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Raphael Room • North Wall RAPHAEL ROOM • NORTH WALL Containing works made for both religious and domestic settings by Italian 201 Renaissance artists, this room is named for the painter Raphael (1483–1520) who has long been celebrated as exemplifying Renaissance grace and ele- gance. Isabella Gardner hung two paintings by Raphael here: a small panel from an altarpiece made early in his career and a portrait painted in his maturity. Two large wedding chests (cassoni in Italian) are placed against the walls of this room, as they would have been in an affluent Renaissance domestic interior. Raphael Italian, 1483–1520 Pietà, 1503–05 Oil on wood In this small panel Raphael created an arrangement of varied pose and color, and the figures exhibit his trademark sweetness of emotion. Before a somewhat realistic land- scape (as opposed to the flat, gold ground of earlier religious paintings), Saint John and the Virgin Mary tenderly support the dead Christ. Joseph of Arimathea and Nicodemus, who brought Christ down from the cross, frame the group, and Mary Magdalene kneels to kiss Christ’s foot. The painting originally formed part of the lower section (predella) of a large altarpiece with scenes from the life of Christ, which Raphael painted for a convent in Perugia. Isabella Gardner set this painting on a table, with a chair positioned as if to allow close, personal contemplation of the picture. She arranged the display perpendicular to the window, to catch daylight for viewing. This project is made possible by a grant from the U.S. Institute of Museum and Library Services. RAPHAEL ROOM • NORTH WALL 5 7 4 1 6 8 11 12 2 3 9 9 3 10 3 9 1. Fireplace Apron, with inscription: Motu 9. Chair (set of 14 in this room: 1 sofa and et Lumine (Motion and Light). Italian, 15th 13 side chairs). Italian, late 18th century. century. The canopy above is modern. Wood 2. Armchair. Italian (Venice), early 18th 10. On the table in the center of the room: century. Wood Silenus with a Winesack. Greco- 3. Armchair (four in this room). Italian Roman, 2nd–3rd century. Marble (Venice), first half of the 18th century. Tumbler (holds tapers for lighting Wood candles). Bohemian, about 1730. Glass 4. Furnishing Fabric. Italian, 1600–1650. and gold Silk velvet and gilt yarn Belt Buckle. Eurasian, 1st or 2nd 5. Old Testament Scenes, 1650–1725. century. Bronze North Italian. Oil on canvas Mortar and Pestle. Italian, 19th century. 6. Plate: The Nativity. Italian (Urbino), Bronze about 1540–1550. Majolica 11. Writing Desk. English, mid-19th cen- 7. Mirrors etched with mythological tury. Wood scenes (four in this room). Italian (Venice), 12. Pietà, about 1504. Raphael (Italian, 19th century. Glass 1483–1520). Oil on wood 8. Tripod. Italian, 15th century (?). Iron. Holds a large bronze Basin. RAPHAEL ROOM • EAST WALL Containing works made for both religious and domestic settings by Italian 201 Renaissance artists, this room is named for the painter Raphael (1483–1520) who has long been celebrated as exemplifying Renaissance grace and ele- gance. Isabella Gardner hung two paintings by Raphael here: a small panel from an altarpiece made early in his career and a portrait painted in his maturity. Two large wedding chests (cassoni in Italian) are placed against the walls of this room, as they would have been in an affluent Renaissance domestic interior. Sandro Botticelli Italian, 1444/45–1510 The Tragedy of Lucretia, about 1500–1501 Oil on wood The setting is Rome around the year 510 BC, a Carlo Crivelli period when noblemen fought to overthrow King Italian, 1430–1495 Tarquin. Botticelli used the architectural setting to Saint George Slaying the Dragon, organize the narrative. At left, the king’s son at- 1470 tacks Lucretia, the virtuous wife of a nobleman. Tempera and gold on wood At right, her husband discovers Lucretia as she kills herself rather than bring shame to her family. To keep a fearsome dragon at bay, citi- Before the central arch, Lucius Junius Brutus ex- zens of the town had to feed it their horts his fellow citizens to overthrow the king and children. When the king’s daughter establish republican rule in Rome. was sent to be sacrificed to the dragon, In fifteenth-century Italy, the story of Lucretia Saint George happened along and celebrated chastity and self-sacrifice, but it also slew the beast. Lively and dramatic, warned against the evils of tyrants. Botticelli Crivelli’s inventive style combines painted this work to decorate a palace in Florence detailed naturalism with a flat, gold in connection with a marriage. Perhaps with this in background and stylized landscape. mind, Isabella Gardner placed a cassone, or wed- The calm, cool demeanor of the saint ding chest, beneath it. contrasts with the frightened, rearing The Renaissance bride filled her cassone with horse, which dominates the picture. prized and personal belongings—linens, undergar- Jewel-like with its rich colors, expanse ments, jewelry, cosmetics, and sewing implements. of gold, and raised plaster details, this Mrs. Gardner draped a velvet textile (now a re- painting once was part of an altarpiece. production) over this cassone and put inside other textiles and an eighteenth-century guitar. This project is made possible by a grant from the U.S. Institute of Museum and Library Services. RAPHAEL ROOM • EAST WALL 10 15 5 11 4 9 1 6 14 3 3 12 12 13 2 7 8 16 17 1. Pietà, about 1504. Raphael (Italian, 1483– (Spanish, active 1380–1417). Tempera and 1520). Oil on wood gold on wood 2. Writing desk. English, mid-19th century. 11. Pitcher. Italian, 3rd century BC. Terra Wood cotta 3. Armchair. Italian (Venice), about 1700. 12. Armchair. Italian (Venice), early 18th Wood century. Wood 4. Portrait of Tommaso Inghirami, about 13. Cassone (wedding chest): A Proces- 1516. Raphael (Italian, 1483-1520) and work- sion with the Arms of the Piccolomini and shop. Oil on canvas Spannocchi Families. Italian (Siena), 1470s. Painted and gilded wood 5. Virgin and Child with a Goldfinch, about 1510–17. Il Francia (Italian, 1450– Draped over the chest: A velvet Textile (mod- 1517/18). Oil on wood ern reproduction of an 18th century original). 6. Furnishing Borders. Probably Italian, about 1675–1750. Silk satin velvet; appliquéd Inside the chest: Guitar, Jacopa Mosca- embroidery Cavelli, 18th century; Chausable (liturgi- cal vestment), 16th century with some 7. Table. Italian, mid-18th century. Gilded modern replacements; Embroidered wood with marble top Panel, probably Anatolia (part of On the table: silver-plated Sheffield Cande- modern-day Turkey), 17th-18th century labrum (one of a pair: the other is across 14. The Tragedy of Lucretia, about 1500– the room on the large commode), early 1501. Sandro Botticelli (Italian, 1444/45– 19th century; terracotta Cinerarium (con- 1510). Oil on wood tainer for ashes), Etruscan, about 150 BC 15. Virgin and Child, early 1470s. Giovanni 8. Stool (one of three in this room). Italian, Bellini (Italian, about 1431/36–1516). Tem- mid-17th century. Wood pera and oil on wood 9. Saint George Slaying the Dragon, 1470. 16. Corner Bracket. Italian (Venice), 18th Carlo Crivelli (Italian, 1430–1495). Tempera century. Gilded wood with ancient Roman and gold on wood marble top 10. Virgin and Child, with Scenes from 17. Bowl. Roman (Pompeii), 1st century BC– the Lives of Saint George and Saint 2nd century. Bronze Martin, about 1395. Francesc Comes RAPHAEL ROOM • WEST WALL Containing works made for both religious and domestic settings by Italian 201 Renaissance artists, this room is named for the painter Raphael (1483–1520) who has long been celebrated as exemplifying Renaissance grace and elegance. Isabella Gardner hung two paintings by Raphael here: a small panel from an altarpiece made early in his career and a portrait painted in his maturity. Two large wedding chests (cassoni in Italian) are placed against the walls of this room, as they would have been in an affluent Renaissance domestic interior. Piermatteo d’Amelia Francesco Pesellino 18 Italian, active 1450–1500 Italian, 1422–1457 17 The Annunciation, about 1475 Virgin and Child with a Swallow, Tempera on wood mid-1450s Tempera on wood During the Renaissance, the subject of the archangel Gabriel appearing to the Virgin Pesellino and his assistants painted almost Mary to say she will bear the son of God forty replicas of this painting, making a was often depicted in dramatic architectural stencil that they used to trace the design settings. Here, the spill of their draperies onto other panels. In late-fifteenth century connects the figures; at the same time, the Florence, demand was great for such small, figures are separated by the steeply reced- personal depictions of the Virgin and Child, ing perspective between them. Think about and they became a standard feature of Mary’s response to her otherworldly visi- many middle- and upper-class homes. The tor. What do her body language and facial Christ Child here is remarkably lifelike: expression suggest to you? cute and chubby, he cradles a swallow. The This painting was made for the main altar background suggests a sculptural niche in a of a church in Amelia, a small town near fifteenth-century church, giving the still fig- Spoleto, in Umbria. The highly architectural ures an otherworldly, iconic character. frame is decorated with columns similar to those in the painting. This project is made possible by a grant from the U.S. Institute of Museum and Library Services. RAPHAEL ROOM • WEST WALL 9 10 11 1 3 12 2 4 5 6 14 14 13 13 13 7 8 7 1. Virgin and Child, early 16th century. 9. The Adoration of the Statue of Studio of Cima da Conegliano (Italian, Nebuchadnezzar.
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