fowls, Head Custodian

INTERMUSEUM LABORATORY Richard D. Buck, Conservator Delbert Spurlock, Anne F. Clapp, Associate Conservator Assistant Conservator Mrs. Ruth Spitler, Secretary Kenneth DuBois, Assistant Conservator

MUSEUM PURCHASE COMMITTEE

John R. Spencer, Chairman Donald M. Love Paul B. Arnold Mrs. Thalia Gouma Peterson Frederick B. Artz Mrs. Athena Tacha Spear Andrew Bongiorno Richard E. Spear (on leave) Richard D. Buck Wolfgang Stechow (absent) Edward Capps, Jr. Clarence Ward Robert K. Carr Forbes Whiteside (on leave) Ellen H. Johnson Mrs. Chloe H. Young John W. Kneller

EDITOR OF THE BULLETIN MUSEUM HOURS Mrs. Laurine Mack Bongiorno School Year: Monday through Friday 10:00-12:00 A.M. PHOTOGRAPHER 1:30-4:30 and 7:00 - 9:00 P.M. Arthur E. Princehorn Saturday 2:00-5:30 P.M. Sunday 2:00-5:30 P.M.

Summer: PUBLICATIONS Monday through Friday The Bulletin, photographs, 10:00-12:00 A.M. and postcards and color repro­ 2:00-4:00 P.M. (apply at side gate) ductions are on sale at the Saturday 2:00-5:00 P.M. Museum Sunday 2:00-6:00 P.M.

139