Bernard Berenson
Formation and Heritage VILLA I TATTI SERIES, 31 Bernard Berenson Formation and Heritage
Joseph Connors and Louis a. WaLdman
ViLLa i TaTTi
VILLA I TATTI SERIES, 31 The harVard uniVersiTy CenTer for iTaLian renaissanCe sTudies © Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc.
-- Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references and index. - - - - (rst) . Berenson, Bernard, – . . Art criticsUnited States. I. Connors, Joseph. . . dc [B]
Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications
Cover illustration: William Rothenstein, Bernard Berenson, . Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. . Both images are from the Berenson Collection, Villa I Tai e Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents
One Introduction
Two Bernard Berenson and Jean Paul Richter e Giambono’s Provenance
Three Art, Commerce, and Scholarship e Friendship between O o Gutekunst of Colnaghi and Bernard Berenson
Four Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court
Five Bernard Berenson and “Tactile Values” in Florence
Six Bernard Berenson’s Florence,
Seven Bernard Berenson and Aby Warburg Absolute Opposites Eight Bernard Berenson and Islamic Culture “ ought and Temperament”
Nine Bernard Berenson and Asian Art
Ten Bernard Berenson and Kenneth Clark A Personal View -
Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Ta i
Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship
Thirteen “e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr.
vi Contents Fourteen e Antiquarian Carlo Alberto Foresti of Carpi, a Correspondent of Bernard Berenson Unknown Documents for the History of a Dispersed Collection
Fifteen Bernard Berenson and Archer Huntington
Sixteen Bernard Berenson and Count Umberto Morra “Do Not Forget Me”
Seventeen Bernard Berenson and Katherine Dunham Black American Dance
Bibliography Contributors Index
vii Contents
one
Introduction
Joseph Connors
Bernard Berenson: Critical Reception, 1959–2009 volume consists of the papers presented at the con- Tference “Bernard Berenson at Fiy,” held at I Tai from to October , on the ieth anniversary of Mr. Berenson’s death on October . Somewhat to our surprise, we found that there was a passionately engaged public and enough fresh research to fuel a much longer conference. Indeed, several papers have been added post- conference that represent interesting new research. e cult of personality that sur- rounded Berenson as he aged had dissipated for the most part in the decades following his death, and his ideals as an art historian can no longer be said to be at the center of the eld. But there is a new generation deeply concerned with the historiography of art his- tory and the intellectual roots of connoisseurship. It was this interest that we principally wanted to address. In the years immediately following Berenson’s death, aside from numerous obituaries in the Italian and international press, one might single out three more thoughtful evalua- tions of his life and work: two glowingly positive and one distinctly negative. In her warm memoir of , Iris Origo avoided any evaluation of Berenson’s literary production and le aside the commercial side of a life built on connoisseurship in order to dwell on the man she knew as a reader of catholic tastes and an insatiable traveler. Even in old age, she reminds us, he traveled to distant and uncomfortable lands, never without the famous lists or the projected book on the decline of classical form on his mind, but driven as well by an unquenchable thirst for knowledge through sight. Zest for life came with intense
1 looking, whether in the distant Balkans, or in Libya, or in the hills above Vincigliata and the garden at I Tai: “Each day, as I look, I wonder where my eyes were yesterday.” Meyer Schapiro visited I Tai on May , aer a year of travel in Europe and the Middle East. en twenty-three and a graduate student at Columbia University, Schapiro had been born, like Berenson, in Lithuania, although his family emigrated soon aer- ward to America. Schapiro recorded his impressions in a leer later that day: Berenson was at rst crusty and created a bad impression by ranting against Schapiro’s teacher at Columbia. But he soon changed his tone and eventually gave this unknown student many hours of his time, walking through the collection and inviting his views. Berenson also wrote of the visit shortly aerward, not without admiration for the intellectual acumen of his young countryman: “I put him to the task, I showed him my jade libation cup and my lile bronze candlestick and he praised them and discoursed about them as smartly as Solomon did about the hyssop that grows on the wall.” e admiration was not recipro- cated, however. e mature Schapiro, socialist in politics, brilliant interpreter of modern art, and theoretician of art history, felt a mounting disdain over the years for the “Sage of Seignano.” He revisited I Tai in , but it did not heal the ri, and by the s we nd him drawing a satirical cartoon featuring “Mr. Berenson and the Collector.” Berenson’s death in seemed to call for comment, and the appearance of Sylvia Sprigge’s journalis- tic biography in provided enough information on the commercial side of Berenson’s career to arouse his indignation. Schapiro articulated his distaste for everything that the older man stood for in an article published in Encounter in January . “Mr. Berenson’s Values” is a thoroughly negative obituary. Schapiro criticized Berenson for rejecting his Jewish identity, but thought it showed through in character traits such as his “Talmudic” fondness for working over the ne points of aribution. He beliled claims that Berenson discovered Paul Cézanne and established the reputa- tion of Henri Matisse, focusing instead on the rejection of modern art in the laer half of Berenson’s career. Schapiro grudgingly found value in the abstract concepts of his early writingsideated sensations, tactile values, life-enhancementbut lamented that Berenson failed to summon up the intellectual energy to revise and synthesize the “Four Gospels.” Instead, Schapiro complained, he concentrated on the renement of the lists under the inuence of his clients and retainers: “His sensibility became the instrument of
I would like to express my thanks to all the sta of Villa I Tai for their help in organizing the sym- posium of , in particular to Louis Waldman for his enthusiastic collaboration, and to Susan Bates, Angela Lees, and Françoise Connors for the smooth running of the event. anks for their suggestions during planning also go to Jaynie Anderson, Jane Martineau, Patricia Rubin, and Patrizia Zambrano. Over my term as director of Villa I Tai, access to the photographic and documentary archives at Villa I Tai was graciously facilitated by Fiorella Superbi, and in the year preceding the conference by Ilaria Della Monica, Giovanni Pagliarulo, and Sanne Wellen. Publication of this volume is indebted to Lino Pertile, the current director of Villa I Tai, and to Jonathan Nelson, who expertly took over production. To them and to all who assisted with this book, I express my warmest thanks. Origo , . Damisch , f., n. . Schapiro and Esterman , .
2 Joseph Connors a profession.” Rubbing in Berenson’s own misgivings late in life about the path his career had taken, Schapiro treated him as a miraculously surviving symbol of the sweetness of life before , with its untaxed income and opportunities for an aesthetic style of life. Kenneth Clark, who had lived at I Tai in and, in spite of personal dierences and the diverging direction of his scholarship, remained a brilliant disciple of Berenson. He delivered a magisterial eulogy in Florence, in Palazzo Vecchio, which was published in e Burlington Magazine in September . In it, Clark elaborates some of the points already made in an obituary he wrote for the London Times the previous year. Although Clark’s Burlington article came out four months before Schapiro’s, it reads uncannily like a point-by-point response to the American scholar’s aack. ere are naturally some con- cessions to the genre of eulogy, such as the lines on Berenson’s love for the Italian land- scape and his lifelong bond, in war and peace, with the Italian people. e main thrust of the piece, however, is a critical examination of Berenson’s intellectual achievements, exactly the domain disparaged by Schapiro. Clark perceptively sees the origin of his aes- thetic concepts in Johann Wolfgang von Goethe and, closer to home, in the writings of the Florentine-based sculptor Adolf von Hildebrand. He captures their impact on a world dominated by Ruskinian appreciation of art as illustration, and he nds Berenson’s most original idea, ideated sensations, to be a valid basis for criticism. On the other hand, Clark explores Berenson’s initiation into Morellian connoisseurship, the skill that would even- tually derail his career as a writer and aesthetician. He notes the swelling of Berenson’s reputation aer his reviews of the New Gallery Exhibition of , when, as Clark memo- rably puts it, “his aacks so alarmed collectors and dealers that there was nothing for it but to persuade this terrible poacher to turn game-keeper.” Clark re-poses the question Berenson oen asked himself late in lifethat is, whether, in pursuing connoisseurship, he had taken the wrong path. Clark reminds us that Berenson says, in his Sketch for a Self-Portrait,
I cannot rid myself of the insistent inner voice that keeps whispering and at times hissing “you should not have competed with the learned nor let yourself become that equivocal thing, an ‘expert.’ You should have developed and claried your notions about the enjoyment of the work of art. ese notions were your own. ey were exhalations of your vital experience.”
In a thought experiment, Clark puts himself inside the head of Berenson and tries to see why, at the crossroads of his early maturity, he chose connoisseurship over criticism, the lists over the essays. ough the lists were originally, according to Clark, “a sharp weapon used to assault an inert mass of tradition, they themselves became the mass, the canon, the object of assault.” ey could not be le forever as they stood in the s. e
Schapiro , . Clark , . Ibid., . Ibid., .
3 Introduction demand for names was relentless; the lists were constantly being updated in his head, and it was infuriating for him to be sent corrections that he had already made, but not pub- lished, years before. On the other side of the balance, Clark observes that the aesthetic concepts were already embodied in such rich, dense texts that Berenson feared he would only be repeating himself if he went back to them. In any case, he felt that his real achieve- ment was conversation, not the wrien word. Clark gives Berenson’s melancholic self- evaluation Homeric resonance by saying that Berenson treated ideas and knowledge in the way the ancient bards treated legend and poetic imagery: as an inexhaustible reservoir to be drawn on for the delight of his audience, without wanting to deprive them of life by xing facts and ideas on a printed page. Correspondence is by its nature reciprocal, and in Berenson’s case it was conver- sation meditated in the slow pace of leers that were eagerly opened and, “except for billets-doux,” read aloud before Mary Berenson and Nicky Mariano. Berenson con- secrated hours each day to his correspondence. Although Joseph Duveen gave Mary a typewriter in , she though it impolite to use the device for personal correspon- dence. Berenson’s hand became crabbed with age and it takes great patience to read the late leers, though sometimes Mariano would type them up, not to send but as records. e archives at I Tai contain thousands of leers from hundreds of correspondents. Mariano managed to put them in order when cleaning out the house aer Berenson’s death; she felt that even the unimportant leers might help to create an image of his “spiderweb,” with its threads spun out in every direction. She relied on them to supple- ment her reminiscences in the charming memoir that she published in , Forty Years with Berenson. Her inventory of the correspondence was published in ; a continually updated copy is kept in the archives of Villa I Tai and is now available on their website. e leers sent out from I Tai by the thousand are ndable to some extent in the archives of the Berensons’ correspondents, and several of the articles in this volume are based on discoveries in far-ung repositories. Some, like Belle da Costa Greene, destroyed Berenson’s leers, which, in Samuels’s apt phrase, seemed to him a kind of homicide. Many more kept them, however, and they are waiting to be brought to light. e known correspondence and diaries, not available to the rst biographer, Sylvia Sprigge, were the basis for the major event in the study of Bernard Berenson since his death, the publication of Ernest Samuels’s two-volume biography, Bernard Berenson: e Making of a Connoisseur, in , and Bernard Berenson: e Making of a Legend, in . Samuels had consulted the Berenson Archive while doing research for his biog- raphy of Henry Adams, and he realized that the master of I Tai could himself be the subject of a fascinating study. Between Berenson’s death in and Mariano’s in , the archives were the property of Berenson’s companion, Elisabea “Nicky” Mariano, and not initially part of the bequest to Harvard University. Aer her death in , the archive passed to Mariano’s heirs, the family of her sister, the Baronessa Anrep, only com- ing into the possession of the Harvard Center in . Samuels had unlimited access to
Trevor-Roper , . Samuels , .
4 Joseph Connors the archives during this time of transition and used them to produce a scrupulous, even- handed biography, “ocial” only in its unfeered access to the sources, but in fact any- thing but hagiographic. Among its other qualities, it is beautifully wrienanyone who reads the rst chapter on Berenson’s Lithuanian childhood, for example, will want to read further. Samuels’s work will long be the basis of scholarship about Berenson and his world, and every article in the present collection is indebted to it. Two recent books explore individual correspondents who are represented in the archive by extensive fondi of colorful and zesty leers. Heidi Ardizzone’s An Illuminated Life relies in the earlier chapters on Belle da Costa Greene’s leers to Berenson, many of which are passionate love leers. As noted in the essay on Katherine Dunham in this volume, Ardizzone’s ne book sheds light on the boundaries imposed by race in the soci- ety in which Berenson moved, and the strategies by which these boundaries might be transgressed. Hugh Trevor-Roper, historian of early modern England and later Regius Professor of Modern History at Oxford University, Master of Peterhouse in Cambridge University, and Lord Dacre of Glanton, visited I Tai in the summer of on the rec- ommendation of Mary’s brother, Logan Pearsall Smith. Berenson enjoyed the meeting enormously and invited Trevor-Roper to return whenever he was in Italy and to write from Oxford. is he did, with gustothe historian and the connoisseur maintained an avid correspondence for the dozen years prior to Berenson’s death. Trevor-Roper’s half of the exchange was published in exemplary form by Richard Davenport-Hines in ; Berenson’s half, now kept with the Dacre papers in the Bodleian Library, was judged to be less interesting and only occasionally appears in Davenport-Hines’s notes. Essentially, Berenson oered Trevor-Roper an ear that delighted as much as his own in the wicked and the cuing, and his rehearsals of academic bales at Oxford were preparation for the grand narratives of English history that he planned and researched, but in the end failed to write. e business of connoisseurship, dismissed with contempt by Schapiro and explained away with regret by Clark, has aracted wave aer wave of interest, especially in publi- cations of the past decade. Berenson’s participation in the art market, rst as agent for Isabella Stewart Gardner, then in collaboration with Oo Gutekunst of Colnaghi, and nally on retainer from Joseph Duveen, has been studied in Cynthia Saltzman’s book on American collectors of the belle époque and in Meryle Secrest’s detailed biogra- phy of Joseph Duveen, published in . A play by Simon Gray, e Old Masters, which opened in London in and moved to New York in (and was even performed at I Tai in ), draws aention to the drama of Berenson’s nal encounter with Duveen, when Berenson refused to aribute the Allendale Nativity to Giorgione, as advantageous as that would have been for both parties. Ironically, most scholars now believe, contra Berenson, that the painting is indeed by Giorgione. Recently there has been work on some of the other relationships that allowed Berenson to maintain his high style of life. In his book on Henry Walters and Berenson, published in , Stanley Mazaro documents in ne-grained detail the formation of the Walters collection from the point of view of the collector, delineating a relationship in which Berenson appears more of a dealer than he does with Gardner.
5 Introduction Berenson’s changing aitudes to the art of his own day, from his early championing of Matisse and Cézanne to his later rejection of modern art, have already been the sub- ject of a probing book of by Mary Ann Calo. A light has been turned more recently on the appreciation of Matisse by Gardner and her friends, in Anne McCauley’s essay of in the Isabella Stewart Gardner Museum catalog, Eye of the Beholder. McCauley explores the appreciation of this revolutionary artist in generally conservative circles that overlapped so much with Berenson’s. A paper presented at the I Tai conference by Alan Chong, which is not included in the present collection, also addressed the nexus between Gardner and the fauvist painter. Berenson acquired a small painting by Matisse, Purple Beeches, in Paris in . Eventually he gave it to his friend Prince Paul Karageorgevic of Yugoslavia, and he presented paintings by Camille Pissarro (Rural Scene) and Charles Conder (At the Seashore) to the future Museum of Contemporary Art in Belgrade that was being built up with Prince Paul’s encouragement. e Serbian connection has now been illuminated thanks to the eorts of his daughter, Princess Elizabeth Karageorgevic, to bring her father’s vision as a collector to light, principally via the catalog of the Prince Paul Museum in Belgrade, published by Tatjana Cvjetćanin in Serbian in and in English in . Berenson’s Matisse returned to Florence in , one is tempted to say in triumph, for the exhibition Cézanne a Firenze, held in Palazzo Strozzi. e accompanying catalog is a pioneering study of the reception of Cézanne in Florence through the collect- ing activities of two American expatriates, Berenson’s friend Egisto Fabbri and his rival Charles Loeserfascinating gures who were explored further in the exhibition of , Americans in Florence. e evolution of the collection over time and its placement in the villa have been the subject of several recent studies. In , Patricia Rubin, at that time acting director of the Harvard Center, delivered a paper on this topic at a conference in the Georgetown villa in Fiesole, Le Balze, which was then published in in the acts of the conference, Gli Anglo-Americani a Firenze. e formation of the entire collection will be the subject of a detailed chapter in a forthcoming catalog being prepared under the direction of Carl Brandon Strehlke and Machtelt Israëls. To return to a point raised by Schapiro, there will be a sensitive treatment of Berenson’s ambiguous relationship to his Jewish roots in a forthcoming biography by Rachel Cohen in the series Jewish Lives. A prelude to her ndings can now be read on the internet, in a virtual exhibition curated by Jonathan K. Nelson in on the Villa I Tai website, enti- tled “Berenson at Harvard: Bernard and Mary as Students.” e online catalog presents helpful, short biographies of the personalities who taught Berenson at Harvard, including his instructors in Hebrew and Oriental languages. It also collects his writings in Harvard literary publications as an undergraduate. Finally, some mention should be made of recent studies of Berenson’s scholarship. In a monograph of , Antonella Troa has returned to Berenson’s rst work of art history, Lorenzo Lo o, which originally came out in and has been republished
Cvjet´canin .
6 Joseph Connors several times, most recently by Luisa Vertova in . In , Carmen Bambach con- tributed an exemplary study of Berenson’s Drawings of the Florentine Painters, pub- lished for a series of critical articles on the founding books of art history in e Burlington Magazine. She oers a remarkable analysis of Berenson’s method as a pioneer in a new eld, underlining in his monumental achievement while not glossing over its shortcomings. Paradoxically, the essay by Berenson that was most quickly doubted and eventually rejected by the connoisseurship community is the one that has recently received the most aention. It is the famous article “Amico di Sandro,” rst published in the Gaze e des Beaux-Arts in and republished in e Study and Criticism of Italian Art in . In it, Berenson isolates the oeuvre of a painter close to Sandro Boicelli and deeply inuenced by him, but distinct from his best-known disciple, Filippino Lippi. Patrizia Zambrano pub- lished the rst Italian translation of the article in , with an in-depth introduction. Hard on the heels of her monograph on Filippino, which was coauthored with Jonathan Nelson in , her introduction charts the inuence of Walter Pater’s image of Boicelli on Berenson, as well as the idea, expressed by Gustavo Frizzoni as early as , that there had to be an intermediate personality. She notes the earliest skepticism of the new and as yet unnamed artist on the part of Herbert Horne, who eventually won over the initially credu- lous Roger Fry. Fond of his own creation, Berenson would keep Amico di Sandro in his lists until . Zambrano also traces the great schism between Berenson and Roberto Longhi, nding the ultimate refutation of Berenson’s Florentine-centric Renaissance in Longhi’s monograph on Piero della Francesca. Her introduction is closely argued and her wide reading in the history of connoisseurship is demonstrated in cornucopian notes. “Amico di Sandro” is also the subject of a close reading in by Jeremy Melius, who emphasizes, in postmodern critical prose, the concept of personhood in relation to the psychology of William James and the aesthetics of Vernon Lee. All such studies refer to the founding of scientic connoisseurship by Giovanni Morelli. e burgeoning eld of Morelli studies was opened up by a conference in Bergamo in and by Jaynie Anderson’s ongoing pub- lication of Morellian sources as well as interpretations of his personality and work. ese publications seldom explore the Berensonian world, which is a generation later, but they lay the foundation for the study of the origins of scientic connoisseurship.
The Essays in the Present Volume Connoisseurship in Theory and Practice: Isabella Stewart Gardner, Jean Paul Richter, Otto Gutekunst, Umberto Morra Isabella Stewart Gardner helped to nance Berenson’s travels in Europe aer Harvard, when he was a promising literary gure with the ambition of becoming a new Goethe. Aer months of seemingly directionless leers from Europe from the young Harvard graduate,
Troa . Zambrano and Nelson . Melius . Anderson and ; and Morelli .
7 Introduction she grew disillusioned and broke o their correspondence. A chance meeting in London in , however, rekindled the friendship at just the right time. Gardner had come into her full estate of million with the death of her father in , and Berenson had refash- ioned himself into the leading connoisseur of early Italian art, with many contacts among dealers and noble families in need of money. It was a match made in heaven. e let- ters between Berenson and his rst important patron were published in full by Rollin Van N. Hadley in . ey form the foundation of a perceptive article by Patricia Rubin in a issue of Apollo, and are also the basis of Antonella Troa’s Italian monograph of , Rinascimento Americano. Gardner exerts a perennial fascination. e world of per- sonalities and objects that she built around herself, rst in Back Bay and later in Fenway Court, has been studied in two recent exhibitions at the Gardner Museum: e Eye of the Beholder, held in ; and Gondola Days, held in . Her interest in the Orient and voy- age to the Far East, a trip Berenson never managed to make, were the subjects of another innovative exhibition, Journeys East: Isabella Stewart Gardner and Asia, held at Fenway Court in . Several essays in this volume return to Gardner and the formation of her collection, exploring the origins of Berenson’s eventual vocation as a paid expert. Dietrich Seybold examines the role that Jean Paul Richter ( – ), art historian and connoisseur- dealer, had in the development of Berenson’s self-conception. At rst, the connection might seem purely commercial. e Giambono St. Michael Enthroned that presides over the I Tai dining room today came onto the London market in as “German school.” Berenson immediately saw the correct aribution and acquired a partial interest in the painting along with Richter. e Giambono continued to hang in Richter’s London house until Berenson bought out Richter’s interest. It entered I Tai in , the year of the Berensons’ marriage. Seybold shows, however, that the connection ran deeper than commerce. When the twenty-four-year-old Berenson rst met Richter in , he was, of course, the well- known author of the great two-volume collection of Leonardo da Vinci’s notes and manu- scripts, rst published in . He was also the rising star in scientic connoisseurship, achieving the height of fame in this eld aer the death of his master, Giovanni Morelli, in . Berenson’s youthful appraisal of the older gure showed his own ambition: “is is a very famous criticbut I did not feel so very lile beside him.” Richter made his for- tune with the export from Italy of two major works by Andrea Mantegna and Giorgione. His lesson for the young American was that one could live by connoisseurship. Although it would take a dozen years, Berenson eventually came to outshine his early role model as the foremost connoisseur of his day, and he engaged in the trade more than Richter ever had. Richter opened up possibilities for the young Berenson, but he also foreshadowed the ambiguities that Berenson never shed about his own career.
See Berenson to Senda Abbo (Berenson), Easter Sunday ( April) , Bernard and Mary Berenson Papers, Biblioteca Berenson, Villa I Taie Harvard University Center for Italian Renaissance Studies (hereaer BMBP).
8 Joseph Connors Oo Gutekunst, director of Colnaghi’s gallery in London from to his retire- ment in , has now emerged as a key gure in most of the Gardner acquisitions that used to be credited to Berenson alone. Jeremy Howard, head of research at Colnaghi’s in London, draws in his article on the archives of the rm as well as on the Berenson Archive to illuminate the relationship between Berenson and this dealer of high aesthetic sense. Howard’s essay complements both Cynthia Saltzman’s book of on the formation of Old Master collections in America and his own history of the Colnaghi rm, published in . Gutekunst had started as a print dealer but then entered the eld of Old Master paintings just at the time when the British aristocracy was looking for ways to cope with debilitating death duties. He was the essential middleman in Gardner’s acquisition of the thirty or so Old Master paintings that form the core of her collection, in particular Boicelli’s Tragedy of Lucretia and Titian’s Europa. Berenson and Gutekunst encour- aged Gardner to think of herself as an Isabella d’Este. ey did not just sell her paint- ings, but transformed them into objects of sublimated desire. Beginning in about , Berenson began to dri away from Colnaghi as he came into the powerful gravitational eld of Joseph Duveen. Howard closes with one of the most touching of the many leers quoted in this book, in which Gutekunst, indignant for a moment at his friend’s excessive high-mindedness, questions the arrogance of an elite inner circle whose hands are always clean and who think they make no mistakes. e friendship nevertheless endured until Gutekunst’s death in Geneva in . e mixture of aery, idealism, and banter that characterizes Berenson’s leers to Gardner came to shape a lile-known appendage to Fenway Court. Robert Colby’s essay on the Altamura garden pavilion that stood at the rear of the Gardner Museum from to shows how architecture, even archite ura minore, can be a bearer of symbolic meaning. When Fenway Court was nished in , Gardner turned to the rear garden, which was supposed to be surrounded by walls and a high, ivy-covered trellis to keep out the prying eyes of a fast-developing quarter. It became possible to build the garden wall and its aached gatehouse once the nal vacant lots were acquired in . Gardner’s architect, Willard T. Sears, submied a design for a handsome Venetian-style garden pavilion, four stories high with a clock and open loggia, to serve as rear entrance and cen- terpiece of the garden-encompassing wall. But when Gardner received a postcard from the Berensons, dated May , showing the Bari Gate of Altamura, a picturesque forti- ed town in the instep of the boot of Italy, she immediately adopted this baroque design, with its violin-curve volutes, instead of the Venetian-style loggia that was, in eect, more consonant with the character of her museum. Altamura had a meaning for the Berenson circle that went deeper than a modest city gate. It was the title of an essay published in the third and last number of a short-lived periodical, e Golden Urn, in . Logan Pearsall Smith, Mary’s brother, later claimed authorship, probably rightly, but there was considerable input, partly playful and partly serious, from Bernard and especially Mary as well. e essay described a ctional monas- tic community, Altamura, which sheltered the worshippers of St. Dion, who went through a ritual year dedicated to the cultivation of beauty and the rejection of everything that smacked of capitalism, modernity, and the values of the middle class. Only true aesthetes
9 Introduction could be Dionites, but occasionally grandes dames could visit, a hardly veiled allusion to Isabella Stewart Gardner. e rest of this number of e Golden Urn was devoted to an extensive list, organized by city and museum, of the Renaissance paintings that Dionites would cherish as icons of the religion of beauty. is was certainly the contribution of the Berensons, in the format that would eventually grow into their famous lists. Colby’s research, conceived while he was a curatorial fellow at Fenway Court, and later continued as a fellow at I Tai, might have deepened the debate surrounding the enlargement of the Gardner Museum, had it been taken into account. But the preserva- tionist community was not, in the end, successful in preventing the demolition of the Altamura gatehouse, which occupied the site that Renzo Piano intended for the new entrance to the museum. It succumbed to the wrecker in . e ideal expressed in in the “Altamura essay,” as important as it was in the self-conception of the Berenson circle, succumbed soon enough to Berenson’s dealings in the art market and to the reali- ties of connoisseurship as a profession, with all the tedious labor involved in revising the Drawings of the Florentine Painters and the ever-changing lists. Much of Berenson’s writ- ing in old age shows his regret at his turn away from the more purely aesthetic and literary ideals of his youth. But the ideal of a “lay monastery” devoted to conversation and the con- templation of beauty, to enhancement of the whole personality, and to “life-enhancing” scholarship survived in the foundation document for the Harvard University Center for Italian Renaissance Studies that I Tai was to become aer Berenson’s death. Count Umberto Morra di Lavriano ( – ) was a close friend of Berenson from his rst introduction to I Tai in to Berenson’s death in . Both felt an elective anity across an age gap of thirty years. Both were passionate about English literature and both were deeply interested in contemporary political events. Morra, the aristocrat with a royalist background, was intensely antifascist, especially aer his friend Piero Gobei was aacked by fascist thugs, dying soon aerwards as the result of his beating. Aer that point in , Morra went underground, operating clandestinely from his villa near Cortona, though making frequent visits to I Tai until the time Berenson himself was forced into hiding in . One of the qualities that endeared Berenson to Morra was his skill as a listener, one who abeed conversation by his ability to hold up the less vocal end of a dialogue without aery but with deep sympathy and understanding. It is said that Morra’s Conversations with Berenson comes closer than any other source to capturing the evanescence of Berenson’s conversational ow. Robert and Carolyn Cumming knew Morra well in their student days in Italy in the s. In their essay, they recount their experience of the man and describe the deep personal qualities that drew both them and Berenson to him.
Berenson and the Germans: Adolf von Hildebrand, Aby Warburg e most widely recognized phrase in all of Berenson’s aesthetic writing is “tactile val- ues.” Alison Brown is a distinguished intellectual historian and student of Renaissance politics, an author of books on Bartolomeo Scala and on the fortune of Lucretius in the Renaissance as well as on works on the circle of Anglo-Saxon expatriates around the Berensons. She was a student of Ernst Gombrich at the Warburg Institute and rst came
10 Joseph Connors across tactile values in his lectures. Her essay looks at this concept in the writings of the sculptor and theorist Adolf von Hildebrand and in the philosophy of William James. In Hildebrand’s Das Problem der Form in der Bildenden Kunst, which Berenson read and annotated, the sculptor says that, for the visual artist, the central problem is to endow a at surface with three-dimensionality. e artist rouses the tactile sense and creates ideated sensations that communicate vitality and life-enhancement. Reading Hildebrand helped break Berenson’s writer’s block when starting on Florentine Painters of the Renaissance and eventually allowed him to see the anity between Masaccio and modern artists, such as Edgar Degas. On the other hand, William James, Berenson’s teacher at Harvard and a visitor to Florence in –, helped shape his conceptions of will, energy, and life-enhancement. Although there was mutual suspicion between the professor and the future connoisseur, somehow they felt, in common, that when we look at a work like Antonio Pollaiuolo’s Hercules, a fountain of energy springs up under our feet and works its way into our veins. e psychologist-cum-philosopher and the aesthete- cum-connoisseur helped each other to see Renaissance art in new ways. Florence was important in the shaping of the other great protagonist of early twentieth-century art history, Aby Warburg. Bernd Roeck, who holds the chair of gen- eral modern history and Swiss history at the Universität Zürich, published a book on the young Warburg in , then turned to a study of Warburg in the Florentine context in the largest senseFlorenz : Die Suche nach Arkadien, published in German in and in English translation in . He explores the multifaceted society in which Warburg moved, beginning with his rst visit as a student in and continuing though his famous lecture at the International Conference of in Florence. Roeck explores Warburg’s Boicelli in terms of the late nineteenth-century cult of the artist, but also studies the larger German expatriate community, the antiquarians and dealers, the lierateurs, and the aesthetes of all stripes, including a perceptive chapter on Berenson and Anglo-Saxon villa culture. All of this is put into the context of the other Florencethe “real” world of violent labor unrest, lopsided economic development, and conict between the demolish- ers of the historic center and the international outcry in the name of preservation. In his paper, Roeck begins by returning to the fundamental theme of his book, “the people who come to terms with the present by aempting to ee from it.” He seeks to understand the paradoxical roots of modernity and the space opening up for an avant- garde in the midst of world-renowned collections of Renaissance masterpieces. e essay is focused not so much on Berenson as on the stage on which Berenson acted out his per- formance. Hildebrand and Berenson’s rival in collecting and connoisseurship, Charles Loeser, makes an appearance. We are reminded that the rst mention of Cézanne in the literature of art history occurs in Berenson’s Central Italian Painters of the Renaissance of , evoking a theme that was explored in the groundbreaking exhibition, Cézanne a Firenze: Due collezionisti e la mostra dell’Impressionismo del , organized in Palazzo Strozzi in . Roeck intersperses, in pointillistic detail, evocations of the sounds and scents of the city on the Arno as noted by perceptive visitors. e second half of the essay deals with the Parisian art dealer, Wilhelm Uhde, now lile known but in his day a pivotal gure of the avant-garde, who formed a collection of works by Pablo Picasso, Georges
11 Introduction Braque, Henri Rousseau, Jean Dufy, André Derain, and Maurice de Vlaminck, thus com- bining a love of the Florentine Quarocento and the Florence of Jacob Burckhardt with a veneration for Edouard Manet’s Olympia. Claudia Wedepohl, an art historian and archivist at the Warburg Institute in London, highlights a key meeting in Hamburg in , when Berenson rst visited Warburg’s library. e two scholars had not met since and each held the other in relatively low esteem: Berenson disdained iconography, while Warburg beliled mere connoisseurship and disliked Berenson’s arrogant personality. e surprise was mutual when the meet- ing went rather well. Warburg dwelt on a cassone panel from the Jarves collection at Yale University, which he had discovered in a visit to Berenson’s photographic archive at I Tai in . Mary had aributed the panel to the “Master of Virgil’s Aeneid,” a constructed personality of the sort that delighted early twentieth-century connoisseurs. Warburg, on the other hand, wanted to t the panel into his analysis of festivals and jousts in Florentine society, an example of “cultural-historical iconography.” e two schools of thought could, in this fruitful moment of truce, focus on the same work of art. Warburg went fur- ther and tried to show Berenson that his method could complement that of the connois- seur. Both felt the appeal of Hildebrand’s theory of forms, which stood at the heart of Berenson’s tactile values. Wedepohl shows how Warburg’s psychology ultimately derives from Robert Vischer’s doctoral dissertation, which introduced Einfühling, a term later translated by Vernon Lee as “empathy,” into art history. Warburg warns the viewer not to succumb to empathy but to keep a distance from the work, quite the opposite of Berenson’s approach. Wedepohl also shows how, as early as – , Warburg began to dis- tance himself from the aestheticizing approach and from the Morellian method to which Berenson was to remain faithful all his life. us, the meeting of was a moment of cordiality masking an ever-widening intellectual divide.
Islamic and Oriental Art On a tour of I Tai, the perceptive visitor will be struck by a small number of Islamic works discreetly interspersed with the Renaissance paintings that dominate the col- lection. In the Berenson Reading Room (known in the Berensons’ time as the “Big Library”), visitors may note a pair of colorful miniatures from a treatise on autom- ata, Kitāb fī marifat al hiyāl al-handasiyya (Book of Knowledge of Ingenious Mechanical Devices) by al-Jazari, illustrated in Mamluk Egypt in . Near the Signorelli corridor hangs a leaf from the Great Mongul (formerly Demoe) Shahnama. ere are several illuminated manuscripts kept under lock and key, and one of the great privileges of I Tai is to be shown the illustrated Anthology of Baysunghur, the princely hero of the book but also the incarnation of the Orientalist-Renaissance ideal that guided collectors and scholars at the opening of the twentieth century, a phenomenon studied by Priscilla Soucek in a perceptive article of . ese works have justly aracted aention. e great scholar of Islamic art, Richard Einghausen, studied them closely for his catalog of the Berenson Islamic collection, published in . e Great Mongol Shahnama from which Berenson’s leaf derives is treated in depth in a number of publications from the thesis of Mariana Shreve
12 Joseph Connors Simpson, through the monograph by Oleg Grabar and Sheila Blair, to the book by Robert Hillenbrand. Angelo Piemontesi treated the Persian manuscripts in an article of , while Gauvin Bailey wrote on the Islamic manuscripts in a pair of useful articles in Oriental Art in and . All these scholars concern themselves with the dating and aribution of the objects, but what remains to be studied is the place of Oriental art, and of a larger image of Islam and the Orient, in Berenson’s imagination, a task begun by Michael Rocke in an article of . Mario Casari, who teaches classical Persian literature at the University of Rome “La Sapienza,” explores Berenson’s interest in Islamic art. Berenson conceived of himself in this early period partly as a literary gure and partly as a philologist in the late nineteenth- century sense of the term, when language was seen as the key to culture. From his upbringing in the Jewish world of Lithuania, Berenson of course knew some Hebrew, but at Harvard he added courses in Sanskrit and Arabic. Had he been granted the Harvard traveling fellowship for which he applied in , to study Arabic in Berlin, he might have had a serious career in Oriental research, but instead he followed his literary bent and let the dicult languages lapse. His remained a romantic Orientalism. Casari illuminates the roots of this mentality in unpublished juvenilia from the Harvard period. Berenson’s openness to Islamic art (and Mary’s as well) came from a visit to the great Munich exhi- bition of . e enthusiasm for Islamic and especially Persian art, seen as an Oriental parallel to the patronage of the Medici, set o a phase of collecting lasting only a short time, from to . ere was much selling as well as buying, but I Tai retains a small but rened collection, with three illuminated Persian manuscripts and six detached min- iatures (four Persian and two Arabic) at its core. By , Berenson’s resources had become strained and he had ceased collecting Islamic and Oriental art. In any case, by that time the collection was largely closed, and only a handful of Western paintings entered I Tai in the s or later. His archaic and amateur Orientalism was beginning to become apparent to colleagues and specialists. As time passed, his aitudes hardened and skepticism of emerging postcolonial coun- tries in the Middle East set in, accompanied by an anti-Arab aitude over the founding of the state of Israel. Still, he continued collecting books on Islamic art. Newcomers to the Biblioteca Berenson oen note with surprise the existence of the Asian and Islamic Collection, now housed in two rooms in the Geier Library, containing a thousand exhi- bition and sales catalogues, , periodical volumes, and , books, many unique in Italy, as well as a set of the photographs of early Islamic architecture taken by K. A. C. Creswell, a project partially subsidized by Berenson. In the publication of the Sassea altarpiece carried out under the editorship of Machtelt Israëls in , Carl Brandon Strehlke, adjunct curator at the Philadelphia Museum of Art, contributed a penetrating essay on Berenson’s interest in the art of Asia, showing how Berenson absorbed the culture of Oriental art fostered in the Boston of his youth. Against this backdrop, it becomes easier to understand the rapturous parallel Berenson drew in between Buddhist and Franciscan spirituality. Perceptive visitors note that the three Sassea panels at I Tai stand amid a small collection of East Asian bronzes, reinforcing the point made in Berenson’s writings. One of the treasures of the
13 Introduction Berenson collection is the sixth-century Buddhist altar kept in the Signorelli Corridor amid Renaissance paintings and other Chinese objects dating from the third millennium to the nineteenth century. Strehlke continues and deepens this research in his essay for this volume. Berenson’s early Japonisme (as a Harvard student he had pronounced Hiroshige “beer than Whistler”) matured during his visit to the Museum of Fine Arts in Boston with Denman Ross to meet Ernest Fenollosa. At that visit, Chinese paintings of the twelh century sent all of them into rapture. On a visit to the Freer Gallery in Washington in , Berenson said that if he were starting out he would devote himself to the arts of China. In that year, he acquired the precious early scroll painting now exhibited in the Signorelli Corridor, Dancing Girls of Kutcha, then thought to date from the Tang dynasty. Mary at rst refused to share his enthusiasm for Asian art, and mocked the Javanese Buddha head from Borobodur and the Chinese saint which came from a Paris dealer in . But she converted to Oriental art in general aer the couple’s visit to the Islamic exhibition in Munich in . Berenson’s juxtaposition of Asian and Renaissance art was without paral- lel in the late Victorian world. Strehlke also traces Berenson’s long friendship with Yashiro Yukio. Berenson was introduced to this young art historian from Japan by Laurence Binyon in . Yashiro aspired to absorb the master’s critical methods and introduce them to Japan. Berensonian ideals and connoisseurship pervade Yashiro’s monograph of on Boicelli. Although contact was cut o during the war years, Yashiro’s loyalty remained rm. He dedicated his book, Years of Japanese Art, to Berenson in . He shepherded the Japanese transla- tion of Italian Painters of the Renaissance through the press in . It bore a dedication to Yashiro that Berenson composed before his death in . Stressing the analogy between Boicelli’s swi, ame-like modeling and Japanese line drawings, Berenson praised his one Asian disciple: “anks to you, my dear Yashiro, we Europeans have come to have subtler and more penetrating appreciation of the achievement of your countrymen and they of ours.”
The Protégés: Kenneth Clark, Arthur Kingsley Porter, Paul Sachs, Daniel Varney Thompson Jr. William Mostyn-Owen, one of the most authoritative and eloquent voices at the con- ference, fortunately managed to submit his essay before his death in . He came to know Berenson well as his amanuensis and condant for six years in the late s, and he published the complete bibliography of Berenson’s writings on the occasion of Berenson’s ninetieth birthday in . He writes with wit and subtlety on the relation- ship between Berenson and Kenneth Clark, lasting three decades, during which the devoted but sometimes reluctant disciple became, through his public role in Britain and through television, known to a far wider public than the scholar he acknowledged as his master. Clark came to I Tai in . Berenson took him on as assistant, not full collabora- tor, in the preparation of the second edition of the Drawings of the Florentine Painters. It was not the right role for Clark, and although the residence was long and the returns
14 Joseph Connors frequent, he felt the need to strike out on his own and make a career in the museum world in Britain. Still, Clark absorbed a great deal from Berenson, even while remaining open to other currents of thought, including those of Alois Riegl and Aby Warburg. eir leers show Berenson’s longing for a gure who might ll the role of spiritual son, while Clark, for all this admiration, maintained the distance of the disciple. Mostyn-Owen paints a de portrait of the two personalities, highlighting the dierences between Berenson, who, if he needed listeners, shunned publicity, and Clark, who needed the adulation of a large audience. Opening with the long obituary that Clark wrote of Berenson in the London Times in , he closes with Clark’s address at I Tai in . Clark told the assembled fellows that Berenson’s value as a critic was as high as John Ruskin’s, and that at the heart of his old books and dry lists there was learning, intelligence, sensibility, and faith in man, even if imperfectly expressed. Kathryn Brush is a medievalist who also writes on the origins and historiography of the eld in America and Germany. She is the author of a book on the Fogg Museum at Harvard University, the repository of the papers of one of its early professors of medi- eval art, Arthur Kingsley Porter. e Porter Archives are rich and vast, forming the basis of her forthcoming intellectual biography of this seminal gure in the historiog- raphy of medieval art in America. In the present volume, she studies the deeply imbri- cated friendship between Berenson and Porter, which spanned a gulf of wealth and class and traversed barriers now tacitly accepted between specialists of the Middle Ages and the Renaissance. Porter was an internationalist who disregarded modern frontiers as he charted the spread of medieval sculpture along the pilgrimage roads. Berenson’s early mission was to show his generation that one could live with the primitives, and Porter absorbed this lesson as a student at Yale, studying the famous Jarves collection of Italian painting while reading Berenson’s “Four Gospels.” Porter was wealthy, and his collecting followed Berenson’s lead, with Niccolò di Pietro Gerini and the early Sienese masters as his rst acquisitions. Porter modeled his corpus of Lombard churches on Berenson’s corpus of Florentine drawings. It was daring to take a format conceived for painting and rework it for architecture, but it worked well, and was later followed by Richard Krautheimer in his corpus of early Christian basilicas in Rome. Porter and Berenson explored Burgundy together aer the First World War, but it was Berenson’s inuence that nudged Porter away from the devastated regions of France to the pilgrimage roads, which Berenson explored for three months in before Porter had seen them in person. Porter, in turn, wheed Berenson’s appetite for the twelh century and provided him with material and ideas for his overarching study, never completed, of the decline and resurrection of form between Constantine and Gioo. Much later, Berenson’s short book on the Arch of Constantine, a fragment of the larger project pub- lished in , was dedicated to the memory of Porter and to that of Denman Ross, his mentor in Chinese art. Berenson was so fond of Porter that he invited him and his wife to live at San Martino a Mensola in and then loaned them the main villa at I Tai in the winter of – . Porter’s most famous book, Romanesque Sculpture of the Pilgrimage
Krautheimer et al. –.
15 Introduction Roads, was penned, in part, at Berenson’s desk. Porter the medievalist was, in Berenson’s eye, the ur-I Tai fellow, and as the concept of a center for Mediterranean art aer his demise took shape, Berenson thought of Porter as his successor. All this was cut short by the tragedy of Porter’s death, probably by suicide, in . David Alan Brown, curator of Italian painting at the National Gallery of Art in Washington, is himself a veteran of the famous Museum Course given over four decades at the Fogg Museum. He examines the gure who did most to shape that course between and , Paul Sachs. Both Sachs and Berenson were short, dapper men with a cos- mopolitan outlook, Jews whose exceptional abilities won them high positions in the art world and in society. Neither had studied art history in a university seing, though both aected the teaching of it profoundly. Sachs was more the popularizer, while Berenson was one of the most intellectually ambitious scholars of his time, but a bond of trust formed between them. Sachs was the rst person at Harvard to whom Berenson revealed his intention of bequeathing I Tai to his alma mater. Berenson lectured in Sachs’s course in , and his Rudiments of Connoisseurship and ree Essays in Method were required reading in addition to his lists. David Alan Brown also gives a prole portrait of a protégé whom Sachs sent to Berenson, John Walker, who stayed at I Tai for three years, from to . Like Clark, Walker went on to become head of a national gal- lery, and his inuence was important in insuring that the reluctant Harvard Corporation ultimately accepted Berenson’s bequest. Walker eventually le a lively picture of daily life at I Tai in his autobiography of , Self-Portrait with Donors. His successor at the National Gallery of Art, J. Carter Brown, le his own touching reminiscence of Berenson in the last years of his life in a preface to Hanna Kiel’s collection, Looking at Pictures with Bernard Berenson, in . Walker and Clark were gilded youths, but Berenson also maintained a warm friend- ship with an engineer and scientist from much further down on the social and academic scale, Daniel Varney ompson Jr. ( – ). Every Anglo-Saxon student of medieval painting will know something of pigments and techniques through the English transla- tion of Cennino Cennini’s Il libro dell’arte, published by ompson in and thereaer kept constantly in print. ea Burns, an I Tai fellow and, at the time of the confer- ence, a paper conservator at the Weissman Preservation Center of Harvard University, resurrected this forgoen and improbable friendship, which was maintained through leers up to the time of Berenson’s death. Berenson never aected an interest in the tech- niques of tempera and oil painting, which he dismissed along with his other bugbears, Germanic philology and American art appreciation. None added to the deeper aesthetic appreciation that was his life’s goal. To some extent, theirs is a dialogue of the deaf, with ompson constantly stressing that art cannot exist without crasmanship, and Berenson retorting that technical data was like prenatal information, irrelevant to a per- son’s biography. Nonetheless, the friendship somehow endured. ompson emerged as a key gure in establishing the laboratory approach to painting in England and America. He also wrote on colors and on the making of parchment, and helped to establish the text of several important medieval treatises on the arts in Latin and German. Burns con- trasts ompson’s purely philological approach with more modern methods that might
16 Joseph Connors question the literary genre of a text or the historical milieu in which it was wrien. is ompson did not aempt. He remained, however, the master of the medieval recipe, giving painstakingly exact translations of technical terms and experimenting with the processes described to see how they actually worked. What Berenson rebued, Harvard embraced. e Museum Course of Edward Forbes was an inspiration to ompson, and he, in turn, furthered the scientic analysis which eventually became a distinguishing mark of the culture of art history at the Fogg Museum.
Pietro and Carlo Alberto Foresti, Archer Huntington, Katherine Dunham Elisabea Landi uses the archives of the Landi-Foresti family to reconstruct a friendship and to sketch proles of a father and son who were major gures in the intellectual life of their native town, Carpi, during Berenson’s youth and maturity. Pietro Foresti was a protagonist of the “imagined, rediscovered Renaissance” of the later nineteenth cen- tury. His ambition as a collector is apparent in the rooms of Palazzo Foresti in Carpi, a worthy sibling of the more famous house museums of the time, such as the Bardini and Sacrati Strozzi in Florence and the Poldi Pezzoli and Bagai Valsecchi in Milan. Pietro Foresti was also involved in the founding of the Museo Civico of Carpi and subsidized the restoration of the vast Palazzo Pio di Carpi. His son, Carlo Alberto Foresti ( – ), moved to Milan and formed his own art collection and dealership. e paintings that passed through his gallery are studied here in the light of a correspondence with Berenson that lasted from to . Several are identied with the help of the “home- less” paintings section in the Berenson photographic archive. In the essay, local patrio- tism and civic pride intertwine with the world of collecting, dealing, and international trade in Old Masters. Mary Berenson’s charm and love of literature captured the aention of the man the Berensons most wanted to meet during their visit to the United States in –. Archer Huntington was one of the richest men in the country as well as a scholar of note, transla- tor of El Cid, and founder of the Hispanic Society of America. Isabelle Hyman, professor of Renaissance art and architecture at New York University, discovered the correspon- dence between Berenson and Huntington in the library of Syracuse University, which is the repository of the Huntington family papers. eir epistolary friendship lasted from until Archer’s death in . eir correspondence, unlike that which Berenson car- ried out with Isabella Stewart Gardner or Henry Walters, was not generally about the acquisition of works of art, but simply testimony to an enduring friendship. Huntington nominated Berenson for membership in the American Academy of Arts and Leers, and in his leer of thanks, Berenson reveals how important this American honor was for him as an expatriate. e Huntington archives also contain the journal of A. Hya Mayor, eventually the distinguished curator of prints at the Metropolitan Museum of Art in New York, during his visit as a young Oxford student to I Tai in – . It provides a rare glimpse into life at I Tai at the time of Berenson’s rapprochement with the exhaustingly talkative Vernon Lee and the arrival of Kenneth Clark. e editors of this volume, although immersed in Berensoniana as director and assis- tant director for programs at I Tai, chose to look not at Berenson as an art historian but
17 Introduction rather at his relationships with gures of contemporary culture in mid-twentieth-century America, personalities famous in their own right but seldom linked in the popular mind with I Tai. Ernest Samuels had already consecrated a few pages to the epistolary rela- tionship between Berenson and Ernest Hemingway. e two men never met, but they remained in touch by leer over the years to . Berenson was already in con- tact with Hemingway’s third wife, Martha Gellhorn, and greeted his fourth wife, Mary Hemingway, with “What number are you?” when she visited in . At Hemingway’s request, Berenson wrote a tribute for the dust jacket of e Old Man and the Sea, “this short but not small masterpiece.” e Hemingway leers are at I Tai. Louis Waldman discovered the Berenson half of the correspondence, and so was able to reconstruct one of the liveliest, and certainly the most profane, of the literary exchanges of Berenson’s later years; it is hoped that his ndings will soon be published in another format. As Samuels observed, Berenson took a good deal of pride in the variety of his nota- ble guests. Once, however, the parade of celebrities included someone who touched his heart. Katherine Dunham was an Afro-American social scientist trained in anthropology at the University of Chicago, but also a professional dancer and choreographer. Following eld research in Jamaica and Haiti in , she founded the rst black dance troupe in the United States and toured regularly on ve continents until . She was also the founder of dance anthropology as a eld. She sought out Berenson during a visit to Florence in or and maintained a correspondence with him until his death a decade leer. About leers testify to a loving friendship that ignored barriers of race and age and anchored Dunham’s career during a period of personal turmoil and global travel. When she revealed her plan to perform Southland, a ballet about lynching in America, in Paris in , Berenson advised against it. eir friendship briey cooled, but soon returned to a greater degree of intimacy than ever. Berenson’s relationship with Belle da Costa Greene a generation earlier had rapidly turned into a passionate aair with a woman who had, in eect, “passed” from her father’s world of black activism to white society. In con- trast, Katherine Dunham fully identied with her black heritage and campaigned vocally against discrimination. A world traveler with her dance troupe, in her long and beauti- fully craed leers she lent the aging Berenson an anthropologist’s eye though which to view the rapidly changing societies of Asia, Latin America, and even the United States. When an honorary doctorate was conferred on her by Harvard University in , at the age of , she cited Berenson as one of the major inuences on her life. e leers she and Berenson wrote to each other testify to the depth of a most unusual friendship.
18 Joseph Connors Bibliography
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406 Bibliography , ¸ . “Decorazione d®interni a Palazzo Foresti.” In Fondazione Umberto Severi. Vol. , Arte antica, edited by , – . Modena, . , ¸ . e Bernard Berenson Collection of Oriental Art at Villa I Ta i. New York, . , ° . Vincenzo Catena. Edinburgh, . , . Persian Drawings (Drawings of the Masters). New York, . , ., ed. “Necrology.” American Journal of Archaeology , no. ( ): – . , . “‘Una sorta di sogno d®estasi®: Bernard Berenson, l®Oriente e il patrimo- nio orientale di Villa I Tai.” In Firenze, il Giappone e lAsia Orientale, edited by and µ , – . Florence, . , . “Una cià all®alba dei tempi moderni: Aby Warburg a Firenze.” In Storia dellarte e politica culturale intorno al : La fondazione dellIstituto Germanico di Storia dellArte di Firenze, edited by ¨ , – . Venice, . ———. “Wahrmund, ein kleiner Gelehrter: Der Kulturhistoriker Aby Warburg wird in einem Renaissancedrama von Wilhelm Uhde lächerlich gemacht.” Frankfurter Allgemeine Zeitung, September , “Geisteswissenschaen” section. ———. “Von Bismarck bis Picasso: Wilhelm Uhde und die Geburt der Avantgarde.” In Ordnungen in der Krise: Zur politischen Kulturgeschichte Deutschlands – , edited by , – . Munich, . ——— . Florence : e Quest for Arcadia. Translated by . New Haven and Lon don, . , . “Connoisseurship and Photography: e Methodology of Mojmir Frinta.” In Art History through the Cameras Lens, edited by ¶. , – . Langhorne, . , , ed. La ci à del principe. Semper e Carpi: A ualità e continuità della ricerca. Pisa, . ——— , e d . Alberto III e Rodolfo Pio da Carpi collezionisti e mecenati. Tavagnacco, a. ———. “Un pubblico enorme assisteva alla magnica festa d®arte.” In Alle origini del museo – : La donazione Foresti nelle collezioni di Carpi, edited by and · , –. Carpi, b. ——— , e d . Rare pi ure: Ludovico Carracci, Guercino e larte nel seicento a Carpi. Exhibition catalog. Carpi, . , , and ¶ µ. Il palazzo dei Pio a Carpi: Se e secoli di archite ura e arte. Venice, . , , and · , eds. Alle origini del museo –: La donazione Foresti nelle collezioni di Carpi. Carpi, . ¨ , . “Kamal al-Din Bihzad and Authorship in Persianate Painting.” Muqarnas ( ): – . , · . “Bernard Berenson, Villa I Tai, and the Visualization of the Italian Renais- sance.” In Gli Anglo-Americani a Firenze: Idee e costruzione del Rinascimento, edited by ¥ , – . Rome, a. ———. “Portrait of a Lady: Isabella Stewart Gardner, Bernard Berenson, and the Market for Renaissance Art in America.” Apollo (September b): – . , . Picasso and Braque: Pioneering Cubism. Boston, . , ¥. La raccolta Berenson. Milan, . Published in English as e Berenson Collection, Milan, . , ¶ . Orientalism. New York, . , . “Spigolature d®arte toscana.” Larte ( ): – . µ , . Old Masters, New World: Americas Raid on Europes Great Pictures, – World War I. New York, . ———. “‘e Finest ings®: Colnaghi, Knoedler, and Henry Clay Frick.” In Colnaghi: e History, edited by , –. London, .
407 Bibliography , ¶ . Bernard Berenson: e Making of a Connoisseur. Cambridge MA, . ——— . Bernard Berenson: e Making of a Legend. Cambridge MA and London, . , ¥ · . Meisterwerke muhammedanischer Kunst auf der Ausstellung München . . . . Photographische original-aufnahmen . . . die in dem grossen Ausstellungswerk von Sarre-Martin nicht veröentlicht sind. Munich, . , . Adolf von Hildebrand und seine Welt: Briefe und Erinnerungen. Munich, . µ , , with contributions from ° . Ludwig Monds Bequest: A Gi to the Nation. London, . Ç, -. Die Kulturwissenschaliche Bibliothek Warburg: Geschichte und Persön lichkeiten der Bibliothek Warburg mit Berücksichtigung der Bibliothekslandscha und der Stadtsituation der Freien und Hansestadt Hamburg zu Beginn des . Jahrhunderts. Berlin, . , ¸ , and ¶ , eds. Meyer Schapiro: His Painting, Draw ing, and Sculpture. New York, . , . “Mr. Berenson®s Values.” Encounter (January ): – . , . Zwischen Empnden und Denken: Aspekte zur Kunstpsychologie von Aby Warburg. Münster, . , . “Ungestra unter Palmen: Freud in Italien.” In Vorträge aus dem Warburg- Haus, by Æ ¥ et al., : – . Berlin, . , · , and . Aby M. Warburg und die Ikonologie. Wiesbaden, . , . Culture and Enchantment. Chicago, . , . e World as Will and Representation. Translated by ¶. ¥. . ·. Vol. . New York, . , · . Cassoni: Truhen und Truhenbilder in der Italienischen Frührenaissance; Ein Beitrag zur Profanmalerei im Qua rocento. Leipzig, . , °. Mia avventura. Milan, . , . Being Bernard Berenson: A Biography. New York, . Reprinted London, . ——— . Kenneth Clark: A Biography. London, . ——— . Duveen: A Life in Art. New York, . , ¸ . “Arthur Kingsley Porter: Life, Legend, and Legacy.” In e Early Years of Art History in the United States, edited by and · . ¸ , – . Princeton, . - , . e Art of Scandal: e Life and Times of Isabella Stewart Gardner. New York, . , ¥ . Paintings om the Samuel H. Kress Collection: Italian Schools, XIII–XV Century. London, . ——— . Paintings om the Samuel H. Kress Collection: Italian Schools, XV–XVI Century. London, . ——— . Paintings om the Samuel H. Kress Collection: Italian Schools, XVI–XVIII Century. London, . , . J. B. S. Selected Writings. London, . , . “Lo studio Brogi a Firenze: Da Giacomo Brogi a Giorgio Laurati.” ATF: Semestrale dellArchivio Fotograco Toscano; Rivista di storia e fotograa , no. (December ): – . , . Artful Partners: Bernard Berenson and Joseph Duveen. New York, . ——— . e Partnership: e Secret Association of Bernard Berenson and Joseph Duveen. London, . , . e Illustration of an Epic: e Earliest Shahnama Manuscripts. New York, . ², . A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University. New Haven, . ——— . e Chinese on the Art of Painting. Beijing, .
408 Bibliography ——— . Gardens of China. New York, . ——— . China and Gardens of Europe of the Eighteenth Century. New York, . ——— . Chinese Painting: Leading Masters and Principles. vols. London and New York, –. , ¸ · . Reperusals and Re-Collections. New York, . ——— . Unforgo en Years. Boston, . , ¸ · , with and (- ). “Altamura.” e Golden Urn ( ): – . , . “Katherine Dunham: African-American Dancer, Choreographer, Anthropolo- gist, Activist, and Vodoo Priestess.” Guardian, May . , . Against Interpretation. London, . , · . “Walter Pater, Bernard Berenson, and the Reception of Persian Manuscript Illustration.” Res: Anthropology and Aesthetics (autumn ): – . µ, . Oriental Rugs in Renaissance Florence. Florence, . , . Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Florence, . ——— . Ma ia Preti: Catalogo ragionato dei dipinti. Florence, . , ° . Sosta a Carpi. Modena, . , ¯. Ribera: Lopera completa. Naples, . , ¥¨. “Carlyle and Warburg: e Dynamics of Culture as a ‘Process of Devastation and Waste.®” In Cultures in Process: Encounter and Experience, edited by and ° , – . Bielefeld, . , . Das Leben und die Lehre des Mohammad. vols. Berlin, . , . Berenson: A Biography. London, . , . “Marco del Buono and Apollonio di Giovanni: Cassone Painters.” Bulletin of the Allen Memorial Art Museum, Oberlin College ( ): – . , , and ¸ . “Un dipinto cinese.” Dedalo , anno ( – ): – . , . “Artifact as Ideology: e Aesthetic Movement in Its American Cultural Context.” In In Pursuit of Beauty: Americans and the Aesthetic Movement, edited by , – . New York, . , . “L®impresa di Warburg.” In Aby Warburg: La diale ica dellimmagine, edited by , / :– . Milan, . ——— . “ Aby Warburg in America Again, with an Edition of His Unpublished Correspondence with Edwin R. Seligman ( – ).” Res: Anthropology and Aesthetics ( ): – . ——— . “ Aby Warburg®s Pentimento.” Yearbook of Comparative Literature , no. ( ): – . , , and , eds. Mary Berenson: A Self-Portrait om Her Le ers and Diaries. London, . , . “Bernhard and Mary Berenson, Herbert P. Horne, and John G. John- son.” Prospe iva – (April –October ): – . ——— . Italian Paintings – in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, . ———. “Berenson, Sassea, and Asian Art.” In Sasse a: e Borgo San Sepolcro Altarpiece, edited by Ì , :– . Florence and Leiden, . , . Morgan: American Financier. New York, . , . “Persian Enchantment.” Financial Times, August . , . Voyage en Italie: Florence et Venise. Paris, . , . “A Twentieth-Century Dream with a Twenty-First-Century Outlook: Yashiro Yukio, a Japanese Historian of Western Art, and His Conception of Institutions for the Study of East Asian Art.” In Asian Art in the Twenty-First Century, edited by  ¯. , – . Williamstown, . , . Collezioni darte tra o ocento e novecento: Jacquier fotogra a Firenze, – . Naples, .
409 Bibliography , . “Temi profani e piura narrativa in Giovanni Bellini.” In Giovanni Bellini, exhibition catalog, edited by ¸ and ° ¥ Â, –. Milan, . , . “e Courtauld Institute of Art – .” Courtauld Institute of Art News ( ): –. , Â, . “e ‘Schedula® of eophilus Presbyter.” Speculum ( ): – . ——— . “ ‘ Ricepte d®aare piu colori® of Ambrogio di Ser Pietro da Siena.” Archeion ( ): – . ———. “e Study of Medieval Crasmanship.” Bulletin of the Fogg Art Museum ( ): –. ——— . Review of Technik des Kunsthandwerks im zehnten Jahrhundert, by Wilhelm eobald. Speculum ( ): – . ——— . e Practice of Tempera Painting. New York, . First published . ———. “eophilus Presbyter: Words and Meaning in Technical Translation.” Speculum ( ): –. ———. “Story of a Drop-Out.” Lawrentian ( e Lawrenceville Alumni Bulletin) ( ): – . , Â, ., and ° . An Anonymous Fourteenth- Century Treatise, De arte illuminandi: e Technique of Manuscript Illumination. New Haven, . , ¸ . “A Second Critique of English-Speaking Orientalists and eir Approach to Islam and the Arabs.” Islamic Quarterly ( ): – . , ¶ . “Dialectics of Modernity: Reenchantment and Dedierentiation as Counter processes.” In Social Change and Modernity, edited by and ¯ , – . Berkeley, . , ¥ . La pi ura umbra dal duecento al primo cinquecento. vols. Milan, . , . Tra ati medievali di tecniche artistiche. Milan, . , · ·. “Vetrine giapponesi.” In Carducci e DAnnunzio: Saggi e postille, – . Rome, . , . Rinascimento Americano: Bernard Berenson e la collezione Gardner – . Naples, . ——— . Berenson e Lo o: Problemi di metodo e di storia dellarte. Naples, . , ¯ °. “Telemaco Signorini and Macchiaioli Giapponismo: A Report of Re search in Progress.” Art Bulletin ( ): – . Æ , . Am Grabe der Mediceer: Florentiner Briefe über deutsche Kultur. Dresden, . ——— . Paris: Eine Impression, Berlin, . ——— . Picasso et la tradition ançaise. Paris, . ——— . Von Bismarck bis Picasso. Zurich, . New edition . Æ Í, ¸. Turkman Governors, Shiraz Artisans, and O oman Collectors: Sixteenth Century Shiraz Manuscripts. Istanbul, . Æ , . Philologie und Geschichtswissenscha. Bonn, .  , . “Alcuni contemporanei nlandesi di Lionello Venturi: Osvald Sirén, Tancred Borenius, Onni Okkonen.” Storia dellarte ( ): – .  , . Reading Orientalism: Said and the Unsaid. Seale, .  , . “Ritrao di dama di Paolo Veronese.” Larte (July ): f. IV, vol. III, n.s., – .  , ¸. Pi ure italiane in America, illustrate da Lionello Venturi. Milan, . English edition New York, . ——— . Storia della critica darte. Florence, .  , . “Islamic Art and Architecture: An Overview of Scholarship and Collecting, c. –c. .” In Discovering Islamic Art: Scholars, Collectors, and Collections, – , edi- ted by  , – . London and New York, .
410 Bibliography  , ¸ . “Bernard Berenson: Early Italian and Oriental Art.” In Great Private Collections, edited by , –. London, . ——— . “ I Tai.” Antichità viva: Rassegna darte , no. ( a): –. ——— . “ La raccolta Berenson di pagine e codici miniati.” Antichità viva: Rassegna darte , no. ( b): – .  -¯± , , and . Journal de voyage en Egypte: Roberto Morra di Lavriano et son journal de voyage. Paris, .  , . Aby Warburgs eorie der Kultur: Detail und Sinnhorizont. Berlin, .  , . Über das optische Formgefühl: Ein Beitrag zur Aesthetik. Leipzig, . Â, . “e Religious Meaning of Marius the Epicurean.” Nineteenth Century Fiction ( ): – .  , . “Una ‘Crocissione® di Jacobello del Fiore.” Arte antica e moderna ( ): .  , . Le Corbusier: Elements of a Synthesis. Revised and expanded version. Roerdam, . , . Self-Portrait with Donors: Confessions of an Art Collector. Boston and Toronto, . , . “Boicellis ‘Geburt der Venus® und ‘Frühling.®” PhD diss., Hamburg and Leipzig, . ——— . Ausgewählte Schrien und Würdigungen. Edited by . Baden-Baden, . ——— . e Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance. Los Angeles, . ——— . Der Bilderatlas Mnemosyne, edited by in collaboration with . Reprinted in Gesammelte Schrien: Studienausgabe. Vol. , no. . Berlin, . ——— . Tagebuch der Kulturwissenschalichen Bibliothek Warburg mit Einträgen von Gertrud Bing und Fritz Saxl, edited by and -° . Reprinted in Gesammelte Schrien: Studienausgabe. Vol. . Berlin, . , . “Bode and the British.” In Jahrbuch der Berliner Museen. Vol. . Beihe, . , . A Legacy of Excellence: e Story of Villa I Ta i. With photographs by ¥ and µ. New York, . , . “‘Wort und Bild®: Aby Warburg als Sprachbildner.” In Ekstatische Kunst Besonnenes Wort: Aby Warburg und die Denkräume der Ekphrasis, edited by · , – . Bozen, . , ° . Muhammad der Prophet, sein Leben und seine Lehre. Stugart, . , ². “Vernon Lee, Bernard Berenson, and Aesthetics.” In Friendships Garland: Essays Presented to Mario Praz on His Seventieth Birthday, edited by  °, : – . Rome, . , ¶. e Paintings of Titian. Vol. , e Portraits. London, . , ¶ . A Backward Glance. New York, . , . Metahistory: e Historical Imagination in Nineteenth-Century Europe. Baltimore and London, . , . “Arthur Kingsley Porter ( – ).” Harvard Alumni Bulletin ( No vem ber ): – . µ, , ed. Mir tanzt Florenz auch im Kopfe rum: Die Villa Romana in den Briefen von Max Klinger an den Verleger Georg Hirzel. Berlin and Munich, . , . Aby M. Warburgs Methode als Anregung und Aufgabe. Göingen, . Å , Ï. ル ネッサンスの イタリア 画 家 . Tokyo, . Å Å . Sandro Bo icelli. London and Boston, . ——— . Years of Japanese Art, edited by · . . New York, . Å , , and . . Oriental and Islamic Art in the Isabella Stewart Gardner Museum. Boston, .
411 Bibliography Å ¸ , . “e Acquisition of the Wegener Collection of Chinese Paintings by the British Museum.” e Burlington Magazine CLV, no. ( ): – . ¹ µ , . Frederick Law Olmsted and the Boston Park System. Cambridge MA, . ¹ , . I pi ori di Ercole I° dEste: Giovan Francesco Maineri, Lazzaro Grimaldi, Dome- nico Pane i, Michele Coltellini. Milan, . ¹ , · µ, and µ ¯ . Filippino Lippi. Milan, . ¹, ¥ . “Una precisazione su Bicci di Lorenzo.” Paragone , no. ( ): – . ——— . Diari di lavoro . Turin, . ———. “Una sala Alitalia ad Assisi nel sacro Convento: Le opere più belle della collezione Mason Perkins.” Giornale dellarte ( ): . ¹µ, . “‘Figures Reected in the Clear Lagoon®: Henry James, Daniel and Ariana Curtis, and Isabella Stewart Gardner.” In Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle, edited by , – . Boston, .
412 Bibliography Contributors
alison brown Brown is emerita professor of Italian Renaissance history at Royal Holloway, University of London. Her recent books include e Return of Lucretius to Renaissance Florence ( ) and Medicean and Savonarolan Florence ( ), with forthcoming essays on “Piero de’ Medici in Power,” “Dening the Place of Academies in Florentine Politics and Culture,” “Lucretian Naturalism and the Evolution of Machiavelli’s Ethics,” and “Leonardo, Lucretius, and eir Views of Nature.” dav id alan brown Brown is curator of Italian paintings at the National Gallery of Art in Washington, where he has organized many international loan exhibitions, including Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting ( ). Brown’s monograph on Andrea Solario earned him the Salimbeni Prize, Italy’s most distinguished award for art books, in . His study Leonardo da Vinci: Origins of a Genius ( ) won the Sir Bannister Fletcher Award in for the most deserving book on art or architecture. In recognition of his achievement in furthering the appreciation of Italian culture, Brown was awarded the Order of Merit of the Republic of Italy in . kathryn brush Brush earned her PhD at Brown University; she is professor of art history in the depart- ment of visual arts at the University of Western Ontario, Canada. Her research focuses on Romanesque and Gothic art, medieval sculpture, the historiography of cultural- historical thought, and histories of museums, archives, and art collecting. Her books include e Shaping of Art History: Wilhelm Vöge, Adolph Goldschmidt, and the Study of Medieval Art ( ) and Vastly More than Brick and Mortar: Reinventing the Fogg Art Museum in the s ( ). She recently organized an exhibition, with accompanying book, on Mapping Medievalism at the Canadian Frontier ( ). Currently, she is prepar- ing a book that explores the scholarly imagination of the pioneering American medi- evalist Arthur Kingsley Porter.
413 thea burns Burns received her PhD from the Courtauld Institute of Art, University of London; her MAC from the art conservation program, Queen’s University, Kingston, Ontario; and her BA (honors, rst class) from McGill University, Montreal. She received a cer- ticate in paper conservation from the Center for Conservation and Technical Studies, now Straus Center, Harvard University Art Museums. She served as Helen H. Glaser Senior Paper Conser vator for Special Collections in the Weissman Preservation Center, Harvard College Library, as associate professor in the art conservation program, Queen’s University, and as a conservator in private practice. She has published in numerous pro- fessional journals and conference postprints. She is the author of e Invention of Pastel Painting ( ) and e Luminous Trace: Drawing and Writing in Metalpoint ( ); she is currently an independent scholar.
mario casari Casari studied Persian and Arabic languages in Italy and the Middle East, and obtained his PhD in Iranian studies at the Istituto Universitario Orientale, Naples. He is lecturer in Arabic language and literature at the Italian Institute of Oriental Studies, University of Rome “La Sapienza.” His research deals with cultural relations between Europe and the Islamic world from late antiquity to the modern age. He has published a number of stud- ies concerning the transmission of narrative works in the Arabic and Persian traditions in particular the Alexander Romanceand on the circulation of literary, iconographic, and scientic themes between East and West. In , he was awarded the Al-Farabi- UNESCO prize for his book Alessandro e Utopia nei romanzi persiani medievali ( ). For his research on Oriental studies in Renaissance Italy, he was made Andrew W. Mellon Fellow at I Tai in –, where he became acquainted with the Berenson Archive.
robert colby Colby holds a PhD in art history from the Courtauld Institute of Art. He is currently working on a book about Bernard Berenson’s aesthetic utopia, Altamura. In , he held a Craig Hugh Smyth Visiting Fellowship at Villa I Tai. In , he received a Franklin Research Grant from the American Philosophical Society. He is currently a fellow at the Institute for the Arts and Humanities at the University of North Carolina at Chapel Hill.
joseph connors Connors, a New Yorker by birth and formation, earned his doctorate in at Harvard University and has taught Renaissance and baroque art at the University of Chicago, Columbia University, and Harvard University. He was director of the American Academy in Rome from to and of Villa I Tai from to . He has held fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and the American Council of Learned Societies; he has published books on Francesco Borromini, Roman urban history, and Giovanni Baista Piranesi.
414 Contributors robert and carolyn cumming Robert Cumming is an adjunct professor of the history of art at Boston University. Educated at the University of Cambridge, he worked for the Tate Gallery and was then responsible for founding and running Christie’s Education. In , he joined Boston University to lead its London campus. He and his wife Carolyn, who is an independent scholar and garden designer, have devoted many years to the study of connoisseurship and the Berenson circle. Carolyn Cumming, who is high sheri of Buckinghamshire and fellow of the Royal Society of Arts, has supported the Buckinghamshire and Milton Keynes Community Foundations by horse riding from the north to south of the county to raise funds for charities that support families and children. jeremy howard Howard is head of research at Colnaghi and senior lecturer in the history of art at the University of Buckingham, where he heads the department of art history and heritage studies. He studied English at Oriel College, Oxford, and Italian Renaissance art at the Courtauld Institute of Art. Aer working for thirteen years in the London art market, he taught history of art for ten years at the University of Buckingham and for three years at Birkbeck, University of London, before rejoining Colnaghi as head of research in . He also runs an MA program in eighteenth-century interiors and decorative arts in collabora- tion with the Wallace Collection. His research interests lie mainly in the eld of British eigh- teenth-, nineteenth-, and early twentieth-century collecting and the development of the London art market. Recent publications include Frans Hals’s St. Mark: A Lost Masterpiece Rediscovered ( ), Cranach ( ), Colnaghi: e History ( ), and “Titian’s Rape of Europa: Its Reception in Britain and Sale to America” ( ). isabelle hyman Hyman is professor emerita in the department of art history at New York University, where she taught for forty years. She received her BA from Vassar College, her MA from Columbia University, and her MA and PhD in art history from New York University’s Institute of Fine Arts. Her elds of specialization are the history of architecture, Italian Renaissance art and architecture, and the architecture of Marcel Breuer. She has been the recipient of a Guggenheim Fellowship and a grant from the Graham Foundation for Advanced Studies in the Fine Arts; she was Kress Fellow at Villa I Tai in –. She was Robert Sterling Clark Visiting Professor at Williams College, and for several terms served as editor and coeditor of the College Art Association’s scholarly monograph series. In addition to articles and reviews, she is the author of Brunelleschi in Perspective ( ), Fieenth-Century Florentine Studies: Palazzo Medici and a Ledger for the Church of San Lorenzo ( ), and Marcel Breuer, Architect: e Career and the Buildings ( ) the laer was one of two winners in of the Alice Davis Hitchcock Book Award given annually by the Society of Architectural Historians for “the most distinguished work of scholarship in the history of architecture.” She is also coauthor with Marvin Trachtenberg of Architecture: From Prehistory to Postmodernity ( ). She has served
415 Contributors on the boards of the College Art Association, the Society of Architectural Historians, the Friends of the Vassar Art Gallery, and the Muscarelle Museum at the College of William and Mary.
elisabetta landi Landi, an ocial in the national heritage administration, is the granddaughter of the col- lector Carlo Alberto Foresti; she studied medieval and modern art at the University of Bologna. She focuses on the history of collecting, especially that of Carlo Alberto and Pietro Foresti, as well as the laer’s connection with Adolfo Venturi, and the patronage of the artist Giovanni Muzzioli. She has published numerous articles on the baroque and neoclassical decorations of Emilia-Romagna, specically on Stefano Orlandi, including his entry in the Dizionario Biograco degli Italiani. She has also studied the iconography and iconology of Pomona, Venus, and Heliades, and emblematic literature. Her current research is on mystical and ascetic women. She also contributes to several scholarly jour- nals and organizes conferences.
william mostyn- owen Mostyn-Owen, who died on May , was introduced to Bernard Berenson and I Tai by Rosamond Lehmann in the autumn of and acted as Berenson’s assistant until the connoisseur’s death in , working on the revision of Lorenzo Lo o and, with Luisa Vertova, on the Venetian and Florentine Lists. He compiled the Bibliograa di Bernard Berenson ( ) and was instrumental in obtaining Harvard University’s acceptance of the villa. He joined the Old Master department of Christie’s, London, in , was appointed a director at Christie’s in , and was made chairman of Christie’s Education in . He retired in .
bernd roeck Roeck studied history and political science at the University of Munich, where he earned his PhD in . ereaer, he was a fellow of the Leibniz Institute of European History (Mainz) as well as scientic assistant at the University of Munich. In , he obtained his habilitation with a study on the city of Augsburg during the irty Years’ War. From to , he was director of the Centro Tedesco di Studi Veneziani in Venice. From to , he held the chair of medieval and modern history at the University of Bonn; from to , he was on leave and lled the position of secretary general of the Villa Vigoni Association in Loveno di Menaggio, Italy. Since , he has held the chair of modern his- tory at the University of Zurich, Switzerland. His work covers the artistic, cultural, and social history of the irty Years’ War and the European Renaissance.
dietrich seybold Seybold, independent scholar at Basel, has, aer completing his PhD at the University of Basel ( ), carried out research in the areas of history and art history. His book on Leonardo da Vinci and the Oriental world ( ) has reexamined the myth of Leonardo
416 Contributors traveling to the East and provided the rst overview on all Oriental references in Leonardo’s life, notes, and oeuvre. His main area of research is now the history of connois- seurship, with a forthcoming biography of the Leonardo scholar and pupil of Giovanni Morelli, Jean Paul Richter ( – ), as well as a brief history of the painting collection of Henriee Hertz, commissioned by the Bibliotheca Hertziana ( , in Italian). carl brandon strehlke Strehlke, adjunct curator of the John G. Johnson Collection at the Philadelphia Museum of Art, is the author of the catalog of that collection’s early Italian paintings. He has been involved in exhibitions on Sienese Renaissance art, Fra Angelico, Pontormo, and Bronzino at both the Philadelphia Museum of Art and the Metropolitan Museum of Art. He is chief editor of the forthcoming catalog of paintings in the Bernard and Mary Berenson Collection at Villa I Tai. claudia wedepohl Wedepohl (PhD, University of Hamburg) is an art historian who joined the sta of the Warburg Institute in . Since , she has been the institute’s archivist. Her research focuses on two elds: the reception of late antique models in eenth-century Italian art and architecture, and the genesis of Aby Warburg’s cultural theoretical notions. She is the author of In den glänzenden Reichen des ewigen Himmels: Cappella del Perdono und Tempie o delle Muse im Herzogpalast von Urbino ( ), coeditor of Aby M. Warburg’s Per Monstra ad Sphaeram: Sternglaube und Bilddeutung ( ; Italian edition, ), and coeditor of the multivolume edition of Aby Warburg’s collected writings, Gesammelte Schrien, Studienausgabe ( –).
417 Contributors
Index
Page numbers in italics indicate illustrations.
Abbo, Senda Berenson (sister of Bernard Alte Pinakothek, Munich, Berenson), , Altman, Benjamin, Adams, Henry, Altman, Robert, , , aestheticism: Dionites, “Altamura,” and e American Academy of Arts and Leers, Golden Urn, – , , , – , – ; Bernard Berenson®s membership in, Islamic art and culture and, – , American, Bernard Berenson®s self- ; Panofsky®s condemnation of, ; identication as, – , Il Piacere (D®Annunzio, ) and aes- e American Scene (James, ), thetic movement in Italy, ; Warburg®s “Amico di Sandro” (Berenson, ), rejection of, , , , Amori (Dossi, ), , Aesthetics and History (Berenson, ), , Ānanda statue (Chinese, Northern Qi , – , dynasty, ca. ), , Aga-Oglu, Mehmet, , Anderson, Jaynie, Agnew®s (art gallery), , Andreas-Salomé, Lou, Ailey, Alvin, Anet, Claude, , Alberti, Guglielmo degli, – Angelelli, Walther, , Alberti, Leon Baista, Anglo-Catholicism, –, Alberti Lamarmora, Annunciation (Boicelli), n Alessandro Filipepi, Commonly Called Sandro Annunciation (arib. Catena), Pio chapel, Bo icelli (Horne), , Carpi, Algeria: Bernard Berenson®s travels in, ; Annunciation (Lippi), Bernard Berenson®s views on revolt against Annunciation (Masolino da Panicale, the French, – ca. / ), , Allendale Nativity (Giorgione), Annunciation (Scarsellino), Allegory (Bellini), Anrep, Baronessa Alda von, Allen, Marion Boyd, Anstruther-omson, Clementina Caroline Alliata di Salaparuta, Topazia, (Kit), Altamura Garden Pavilion, Fenway Court, Anthology (Prince Baysunghur), , , , – , – ; artistic and cultural evo- – lution of Gardner and, –, , ; as Apollo (Reinach, ), “carriage house,” , , , , –, ; Apollonio di Giovanni, n , , , design and construction of, , –, , , , –, ; Dionites, “Altamura,” and “Apologia of an Art Historian” (Clark, ), e Golden Urn, – , – , – , , – –, , –, , –, ; Monte e Archangel Gabriel (Sco, aer Boicelli, Oliveto Maggiore and, , –, ; ), postcard of Bari Gate, Altamura, inspiring, Architecture of the Renaissance in Italy , – , , ; purpose of, , , – , (Burckhardt), , ; Tremont Entrance to Olmsted®s Ardizzone, Heidi, Back Bay Fens and, – , , Aretino, Spinello,
419 “Ariosto” (Titian), now called Man with a Barberino Master, n Quilted Sleeve or Portrait of Girolamo (?) Bardini, Stefano, –, Barbarigo, , Barr, Alfred H., Jr., , Aristotle with a Bust of Homer (Rembrandt), Bassei, Marcantonio, Bathing Woman (Cézanne), Armenian miniatures, Bernard Berenson®s Ba le of the Sea Gods (Mantegna), – brief interest in (ca. ), n Baudelaire, Charles, , Arnold, Mahew, Baysunghur, , , , – Art and Illusion (Gombrich, ), , Beaton, Cecil, arts and cras movement, Beay, Talley, , , Ashburnham, Lord, –, “Beauty and Ugliness” (Lee, ), n , Asian art, – , – ; Berenson, Mary, – on, , , , – , ; Clark and, Beecher, Henry Ward, , ; collected by Bernard Berenson, Begarelli, Antonio, – , – ; comparisons between Behzad, , Western art and, – , , , , Beit, Sir Alfred, , , , n ; Fenollosa®s inuence Bella Nani (Veronese), on Bernard Berenson regarding, , , Belle Ferronière (da Vinci), – , , , n; Franciscan and Bellini, Gentile, Buddhist spirituality, Bernard Berenson®s Bellini, Giovanni, , , , , – , comparison of, , – , , ; limita- – tions of Chinese art, Bernard Berenson on, Bellini, Jacopo, , – , n; Sassea altarpiece and, – , , Benzoni, Giuliana, n , , , , , n , ; Sienese art Berenson and the Connoisseurship of Italian and, – , , – ; Sirén and, – Painting (exhibition, National Gallery of ; ompson on Fogg Museum®s China Art, Washington, ), , Expeditions, – ; in Villa I Tai®s “Berenson at Harvard: Bernard and Mary as interior decoration, , –, – ; Students” (virtual exhibition, Villa I Tai, Western vogue for, , – , , ; ), Yashiro Yukio and Bernard Berenson, Berenson, Bernard, – ; as agent and dealer, n , – , ; American Academy of Arts and Leers, Aspertini, Amico, membership in, , – ; American, Assing, Ludmilla, self-identication as, – , ; art Assisi, Bernard Berenson®s experience of collection of, ; “Bernard Berenson color in, n at Fiy” conference (October ), At the Seashore (Conder), ; Catholicism, conversion to, , ; avant-garde, Florence and emergence of, , childlessness of, ; connoisseurship – , , – of, – (See also connoisseurship of Azzolini, Tito, Berenson); correspondence of, –, –, , (See also specic correspondents); cri- Back Bay Fens, Boston, – , tical reception of ( – ), –; death Bagnacavallo, , of ( ), , ; education at Harvard, , Baigneuse Blonde (Renoir), , – , ; fascism, opposition to, , Balanchine, George, n , , –, n ; Florence of, Balbo, Italo, – , – (See also Florence, ca. ); Baldi, Bernardino, n Gardner and, – (See also Altamura Ballet Nègre, Garden Pavilion, Fenway Court; Gardner, Ballets Russes, Isabella Stewart); Hemingway and, ; Balzac, Honoré de, Herrick novel, response to, – ; Islamic Bambach, Carmen, and Asian art, interest in, – (See Banti, Anna, also Asian art; Islamic art and culture); Baptism of Christ (Calvaert), , Jewishness of, , , , , n , , , , Barbantini, Nino, , – , ; legacy of, ; marriage
420 Index of, , , ; modern art, aitudes toward, n ; ree Essays in Method ( ), , , , , , , , , – ; Museum n , ; e Venetian Painters of the Course, Fogg Museum, Harvard, and, Renaissance ( ), , , , , , – ; on Nazism, – ; Parker – , , n ; on Venetian painting Traveling Fellowship application, rejec- in New Gallery ( ), . See also lists tion of ( ), , , n, – , n; compiled by Bernard Berenson photographs, use of, , – , ; pro- Berenson, Mary (née Smith, then Mary tégés of, – , n , – (See also Costelloe; wife): Dionites, “Altamura,” specic protégés); public aention, dislike and e Golden Urn, – , – , , , of, ; publishing and writing inhibitions , , – ; art trade, encouragement of, , n , n , ; scholarship of Bernard Berenson to enter, n , ; of, –; tactile values, concept of, – , Asian art and, , , , – , ; – (See also tactile values); technical cassone panel from Jarves collection, Yale aspects of art, lack of interest in, , , University, aribution of, , – , ; – ; Warburg and, – , – (See childlessness of, ; Clark and, – , also Warburg, Aby); women and, , , , , , , n ; correspondence n, , , –, – , of Bernard Berenson and, ; death of Berenson, Bernard, photographs of: in ( ), ; on owers in dining room chaueured automobile with Mary, Italy at I Tai, ; Gutekunst and Colnaghi (ca. ), , ; with Clark ( ), ; Gallery, –; Herrick novel, response with Dunham (ca. ), , ; in hall to, – ; on Hildebrand, , n ; of I Tai ( ), ; with Maraini family Huntington, Archer, and, , –, , ( ), ; with Morra ( ), ; with , , ; on Islamic art and culture, Mostyn-Owen in garden of I Tai ( ), , , , – nn– , , n , ; in Poggio allo Spino ( ), ; in – n , n , n , – ; study at I Tai ( and ), , ; James, William, and, , , ; “Life traveling in Islamic world ( –), of BB,” n , n ; linguistic abilities – ; with Walker ( ), , ; of, ; list of Bernard Berenson®s rea- writing in bed (n.d.), ding maer ( ), , n , n ; Berenson, Bernard, works of: Aesthetics marriage to Bernard Berenson, , ; and History ( ), , , – , ; marriage to Frank Costelloe, , ; “Amico di Sandro” ( ), ; on Arch of Mayor, A. Hya, and, , , ; Morra Constantine, ; Central Italian Painters and, ; Obrist and, ; photographs of, of the Renaissance ( ), , , n, , ; Porters and, ; as public spe- , , n ; Drawings of the Florentine aker, – ; Richter and, , n ; as Painters ( ), , , , , , n , student at Harvard, ; tactile values and, , – , , , ; Florentine , , – ; typewriters given to, , Painters of the Renaissance ( ), , , ; Walker and anthology project, ; , , , , , , , , n ; on wealthy clients, , –; Yashiro “Ghazel: ought and Temperament” Yukio and, – , n , n (poem), , – ; Italian Painters of Berea, Maria, – the Renaissance ( ), , , , , , Bergson, Henri, , , , , ; Italian Pictures of Berkeley, George, n the Renaissance, , , , ; Lorenzo Bernard Berenson: e Making of a Lo o ( ), –, ; North Italian Painters Connoisseur (Samuels, ), ( ), n , n, n , ; One Bernard Berenson: e Making of a Legend Years Reading for Fun ( ), ; publi- (Samuels, ), shing and writing inhibitions of Bernard Bernheim (dealer), Berenson, , n , n , ; e Beini, Maria Teresa (“Lucia”), Rudiments of Connoisseurship ( ), , Beyond Architecture (Porter, ), , ; Rumour and Reection ( ), ; Beyond Good and Evil (Nietzsche), Sketch for a Self-Portrait ( ), , –, Biagio d®Antonio, , – , – , , n , n , Bicci di Lorenzo, , ,
421 Index Biddle, Katherine, Brancusi, Constantin, Bindo Altoviti (Cellini), Braque, Georges, – , , , Bing, Gertrude, , , n, Breugel, Pieter, Binyon, Laurence, , , , Brewster, Christopher, Birth of St. John (Ghirlandaio), , Brewster, Henry B., – , , e Birth of Tragedy (Nietzsche, ), , Brewster, Lisl Hildebrand, , , , , Black Square (Malevich), British aristocracy, sales of old masters by, Blair, Sheila, –, – Blake, William, Brockhaus, Heinrich, , , , Blechen, Karl, Bromhead, Mr., Blenheim Palace, Raphael altarpiece from, Bronzino, n Blochet, Edgar, n, , Brown, Alison, – , , e Blood of the Redeemer (Bellini), – Brown, Charloe Cabot, Blue Boy (Gainsborough, ca. ), , Brown, David Alan, , , – , Brown, J. Carter, , n Blues for the Jungle (ballet; Pomare), Brown, John Nicholas, Boas, Franz, Brunelleschi, Filippo, Bode, Wilhelm von, n , , – , , Brush, Kathryn, , , – , , , Buccleuch, Duke of, Boito, Camillo, Buddha head (Head of Ānada, Javanese, Bonaparte, Paulina, eighth–eleventh century), , , Bonomi (industrialist), , , Buddha statue of Ānanda (Chinese, Book of Tea (Okakura Kakuzo), Northern Qi dynasty, ca. ), , Bordone, Paris, , Buddhist altar (sixth century), Borghese Gallery, Rome, – Buddhist and Franciscan spirituality, Borgo San Sepolcro altarpiece (Sassea), Bernard Berenson®s comparison of, , – , , , , , , n , – , , Bosanquet, Bernard, n Bualmacco, Buonamico, Boicelli, Sandro: Alessandro Filipepi, Burckhardt, Jacob, , – , , , – Commonly Called Sandro Bo icelli (Horne), , , , n, , ; “Amico di Sandro” (Berenson, “Burgundian Heresy” of Porter, – ), ; Annunciation, n; e e Burial of a Franciscan Friar (Magnasco), Archangel Gabriel (Sco, aer Boicelli, ), ; Bernard Berenson®s appreciation Burne-Jones, Edward, of, ; in Berenson and the Connoisseurship Burning of Troy (Jolli), of Italian Painting (exhibition, National Burns, ea, , , Gallery of Art, Washington, ), ; Burrel Madonna (Bellini), Gutekunst and Colnaghi Gallery, , Burroughs, Alan, –, ; Madonna of the Eucharist (early Burton, Richard Francis, s), , , ; “myth of Florence” and, , ; Pallas and the Centaur, ; Prince Callmann, Ellen, n Chigi®s export sales of works of, n , ; Calo, Mary Ann, tactile values and, ; Tragedy of Lucretia Calvaert, Denys, , (ca. – ), , –, , ; Trinity, ; Cameroni, Felice, Uhde on, ; Venus Rising om the Sea, ; Campori, Marchese Maeo, , la Virgine col bambino benedicente loerta Campori, Marchese Onofrio, dun angelo, n ; Warburg and, , ; Cannon, Henry W., n Yashiro Yukio®s study of, , – , Caprice in Purple and Gold: e Golden Screen Bowers, Claude G., (Whistler), Bracci family, , Carandini, Elena, Bradley, Katherine (“Michael Field”), Caravaggio, Michelangelo Merisi da, , Braglia, Martinelli, , Carlisle, Earl of, Brancacci Chapel frescoes (Masaccio), Carlyle, omas, – , – ,
422 Index Carnarvon, Lord, n Civilization (Clark, book and television Caroto, Giovanni Francesco, series), , Carpaccio, Viore, Civilization of the Renaissance in Italy Carpano, G. B., n (Burckhardt, ), , , , Carpi, ; Castello Pio, preservation of, , Clark, Alan (son), , , ; Museo Civico, , , , – ; Clark, Colee (daughter), Palazzo Foresti, , – , , , . Clark, Jane Martin (wife), , , , n See also Foresti, Carlo Alberto Clark, Kenneth, – , – ; “Apologia Carpi, ein Fürstensitz der Renaissance of an Art Historian” ( ), – ; at (Semper, ), Ashmolean, ; Civilization (book and Carstairs, Charles, n , , television series), , ; correspondence Carter, Howard, n with Bernard Berenson, – , ; Casanova, Achille, Drawings of the Florentine Painters, work on Casari, Mario, , , revision of, , , , – , , – Cassa, Mary, ; encomia on Bernard Berenson, – , , cassone panel from Jarves collection, Yale , – , , ; rst impressions of I University, aribution of, , , , Tai household regarding, ; e Gothic – , , Revival ( ), , ; joint inuen- Castagno, Andrea del, ces on and beliefs of Bernard Berenson Catena, Vincenzo, , –, and, – ; Landscape into Art ( ), Caaneo van Dycks, , ; lecturing and television career, , Cavalcaselle, Giovanni Baista, , – ; legacy of, – ; Leonardo Caves of the ousand Buddhas, Dunhuang, da Vinci ( ), , , ; marriage Western China, – of, , ; Mayor, A. Hya, and, , ; Cellini, Benvenuto, , Moments of Vision (Clark, ), , ; Cencis, Nina de, Morra and, , n, ; at National Cennini, Cennino, , , , , Gallery, London, – , , – , Central Italian Painters of the Renaissance n , , n ; National Gallery pho- (Berenson, ), , , n, , tographic books of, n; nature of , n relationship between Bernard Berenson Cézanne a Firenze (exhibition, Palazzo and, – , – ; on ninetieth birth- Strozzi, Florence, ), , day of Bernard Berenson, ; e Nude Cézanne, Paul, , , , , , – , , ( ), , , ; Pagan Sacrice (pen- , , , n , , , dant) at Saltwood, ; photograph of Chardin, Jean-Siméon, Clark and Bernard Berenson ( ), ; Charles I of England, , , photographs of, , , ; Piero della Chiesa, Achillito, Francesca ( ), , ; as protégé of Chigi, Prince, n , Bernard Berenson, – , ; on “pure Chinese art. See Asian art aesthetic sensation,” n ; Rembrandt Choice of Books om the Library of Isabella and the Italian Renaissance, ; Sach®s Stewart Gardner, Fenway Court (Gardner, Museum Course students addressed by, ), ; Saltwood Castle, , , ; at Chong, Alan, , , n , – Villa I Tai, – , , , , ; Christ (Mantegna), Walker compared, , , ; Warburg Christina of Denmark, Duchess of Milan and, , , – , ; wealth of, , (Holbein the Younger, ), – , , ; Yashiro Yukio and, n , Clark, Robert Sterling, –, – , , Church of the Advent, Boston, – Clouet, François, , Cicerone (Burckhardt), , Cluny, abbey church of, , El Cid, Huntington translation of, , Cocteau, Jean, Cimabue, Cohen, Rachel, Cione, Jacopo di, Coiano, Bartolomeo da, n Colby, Robert, , ,
423 Index Cole, Fay Cooper, Cruwell, Maud, Collingwood, R. G., , cubism, , – , – Colnaghi, Dominic, Cumming, Carolyn, , , Colnaghi Gallery, London. See Gutekunst, Cumming, Robert, , , , Oo, and Colnaghi Gallery, London Cummings, Paul, Colonna Madonna (Raphael), Cunard, Nancy, Columbus, Christopher, , Cvjetćanin, Tatjana, Commissione di Storia Patria e Belle Arti, Cyrenaicism, , – “A Comparative Analysis of the Dances of Haiti” (Dunham, / ), da Carpi, Girolamo, e Concert (Vermeer), Daddi, Bernardo, Concert Champêtre (Titian), Daitokuji paintings, exhibition, Boston Conconi, Luigi, , Museum of Fine Arts ( ), – , Conder, Charles, Dalí, Salvador, connoisseurship of Berenson, – ; ambi- Damascus, Great Mosque of, , – valence of Bernard Berenson regarding, Dancing Girls of Kutcha (scroll painting, , n , , ; approach to study of tenth–eleventh century), , , art inuenced by, , , – ; criti- Dandolo, Andrea, n cal reception and, , , –, ; teaching of, D®Annunzio, Gabriele, – – , – ; ree Essays in Method Darnley, Lord, , , – , , (Berenson, ) and, ; Warburg and, Darwin, Charles, . See also Gardner, Isabella Stewart; Davenport-Hines, Richard, Gutekunst, Oo, and Colnaghi Gallery, Davies, Norman de Garis, n London; Morelli, Giovanni; Richter, Davis, eodore M., , n Jean Paul De arte illuminandi (trans. and ed. ompson, Connors, Joseph, , , , , ), e Consecration (Magnasco), De Marchi, Andrea G., , Constantine I the Great (Roman emperor), de Montesquieu, Count Robert, , De rerum natura (Lucretius), e Construction of Lombard and Gothic Deacon, Gladys, Vaults (Porter, ), e Death of the Gods (Nietzsche), Conti, Angelo, Degas, Edgar, , , , , , Contini Bonacossi, Alessandro, , , , Del Turco, Pellegrina, , , , Delaunay, Robert, Conversations with Berenson (Morra), , Demoiselles dAvignon (Picasso), Coolidge, Baldwin, Demoe, Georges, , , Coolidge, John, Denis, Maurice, , Coomaraswamy, Ananda K., Deposition (van der Weyden), , Cooper, Edith (“Michael Field”), Deprez, Edmond, , , n , , , n Corot, Jean-Baptiste-Camille, Derain, André, , Costa, Enrico, – , , nn– Derrida, Jacques, Costelloe, Frank, , Di Stefano, Dino, Costelloe, Mary. See Berenson, Mary Diana, Benedeo, Coster, Charles Henry, A Dierent Person (Merrill, ), Count-Duke of Olivares (Velázquez), Dionites, “Altamura,” and e Golden Urn, Crespi, Giuseppe Maria, – – , – , – , , –, , –, Creswell, Keppel Archibald Cameron, , , , –, . See also Altamura Garden , Pavilion, Fenway Court Crispi, Francesco, Doetsch sale ( ), n Crivelli, Carlo, , – Dolmetsch, Arnold, Crucixion (del Fiore), Donna Laura Minghe i (da Vinci), Crucixion with Saints (Puccio di Simone and Doria, Count, Master of Barberino), n
424 Index Dormition and Assumption of the Virgin (Fra lawsuit, ; Huntingtons and, –, Angelico), ; rivalries between clients fomented by, Dörner, Max, ; ompson and, – Dossi, Carlo, Douglas, Robert Langton, , , , , Eastlake, Charles, , Drawings of the Florentine Painters (Berenson, Egg (Brancusi), ), , , , , , n , , – , “Egg and Plaster” course of Edward Forbes, , , Harvard University, Drigo, Paola, Egypt: Bernard Berenson®s following of poli- Dufy, Raoul, tical events in, ; Bernard Berenson®s Duky, Jean, – travels in, – , , , – Duncan, Isadora, Eibner, Alexander, Duncan, Sally Anne, , – Einfühlung, , Dunham, Albert (brother), , Einstein, Lewis, Dunham, Albert (father), Eisler, Robert, Dunham, Fanny June (mother), El Cid, Huntington translation of, , Dunham, Katherine, , –; age die- e Energies of Men (James, ), , rence between Bernard Berenson and, Epicureanism, – , – – , ; as anthropologist, –; “Epistle to the Americanized Hebrews” “A Comparative Analysis of the Dances of (Berenson, ), n Haiti” ( / ), ; correspondence Epochs of Chinese and Japanese Art (Fenollosa, with Bernard Berenson, , , – , ), – , , , – ; as dancer and “Essai d®imitation de l®estampe japonaise” choreographer, – , , –, (Cassa, ), –, , , ; death of ( ), Este, Isabella d®, , , ; family background, education, and Estimé, Dumarsais, , career, – , –, –; rst Einghausen, Richard, – , – meeting with Bernard Berenson, ; Europa (Titian), , , – , , Haiti and, , –, , ; paintings Eye of the Beholder (exhibition, Isabella of, – ; photographs of, , , ; Stewart Gardner Museum, ), , race, social boundaries imposed by, , , , n , –; relationship with Fabbri, Egisto, Bernard Berenson, –, –, – Fantin-Latour, Henri, , –; Southland (ballet), conict Farhād va Šīrīn (Farhad and Shirin; Mulla with Bernard Berenson over, , –, Vahshi, early seventeenth century), , – ; A Touch of Innocence ( ), fascism, , n , , –, , , ; Tropic Death (ballet), ; at Villa I n Tai, , , , – , , , ; Fenollosa, Ernest Francisco, , , – , vodun, involvement with, , –, , , n ; Yashiro Yukio and, Fenway Court. See Isabella Stewart Gardner Dunhuang, Caves of the ousand Buddhas, Museum/Fenway Court Western China, – Ferdowsi, , , , Durand-Ruel, Paul (dealer), Ferguson, Wallace, Dürer, Albrecht, , , , , Ferrari, Defendente, Durkheim, Émile, Fiedler, Konrad, , Dussler, Luitpold, Field, Michael (Katherine Bradley and Edith Duveen Brothers, Cooper), Duveen, Henry, n Figure in Landscape (arib. Loo), Duveen, Joseph: Bernard Berenson as agent Fiocco, Giuseppe, , , , for, , , , , , , , , , ; Fiorentino, Pier Francesco, n Clark and National Gallery, ; Forestis Flaubert, Gustave, – and, , ; Gutekunst and Colnaghi Florence, ca. , – , – ; avant- Gallery, , , , –, , – ; Hahn garde, emergence of, , – , ,
425 Index – ; Burckhardt®s historiographic Fourth Crusade, n concept of the Renaissance and, , Fra Angelico, , , – , , , – , ; as European “Fragment of the Nymph” (Warburg, ), Other, – ; light of, – ; literary – salons and artistic circles, , – ; France, Anatole, May Troubles ( ), , ; modernism/ Franciosi collection, , modernity and, , , – , , – Francis, Frances, , , – ; “myth of Florence,” , Francis, Henry, – , ; noise levels in, – ; “real” Franciscan and Buddhist spirituality, Florence, , – ; scent of, – , Bernard Berenson®s comparison of, , , ; tactile values, concept of, ; – , , Uhde and, – , , – Freedman, Jonathan, Florentine Painters of the Renaissance Freer, Charles Lang, (Berenson, ), , , , , , , Freer Gallery, Washington, , , , , n Freud, Sigmund, , , Florenz : Die Suche nach Arkadien Frick, Henry Clay, and Frick Collection: (Roeck, ), Clark and Bernard Berenson on Bellini®s Fogg Museum, Harvard. See Harvard St. Francis in the Desert, – ; Gardner University compared, ; Gutekunst and Colnaghi Forbes, Edward, , n , , – , , Gallery, , , , , , , – , n, n , , , ; Huntington, Arabella, and, Foresti altarpiece (arib. Grimaldi), n Friedländer, Max, , n Foresti, Carlo Alberto, , – ; additions Friedrich, Caspar David, to Carpi civic collections and restoration Frizzoni, Gustavo, , , , n , , , of Castello Pio, , – ; art collection of, , , , – ; aributions Fromentin, Eugène, and publications of Foresti paintings by Fromm, Erich, , , Bernard Berenson, , , n, , fruit-bearing girl, Warburg on, , , , , ; correspondence with Fry, Roger, , , , – , , Bernard Berenson, – ; death of Fujimaro, Tanaka, ( ), ; education, inuences, and e Funeral of Patroclus (Aspertini), development as antiquarian and connois- futurists, seur, – ; family background and father®s art collection, – , , , ; Gainsborough, omas, , – , Fototeca Berenson used to trace collection Galilei, Galileo, of, , – , , , ; photograph Galton, Arthur, of, ; relationship with Bernard Berenson, Ganz, Paul, , – , , ; sale of father®s art col- Gardner, Isabella Stewart, – ; artistic and lection ( ), – . See also Carpi cultural evolution of, –; Asian and Foresti, Erminia (wife), , Islamic collections of, , , , n, Foresti, Luigi (ancestor, ), , , ; Bernard Berenson as agent for, Foresti, Luigi (ancestor, ), , , , , , –, ; Choice of Books Foresti, Luigi (son), om the Library of Isabella Stewart Gardner, Foresti, Pietro (father), , , – , , Fenway Court ( ), ; correspondence Forster, E. M., , with Bernard Berenson, –, , –, , Forti, Fermo, , , n, , , , ; nancing Forty Years with Berenson (Mariano, ), of Bernard Berenson®s early European , travels by, –, , , , ; on Greene, “Four Gospels” (Berenson), , , . See also Belle da Costa, ; Gutekunst/Bernard Central Italian Painters of the Renaissance; Berenson/Gardner, triangular relationship Florentine Painters of the Renaissance; between, , , , , , – , –; North Italian Painters; e Venetian Huntingtons and, , , ; Matisse, Painters of the Renaissance appreciation of, ; Pole-Carew Holbein
426 Index scandal, –; Sargent portrait, ; Stuart Goldman, Henry, dynasty and, , ; Villa I Tai, visit to, ; Goldman Sachs, Yashiro Yukio and, , n , n . See Goldschmidt, Adolph, also Altamura Garden Pavilion, Fenway Gombrich, Ernst, , n, , , n , Court; Isabella Stewart Gardner Museum/ , , n, Fenway Court Gondola Days (exhibition, Isabella Stewart Gardner, John Lowell (“Jack”; husband), Gardner Museum, ), n , , , , e Gospel of Freedom (Herrick, ), Gardner Museum. See Isabella Stewart Gospels of Anarchy (Lee, ), Gardner Museum Gothic Revival, , , , , Garstang, Donald, e Gothic Revival (Clark, ), , Garton, John, – Goupil et Cie, – Gates, Helen Manchester, Grabar, Oleg, Gauguin, Paul, Granville-Barker, Harley, n Geertz, Cliord, Gray, Simon, Gecken, Johannes, n Great Kanto Earthquake ( ), , Gellhorn, Martha, Great Mongol Shahnama (Ferdowsi): ca. Gemäldegalerie, Berlin, nn – , , manuscript of, , , ; ca. – , , – manuscript of, , Gems of the Manchester Art Treasures Exhibi- Greene, Belle da Costa, , , , , , , tion (Colnaghi and Agnew®s, ), , Genees, Madame Roger des, – Greener, Richard eodore, Genga, Girolamo, Greenslet, Ferris, n Gerini, Niccolò di Pietro, , , , Gregorovius, Ferdinand, Germany, Bernard Berenson on Grimaldi, Lazzaro, n “Orientalization” of, Gronau, Georg, , n , “Ghazel: ought and Temperament” (poem; Grossi, Carlo, Berenson), , – Grousset, René, Ghirlandaio, Domenico, , , , Guardi, Francesco, , , Giambono, Michele, St. Michael Archangel Guéraut, Robert, n Enthroned ( – ), , , , – Guercino, Giovanni Francesco Barbieri, Gibbon, Edward, , Gide, André, Guernica (Picasso), Ginori, Richard, Guicciardini, Francesco, Giorgei, Alceste, Gulbenkian, Calouste, Giorgione, Giorgio Barabelli da Castelfranco, Gurney, Edmund, , , , , – , , n Gutekunst, Heinrich G. (father), – Gioo di Bondone, , , , , , , Gutekunst, Lena Obach (wife), , , , , , , Giovanni di Paolo, Gutekunst, Oo, and Colnaghi Gallery, Glaenzer, Eugene, London, , –; American market and, Gli Anglo-Americani a Firenze (Fantoni, , , –, – ; background and ), early career, –; Bernard Berenson as Gli indierenti (Moravia), agent for, , , ; Berenson, Mary, and, Glucksmann, Carl, –; British aristocracy, purchases of Gobei, Piero, , , , , n paintings from, –, – ; Carstairs Gobineau, Arthur de, and, n , , ; death of Gutekunst, Goethe, Johann Wolfgang von, , , – , ; Duveen and, , , , –, , – ; rst meeting with Bernard e Golden Urn (periodical), “Altamura,” and Berenson, n , ; Gardner/Bernard Dionites, – , – , – , , –, , Berenson/Gutekunst, triangular rela- –, , –, . See also Altamura tionship between, , , , , , – , Garden Pavilion, Fenway Court –; Great Depression, retirement of
427 Index Gutekunst and World War II, , –; Hendrie, Robert, Grii portrait, contention with Bernard Hendy, Sir Philip, Berenson over aribution of, –, , Hercules Strangling Antaeus (Pollaiuolo), , –; Holbein aair, – , , , ; Herskovits, Melville, , – Old Bond Street oces, ; as Old Master Herodotus, dealer, – ; Pall Mall East oces, , Herrick, Robert, , n , n, ; Partridge Building Herringham, Lady Christiana, oces, – , , ; photograph of, ; Hesse, Hermann, , relationship between Bernard Berenson Heydenreich, Ludwig Heinrich, and Gutekunst, –, –; before and Hildebrand, Adolf von: Clark on, ; in during World War I, – Florence, , , ; forms, theory Gutekunst, Richard (brother), of, , , , – , , ; Lisl von Herzogenberg Playing the Organ (plaster Hadley, Rollin Van N., , cast relief; ), , ; photograph of, Hafez, , ; Das Problem der Form in der bildenden Hahn lawsuit, Kunst ( ), , – , , , ; on Hall, Nicholas, tactile values, , – , , , , , Hals, Franz, , ; Warburg and, , Halsted, Isabel Hopkinson, Hildebrand, Lisl (later Brewster; daughter), Hamilton, Carl, n , , , , Hamilton, George Heard, Hill, Constance Valis, Hand, Learned, Hill, Derek, “Hans Across the Sea” (Punch cartoon, Hillenbrand, Robert, ), , Hinks, Roger, , Hardwick, Elizabeth, n Hiroshige, Andō, Hare, Augustus, n Hispanic Society of America and Archer Harris, John, Huntington, , , , Harvard Monthly, , Histoire de France (Michelet, ), Harvard University: Bernard Berenson®s History of Aesthetic (Bosanquet), n education at, , , – , ; China History of Greek Culture (Burckhardt), Expeditions, – ; “Egg and Plaster” e History of Philosophy (Hegel), course of Edward Forbes, ; Museum Hitchcock, Henry Russell, Course, Fogg Museum, , , – , Hokusai, Katsushika, , – , – , , – , , ; Parker Holbein, Hans, , , , , – , , Traveling Fellowship, rejection of Bernard Holiday, Billie, Berenson®s application for ( ), , , Holmes, Charles, n, – , n; Porter appoin- Holroyd, Charles, ted to research professorship at, ; Holy Family (formerly arib. Maineri), Porter®s art collection at Fogg Museum, Holy Family with Saint John (Mantegna), ; ompson at, – ; Villa I Tai Holy Land (Palestine and Syria), Bernard bequeathed to, , , , , , ; Berenson®s “pilgrimage” to, , , , Warburg®s interest in connection with, , n – ; Yashiro Yukio and, – homosexuality: Clark believed by Bernard Haskell, Francis, Berenson household to be gay, ; Hafez Hazli, William, , love poems, Bernard Berenson®s ama- Head of Ānada (Javanese, eighth–eleventh zement of celebration of men in, ; of century), , , Uhde, Hegel, Georg Wilhelm Friedrich, , , Hope Collection, , – Horne, Herbert, , , , , , , Heimann, Jacob, , Horowitz, Vela, Heinemann, Fritz, , , , “house of life,” , Hemingway, Ernest, Howard, Jeremy, , , Hemingway, Mary, Huizinga, Johan,
428 Index Huntington, Anna Vaughan Hya (second Days (exhibition, ), ; Journeys East: wife), n , , , Isabella Stewart Gardner and Asia (exhi- Huntington, Arabella (mother), , – bition, ), ; Old Masters paintings Huntington, Archer, , – ; art col- at, , ; Palazzo Barbaro, Venice, and, lections of parents of, –; Bernard , –; photographs of, , ; public Berenson®s membership in American mandate of, . See also Altamura Garden Academy of Arts and Leers and, , Pavilion, Fenway Court – ; El Cid translation of, , ; Islamic art and culture, – , – ; aes- correspondence with Berensons, – , theticism and, – , ; architecture, , , , – ; death of ( ), , Islamic, Bernard Berenson®s interest in, ; education and intellectual accom- , – , , ; Armenian miniatu- plishments, , –, , ; rst res, Bernard Berenson®s brief interest in meeting between Berensons and, – , (ca. ), n; collected by Bernard ; Hispanic Society of America and, , Berenson ( – ), , – , , – , , ; marriages of, ; Mayor , ; Damascus, Great Mosque of, , diary and, , n , – , ; pho- – ; dened, – ; education tograph of, ; typewriter given to Mary of Bernard Berenson in Oriental studies Berenson by, ; wealth of, – and, – , ; Greco-Roman and Huntington, Collis P. (biological father/ Byzantine culture, viewed as witness to, stepfather), , –, n , – , ; library at I Tai, Asian Huntington, Ellen Maria (aunt), n and Islamic collection of, – , , Huntington, George, – , – , ; Munich exhibition Huntington, Helen Manchester Gates (rst of Islamic art ( ), , , – , ; wife/cousin), Orientalism and, – , , – , , Huntington, Henry E. (cousin/stepfather), n; Orne translations of Arab poems, n – , ; political views of Bernard Hutchins, Robert Maynard, , Berenson on, n, – ; popularity Huon, Edward, at turn of the century, – ; “thought Hyde, Louis F., n and temperament” reecting duality of Hyman, Isabelle, , , Bernard Berenson®s approach to, , – ; travels of Bernard Berenson in I Tai. See Villa I Tai Islamic world, – , – , , , ibn-Khaldun, – , ; views of Bernard Berenson Ikonologie, Warburg®s concept of, , n in later years, – An Illuminated Life (Ardizzone, ), Israel, Bernard Berenson®s views on, n, impressionism, – , , . See also – specic artists Israëls, Machtelt, , Imru®l Qays, , Italian Art Exhibition, London ( ), In the Palace, or Ladies of the Court (Kong- Italian Journey (Goethe, – ), – zhong tu), n Italian Painters of the Renaissance (Berenson, Innocence (formerly arib. Franceschini, now ), , , , , , , , , School of Guido Reni), , International Conference of , Florence, Italian Pictures of the Renaissance (Berenson), Isabella Stewart Gardner Museum/Fenway , , , Court: aerial photograph ( ), , ; Italy, art export laws in, Asian art collection compared to Villa I Ivins, William M., Jr. (“Billie”), , Tai, ; commemorative elements of, ; “cultural re-enchantment,” total design Jacob Blessing the Sons of Joseph (copy of of Fenway Court as expression of, –, Guercino, before ), , ; design and construction of, –, James, Henry, , , , , , – ; Dionites, “Altamura,” and e Golden James, William, , , , , , – , , Urn as inspiration for, ; Eye of the – , , Beholder (exhibition, ), , ; Gondola James, William, Jr.,
429 Index Janson, Horst W., Kunstreligion, Japanese art. See Asian art Kunstwollen, Jarves collection, Yale University: cassone Kuroda Seiki, Viscount, n panel from, aribution of, , , , Kurz, Isolde, , – , , ; Porter and, , , ; Sirén®s catalog of, , La Farge, John, al-Jazari, , , Labidh, Jewishness of Bernard Berenson, , , , , Lacasse, Natalie, n , , , , , – , Landi, Elisabea, , , Johnson, John G., n , n Landi, Neroccio di Bartolommeo de®, Jolles, André, , Landscape into Art (Clark, ), Jolli, Antonio, Lanham, Charles Rockwell, Joni, Icilio Federico, – , – Laparelli di Lapo, Pirro, Journeys East: Isabella Stewart Gardner and Larciani, Giovanni, Asia (exhibition, Isabella Stewart Gardner Laurati, Giorgio, Museum, ), , Laurencin, Marie, Justi, Carl, n Laurie, Arthur Pillans, , Lazzaroni, Barone Michele, Kahn, Addie (Mrs. Oo H.), Lazzoni, Tommaso, Kahn Collection, Le Corbusier, Charles-Édouard Jeanneret, Kahn, Rodolphe, Leclerc, Charles Victor Emmanuel, Kahnweiler, Daniel-Henry, , Lee, Vernon (Violet Paget): Bernard Kandinsky, Vassily, Berenson on Arabic verse and, ; “Beauty Kann, Rodolphe, and Ugliness” ( ), n , – ; Karageorgevic, Prince Paul and Princess concept of personhood and aesthetics of, Elizabeth, ; on Einfühlung, , ; Gospels of Anarchy, KBW (Kulturwissenschaliche Bibliothek ; Mayor, A. Hya, on Bernard Berenson Warburg), , , , , and, ; in Mayor journal, ; photograph Keats, John, of, ; plagiarism charge against Bernard Kelekian, Dikran, Berenson ( ), , ; tactile values Khayyam, Omar, n and, , n , , , , – , Kiel, Hanna, “legend of the artist,” Kirstein, Lincoln, Lehman, Robert, Kitāb fī ma῾rifat al hiyāl al-handasiyya (Book Lehmann, Rosamond, of Knowledge of Ingenious Mechanical Leland, Charles Godfrey, Devices; al-Jazari, ), , , Leo X (pope), Klee, Paul, – Leonardo da Vinci: Belle Ferronière, ; Klinger, Max, Clark and, , , , ; Donna Laura Knoedler & Co., , n , , –, – , Minghe i, ; Freud®s engagement with, , , ; Mona Lisa, ; Richter®s edition of Kokoschka, Oskar, notes and manuscripts of, , , , n ; Kollwitz, Käthe, tactile values and, ; Warburg on, n, Kōrin, Ogata, , ; woodworm in panel of, Krautheimer, Richard, Leonardo da Vinci (Clark, ), , , Kress, Samuel H., and Kress Collection, , Lessing, Julius, , , n , Lévi-Strauss, Claude, Kristeller, Paul Oskar, Lewis, Katie, Kühnel, Ernst, n , Il libro dellarte (Cennini, late fourteenth kulturwissenschalich (cultural-scientic) century), , , , , , , approach of Warburg to study of art, Libya: Bernard Berenson on Italian cam- , paign in, ; Bernard Berenson®s travels Kulturwissenschaliche Bibliothek Warburg in, , (KBW), , , , , Lichtenstein, Prince of,
430 Index Lippi, Filippino, , , , , “e Madonna of the Future” (James), – Lippi, Fra Filippo, n Madonna of the Pinks (formerly arib. Lippmann, Walter, Raphael), Lisl von Herzogenberg Playing the Organ Madonna with Child (aer Rondinelli), (Hildebrand), , Madonna with Child and the Young St. John the lists compiled by Bernard Berenson: Baptist (Bagnacavallo), Altamura and Dionites, , ; critical Madonna with the Standing Child (Circle of reception and, , , – , ; Gutekunst Bellini), and, , ; publication in , – ; Magnasco, Alessandro, , viewed as distraction from other work, Maineri, Gianfrancesco, Locho, Nicholas, Malaspina monument, n Loeser, Charles, , , n , , , Malatesta, Adeodato, , Lohan Demonstrating the Power of the Mâle, Émile, Buddhist Sutras to Daoists (Zhou Jichang, Malevich, Kazimir, ca. ), , Malinowski, Bronisław, Lombard Architecture (Porter, – ), Mallet, Lady, , n , – Man with a Quilted Sleeve or Portrait of Longhi, Roberto, , , , , , , Girolamo (?) Barbarigo (Titian), formerly – , n , called “Ariosto,” , Looking at Pictures with Bernard Berenson Mandarina (D®Annunzio, ), (Brown, ), Manet, Édouard, , , Lorenzei, Mann, Heinrich, Lorenzo Lo o (Berenson, ), –, Mann, omas, , Loschi, Bernardino, , Mantegna, Andrea, , , , , , Loo, Lorenzo, –, , , , , – Loves, Maeo, Maraini, Dacia, Löwy, Michael, Maraini, Fosco, , Lucretius, De rerum natura, Maramoi, Bosi, Ludwig II of Bavaria, Marai, Carlo, Luther, Martin, Marco del Buono Giamberti, , , lynching, as topic of Dunham®s Southland, Marconi, Rocco, , – Mardrus, J. C., Lyon, David Gordon, Marées, Hans von, , , , , Marghieri, Clotilde, , – , Machiavelli, Niccolò, , Mariano, Elisabea “Nicky”: on Bernard Maclagan, Eric, n Berenson®s sense of Jewishness, n; on Macridy, Teodor, n Clark, , ; correspondence of Bernard Madonna (Gioo), , Berenson and, ; in Dunham leers, , Madonna and Child (Bellini), , ; Foresti correspondence and, , Madonna and Child (Gerini), , , , , ; German uency of, ; Madonna and Child and St. Nicholas of Islamic art and culture, Bernard Berenson®s Tolentino (Loschi), interest in, n , , , nn–, Madonna and Child with Sts. John the Baptist n ; James®s Energy of Men and, ; on and Jerome and Donors (Nelli), loves in Bernard Berenson®s life, , , Madonna and Child with the Infant St. John the ; Mayor, A. Hya, and, , – , Baptist (arib. Sassoferrato), ; Morra and, – , ; Porters Madonna and Child with the Young St. John the and, ; privacy of Bernard Berenson Baptist (arib. Titian), protected by, ; running of I Tai aer Madonna del La e (Landi), death of Mary Berenson by, ; travels Madonna dellOrto (Bellini), with Bernard Berenson, , , , n; Madonna of Bergamo [Madonna Lochis] Warburg, on Bernard Berenson®s visit (Bellini), to, , , ; on Yashiro Yukio®s Madonna of the Eucharist (Boicelli), , , Years of Japanese Art,
431 Index Mariee, Pierre-Jean, Mickleshanski, Judith (mother of Bernard Marini, Remigio, Berenson), Marius the Epicurean (Pater, ), – , Millais, John Evere, Marlowe, Christopher, Milton, John, , , Marr, omas, Mnemosyne Atlas (Warburg, s), , Marriage of St. Catherine (Bicci di Lorenzo), Moceo, Girolamo, modern art: avant-garde, Florence and emer- Martin, Fredrik Robert, gence of, , – , , – ; Bernard Mary, Queen of Scots, , Berenson®s aitudes toward, , , , , Il Marzocco (periodical), , , , , – ; cubism, , – , Masaccio, , , – ; futurists, ; impressionism, Masekela Language (ballet; Ailey), – , , (See also specic artists) Masolino da Panicale, , , modernism/modernity and Florence, Mason Perkins, Frederick, , , , , ca. , , , – , , – , , , , – Massignon, Louis, n , , Mohammed, Bernard Berenson on, , Master of Barberino, n , Master of Virgil®s Aeneid, , – , Moments of Vision (Clark, ), , e Materials and Techniques of Medieval Mona Lisa (da Vinci), Paintings (ompson, ), – , Monaco, Lorenzo, Matisse, Henri, , , , , , Mond, Ludwig, n, , May Troubles, Florence ( ), , Monet, Claude, Mayer, Gustavus, , , , – , , Monte Oliveto Maggiore, , –, Mayer, Leo Avy, n Montefeltro, Federico da, Count of Urbino, Mayor, A. Hya, , n , – , , n Mazaro, Stanley, Montesquieu, Count Robert de, McCauley, Anne, Monument to General Manedo Fanti, model McKay, William, , – , , , , n , of (Trubetzkoy), , Moore, Henry, , McKayle, Donald, Morassi, Antonio, Mead, Margaret, Moravia, Alberto, n, , – Meder, Joseph, Moravia, Elsa, Medici family, , Morelli, Giovanni: anti-Jewish sentiments Medici, Lorenzo de® (Lorenzo the Magni- of, n ; Bernard Berenson and, , – , cent), , , , ; on Bode, ; Foresti, Carlo Medici, Piero de®, Alberto, and, ; Richter and, , – , Medieval Architecture (Porter, ), n ; studies of scientic connois- medieval period, revival of interest in, , seurship of, ; Warburg and, , , , Meeks, Evere, , ; Yashiro Yukio on, Meissonier, Jean-Louis-Ernest, Morgan, J. P., , , , , , Melius, Jeremy, Morisot, Berthe, Mellon, Andrew W., – Moroni, Giovan Baista, , , Memling, Hans, Morra di Lavriano, Count Roberto (father), Menafoglio, Marchese, Merrield, Mary Philadelphia, Morra di Lavriano, Count Umberto, , Merrill, James, – ; character and personality of, Merry del Val, Rafael (cardinal), –, , ; Clark and, , n; Métraux, Alfred, Conversations with Berenson ( ), , ; Metsu, Gabriël, family background, education, and early Meyer-Riefstahl, Rudolf, , , , n, life, –, ; fascism, opposition to, , n , , , –, , , n ; on Frizzoni Michelangelo, , , , , , and Bernard Berenson, ; Moravia and, Michelet, Jules, n, , – ; photographs of, ,
432 Index , ; relationship with Berensons, Obach family, , , –, –; tactile values and, ; Oberlin cassone (Apollonio di Giovanni), at Villa I Tai, –; Villa Morra, Obrist, Hermann, , , Metelliano, Cortona, , , , Oner, Richard, , , , Mortimer, Raymond, Okakura Kakuzo, , , , Mosaddeq, Mohammad, e Old Man and the Sea (Hemingway, Mostyn-Owen, William, – , , – , ), , n , n , e Old Masters (play; Gray), Mu῾allaqāt, , Olmsted, Frederick Law, – , Muir, William, Olympia (Manet), , Munich exhibition of Islamic art ( ), , , One ousand and One Nights, Bernard – , , Berenson®s fondness for, , n, Müntz, Eugène, One Years Reading for Fun (Berenson, ), Museum Course, Fogg Museum, Harvard, , , – , – , , – , , Order of the White Rose, museum ethics, Orientalism, – , , – , , n Museum of Fine Arts, Boston, Original Treatises on the Arts of Painting Mussolini, Benito, (Merrield, ), Muther, Richard, Origo, Iris, – , Muzzioli, Giovanni, – , Orleans Collection, Mystic Marriage of St. Catherine (Zaganelli), Orne, John, Jr., – , Orsi, Lelio, Mystic Marriage of St. Francis (Sassea), Orsini, Prince, n otium, Oxford Movement, NAACP (National Association for the Oxford University, , , , , , Advancement of Colored People), NACF (National Art Collections Fund), Pagan Sacrice (panel, arib. Roberti/School Naples Manuscript, published as De arte illumi- of Mantegna/Bellini), – nandi (Naples, Biblioteca Nazionale), Pagan Sacrice (pendant at Saltwood Castle), Nash, Paul, Nasser, Gamal Abdel, Paget, Violet. See Lee, Vernon National Art Collections Fund (NACF), Paine, Robert Treat, National Association for the Advancement of Palazzo Barbaro, Venice, , – Colored People (NAACP), Palestine and Syria, Bernard Berenson®s Nativity (Loschi), “pilgrimage” to, , , , n Nazism, Bernard Berenson on, – Palladio, Nelli, Oaviano, Pallas and the Centaur (Boicelli), Nelson, Jonathan K., , Palma il Giovane, Jacopo, “e New Art Criticism,” Palmezzano, Marco, New Deal, Pancrazi, Pietro, , New eory of Vision (Berkeley, ), n Panofsky, Erwin, , Newhall, Beaumont, Panciatichi, Marchese, Nietzsche, Friedrich Wilhelm, , , – Papafava, Francesco, and Papafava family, , , , , , n , Nivedita, Sister, Margaret Elizabeth Noble, Parker Traveling Fellowship application, Nöldeke, eodor, rejection of ( ), , , n, – , Norfolk, Duke of, , n North Italian Painters (Berenson, ), Partridge, Ethel (later Mairet), n , n, n , passatism, Norton, Charles Eliot, , , , , , Passerin d®Entrèves, Alessandro, , , – , – , , , – Passerini, Count Lorenzo (“Renzo”), n , e Nude (Clark, ), , ,
433 Index Passerini, Lyndall, education, and career, – , ; Pater, Walter: Bernard Berenson inuen- Beyond Architecture ( ), ; books sent ced by, , , – , , , , , to Bernard Berenson by, n , – ; , ; Bernard Berenson unable to “Burgundian Heresy” of, – ; e gain entrance to Oxford class of, ; on Construction of Lombard and Gothic Vaults Boicelli, ; Clark inuenced by, , ; ( ), ; critical approach to intellectual Dionites, “Altamura,” and e Golden Urn, biography of, need for, – ; death of ; on Florence, , ; on Galton, ; ( ), , n ; rst meeting between Gardner and, , ; Marius the Epicurean Bernard Berenson and ( ), – ; ( ), – , ; Norton on, ; Porter intellectual cross-fertilization between inuenced by, ; e Renaissance: Studies Bernard Berenson and, – , ; in Art and Poetry ( ), , ; Richter and, Lombard Architecture ( – ), n , ; Smith, Logan Pearsall, inuenced by, – ; Medieval Architecture ( ), Patridge, Bernard, “Hans Across the Sea” ; as medievalist, – , – , , (Punch cartoon, ), , ; overlooked connections to Bernard Payne, John, Berenson, – , – ; photographs Pelham-Clinton-Hope, Lord, – of, , , ; Romanesque Sculpture of Perowne, Stewart, the Pilgrimage Roads ( ), – , – , Perugino, Pietro, – , – ; Spanish Romanesque Pesaro altarpiece, and pilgrimage practices, Bernard Pesellino, Francesco, Berenson inspiring turn to, – ; Philip II of Spain, – , travels with Bernard Berenson, , e Philosopher (Circle of Ribera), – , ; Villa I Tai and, – , photographs, scholarly use of, , – , – , ; war-damaged French , medieval churches, study of, , , Il Piacere (D®Annunzio, ), – – ; Warburg and, , , Picasso, Pablo, , , – Porter, Lucy Kingsley (wife), , , Piemontesi, Angelo, – , , , – , , , Piero della Francesca, , , , , , , n , , Portrait of a Friar (arib. Caroto), Piero della Francesca (Clark, ), , Portrait of a Gentleman (Moroni), Pietà (Raphael), , Portrait of a Lady (arib. Piero della Pietro Leopoldo (archduke), Francesca), Pignai, Terisio, Portrait of a Young Artist (School of Piloty, Karl eodor von, Rembrandt), n Piombo, Sebastiano del, Portrait of a Young Man (Giustiniani Portrait; Piper, John, Giorgione), Pissarro, Camille, Portrait of Alfonso dEste (arib. Titian), Pitati, Bonifazio de®, Portrait of Anna Vaughan Hya (Mrs. Archer Pi ure italiane in America (Venturi, ), Huntington) (Allen), Placci, Carlo, , n , n , , , Portrait of Aretino (Titian), , plagiarism charge by Lee against Bernard Portrait of Ciro Meno i (Malatesta), , Berenson ( ), , Portrait of Collis P. Huntington (Shaw), Planiscig, Leo, Portrait of Dama (formerly arib. Veronese, Platonism, , now Circle of Paris Bordone), , – Pla, Dan Fellows, n Portrait of Edward VI (Holbein), Pole-Carew Holbein scandal, – Portrait of Girolamo (?) Barbarigo or Man with Pollaiuolo, Antonio, , , a Quilted Sleeve (Titian), formerly called Pomare, Eleo, “Ariosto,” , Pomian, Krzysztof, Portrait of Hendrickje Stoels (Rembrandt), Pope-Hennessy, Sir John, n , Porter, Arthur Kingsley, – , – ; Portrait of Isabella Stewart Gardner (Sargent), art collection of, , ; background,
434 Index Portrait of Laura Dianti (arib. Sebastiano del Reinach, Salomon, Piombo, aer Titian), Rembrandt and the Italian Renaissance (Clark, Portrait of the Doge, Andrea Gri i (Catena, ), formerly arib. Titian), –, , – Rembrandt van Rijn: Aristotle with a Bust Portrait of the Earl of Arundel (Rubens), of Homer, ; Bernard Berenson on, Portrait of the Family of Adeodato Malatesta ; Clark and, , ; Gutekunst and (Malatesta), Colnaghi Gallery, n , , , , , Post, George B., , , , ; Huntington, Arabella, and, postage stamps, Warburg®s presentation on ; Portrait of a Young Artist (School of ( ), , , Rembrandt), n ; Portrait of Hendrickje Pound, Ezra, Stoels, ; Preacher Anslo and His Wife, Power of Sound (Gurney, ), ; Self-Portrait, , ; Uhde on, Praeterita (Ruskin), Renaissance, as historiographic concept, Pra, John (husband of Katherine Dunham), – , e Renaissance: Studies in Art and Poetry Pra, Marie-Christine Dunham, (Pater, ), , Pre-Raphaelites, , , Renan, Ernest, Preacher Anslo and His Wife (Rembrandt), Reni, Guido, Preti, Maia, Renoir, Pierre-Auguste, , Previtali, Andrea, , Reperusals and Re-Collections (Logan Pearsall primitivism, – , Smith, ), n Primus, Pearl, Revenge of Procne (aer Veronese), e Principles of Art (Collingwood, ), Ricci, carteggio in Biblioteca Classense, Principles of Psychology (James, ), – , Ravenna, , n, Ricci, Corrado, , , , , , Das Problem der Form in der bildenden Kunst Richardson, Jonathan, (Hildebrand, ), , – , , , Richter, Jean Paul, , – ; anti-Jewish Prophet (Circle of Ribera), sentiments of, n ; background and Proust, Marcel, career, – ; as connoisseur, – , ; Puccio di Simone, n Gutekunst and Bernard Berenson, mee- Punt e Mes, n ting between, , ; Leonardo da Vinci®s Purple Beeches (Matisse), notes and manuscripts, as editor of, , , Puvis de Chavannes, Pierre, , , n ; Mond, Ludwig, and, n, , ; Morelli and, , – , n ; photo- Queen of the Air (Ruskin), graph of, ; relationship with Bernard Berenson, – ; St. Michael Archangel race: Bernard Berenson®s feelings about, Enthroned (Giambono) and, , , , n ; social boundaries imposed by, , – ; at San Felice Circeo, n; silence , , n , –. See also Dunham, of Bernard Berenson regarding, , – Katherine; Greene, Belle da Costa Riegl, Alois, , , , Radclie-Brown, Alfred, Rilke, Rainer Maria, , , , , Rainbow ‘Round My Shoulder (ballet; Rinascimento Americano (Troa, ), MacKayle), Road of the Phoebe Snow (ballet; Beay), Ranieri, Guidagnolo di, , , n Road to Calvary (arib. Roberti), Raphael, , , , , , , , Roberti, Ercole de®, , , Al-Rasāil (“Treatises,” known as Anthology; Rocke, Michael, Prince Baysunghur, ), , , , Rodin, Auguste, , – Roeck, Bernard, – , , Redeld, Robert, , , Rokeby Venus (Velázquez), Redon, Odilon, Romanesque Sculpture of the Pilgrimage Roads Redslob, Edwin, n , n (Porter, ), – , – , – , Reformation, Hegel®s theory regarding, – – Romanino,
435 Index romanticism-as-worldview, , , , St. Francis and the Wolf of Gublio, Rondinelli, Niccolò, St. Francis in Glory (Sassea), , A Room with a View (Forster, ), St. Francis in the Desert (Bellini), – Rorimer, James, St. Jerome (arib. Biagio d®Antonio), – Roscoe, William, Sts. John the Baptist and Ma hew (Bicci di Rosenberg, Léonce Alexandre, , n Lorenzo), – , Ross, Denman, , , , , – n St. Luke (Pierpont Morgan Library), , Ross, Janet, n St. Mark (ompson), , Rossei, Dante Gabriel, St. Michael Archangel Enthroned (Giambono), Rossi, Lelio, , , , – Rostovtze, Michael, St. Peter and Saint Paul (Lazzoni), Rousseau, Henri, – , , , , St. Peter Martyr, St. Augustine (?), St. John the Rubbiani, Alfonso, Baptist, and St. Stephen (Carpaccio), Rubens, Peter Paul, St. Sebastian (arib. Signorelli/Genga), Rubin, Patricia, , Salting, George, e Rudiments of Connoisseurship (Berenson, Saltwood Castle, , , ), , , Saltzman, Cynthia, , , n, n , Runo family, n, Rumour and Reection (Berenson, ), Salvemini, Fernande, Runge, Philipp Oo, Salvemini, Gaetano, , Rural Scene (Pissarro), Sammarini, Achille, Ruskin, John: Bernard Berenson inuenced Samson Destroying the Temple (Jolli), by, , , , – , ; Clark inuenced Samuels, Ernest, –, , , n , n, by, , , , – ; Dionites, “Altamura,” n , , and e Golden Urn, , ; Florence, San Francesco, Arezzo, Piero della ca. , and, , , , , , , , Francesca®s frescoes in, ; Foresti, Pietro, and, ; Gutekunst and, San Giobbe altarpiece, ; Porter inuenced by, ; Praeterita, San Pietro outside Spoleto, facade of, , ; Queen of the Air, ; on technical Sandro Bo icelli (Yashiro Yukio, ), , aspects of art, n; Warburg and, – , Russell, Bertrand, Sano di Pietro, Russell, John, Sargent, John Singer, , n, – Sarre, Friedrich, , , , , n Sachs, Paul, , – ; as art collector, Sassea: Asian art, Bernard Berenson®s inte- ; Asian art and, ; background, rest in, and Borgo San Sepolcro altarpiece education, and career, ; books of of, – , , , , , , n , Bernard Berenson®s used by, – ; ; Bernard Berenson®s study of, n ; Clark and, ; connoisseurship, tea- Clark to Bernard Berenson on panels ching of, – ; correspondence with National Gallery intended to buy, – ; Bernard Berenson, – , ; Museum Mystic Marriage of St. Francis, n ; Course, Fogg Museum, Harvard, , , St. Francis in Glory, , – , – , , – , , ; Sassoferrato, Giovanni Baista Salvi da, photographs of, , ; similarities to Sassoon, Lady, and dierences from Bernard Berenson, Satsuma ware, – , – ; twelh-century art, Bernard Satyrs and Marine Deities with Musical Berenson®s interest in, ; Walker and, Instruments (Circle of Mantegna), – – , ; Warburg and, , Savonarola (drama; Uhde), Sacred and Profane Love (Titian), Saxl, Fritz, , e Sacrice of Abraham (carved capital from Sayre, Robert, abbey church of Cluny), , Scala, Bartolomeo, Said, Edward, n Scarsellino (Ippolito Scarsella), St. Catherine of Alexandria (Vivarini), Schapiro, Meyer, –, , Sts. Filippo Neri and Joseph (Loves), Schedula (eophilus), , ,
436 Index Schi, Jacob H., Southland (ballet; Dunham), , –, , Schmarsow, August, – Schongauer, Martin, Spain, Bernard Berenson®s travels in, Schopenhauer, Arthur, , , Spätrömische Kunst-Industrie (Riegl), Schubring, Paul, Spencer, Stanley, Sciltian, Gregorio, – Speranzeva, Ludmilla, Sco, Henry, Spinelli, Alessandro Giuseppe, Sco, Mary NcNeill, Sprenger, Aloys, Sears, Sarah Choate, Sprigge, Sylvia, , , Sears, Willard T., , , , , n , stacco, Secrest, Meryle, , n, , , n, , Stark, Freya, Secretum Philosophorum, e Statue e and the Background (Brewster, Seidel, Linda, n –), Self-Portrait (Rembrandt), , Stechow, Wolfgang, Self-Portrait in His Studio (Crespi), Stefano da Verona, Self-Portrait with Donors (Walker), Stein, Aurel, Seligman, Edwin R., Stein, Leo and Gertrude, , Seligmann, Arnold, , Stimilli, David, n Seljuk architecture, Stormy Weather (lm, ), Semper, Hans, , , Story of Damon, four pastoral scenes Senghor, Léopold, (Previtali), – , n Serbia, Bernard Berenson®s travels in, Strange Fruit (song), – Serristori, Countess Hortense, , strappo, , Seurat, Georges, Strauss Madonna (Jacopo Bellini), – Severini, Gino, Strehlke, Carl Brandon, , – , , , Seybold, Dietrich, , , n , Strozzi, Carlo, Shapley, Fern Rusk, n , , Suida, William, Shaw, James Byam, , n, , Sutherland, Graham Vivian, Shaw, Stephen William, Suon, Denys, – n Sicily, Bernard Berenson in, Swarzenski, Georg, Signorelli, Luca, Symonds, John Addington, Simonds, Edith, Syria and Palestine, Bernard Berenson®s Simpson, Colin, n “pilgrimage” to, , , , n Simpson, Joseph, Simpson, Mariana Shreve, – Tacitus, Sirén, Osvald, – , , tactile values, – , – ; Asian art and, Siro, Prince Giovanni, , ; Bernard Berenson®s discovery Sismondi, Simonde de, of, – , , – ; Brewster and, -Odd Provinces (Hiroshige), – , , ; in Florentine Painters of Sketch for a Self-Portrait (Berenson, ), , the Renaissance (Berenson, ), , , –, , – , – , , n , , , , ; Hildebrand and, , , n , n – , , , , , , ; James, Smith, Alys, William, and, , , , , – , Smith, Logan Pearsall, , , – , , , , – , , ; Lee and, , n , –, –, , , , , – , ; Morra and, Snake Charmer (Rousseau), ; Nietzsche®s inuence on Bernard Soissons Cathedral, Berenson and, , , – , ; “Something Has Turned Up” (Westminster Porter on, ; public reception of con- Gaze e cartoon, ), , cept of, Sontag, Susan, , Taine, Hippolyte, Soucek, Priscilla, Tale of Genjii, Southern Landscape (ballet; Beay), Taliesin, –
437 Index Talmud, Bernard Berenson®s references to, ; Foresti collections and, , , ; n , Gutekunst and Colnaghi Gallery, , , Taylor, Alicia Cameron, n , – , ; Huntington, Arabella, and, Taylor, Francis Henry, ; Madonna and Child with the Young technical aspects of art: Bernard Berenson®s St. John the Baptist (arib. Titian), ; lack of interest in, , , – ; Il libro portrait acquired by brother of Paul Sachs dellarte (Cennini, late fourteenth cen- as, ; Portrait of Alfonso dEste (arib. tury), , ; in Museum Course, Fogg Titian), ; Portrait of Aretino, , ; Museum, Harvard, ; wall paintings, Portrait of Laura Dianti (arib. Sebastiano removing, , , – . See also del Piombo, aer Titian), ; Portrait of ompson, Daniel Varney, Jr. the Doge, Andrea Gri i (Catena, formerly ter Borch, Gerard, arib. Titian), –, , –; Sacred Terk, Sonja, and Profane Love, ; Uhde®s concept of eocritus, modernity and, ; Venus of Urbino, eophilus, , , Tobias and the Archangel Raphael (arib. e eories of Anarchy and of Law (Brewster, Biagio d®Antonio), – ), Toesca, Pietro, , , , , eosophy, n Tolstoy, Serge, ode, Henry, Tomb gure of kneeling woman (Chinese, Han ompson, Daniel Varney, Jr., – , – ; dynasty, BC–AD ), , , on art appreciation, , ; career of, Tornabuoni Chapel, Santa Maria Novella, – , , – , ; Cennini and, Florence, , , , , , , ; correspon- A Touch of Innocence (Dunham, ), dence with Bernard Berenson, – , Tournament in Piazza S. Croce (cassone panel – ; De arte illuminandi ( ), ; painting, arib. Apollonio di Giovanni death of, ; education of, – ; Hahn and workshop), , , , – , , lawsuit, involvement in, ; lack of inte- rest of Bernard Berenson in technical Towsley, Prentice, , aspects of art and, , – , – , Toy, Crawford Howell, , – , ; list of publications of, – ; e nn – Materials and Techniques of Medieval Tragedy of Lucretia (Boicelli), , –, Paintings ( ), Bernard Berenson , foreword for, – , ; meetings Tremont Entrance to Olmsted®s Back Bay between Bernard Berenson and, – , Fens and Altamura Garden Pavilion, – , ; photographs of, , , Fenway Court, – , , , , ; relationship between Bernard Trevelyan, Sir George, Berenson and, , , – , ; Trevor-Roper, Hugh, , St. Mark, , , ; transcriptions and Trinity (Boicelli), translations of medieval technical docu- Triumph of Death, mentation by, , , – , – Triumph of Neptune (Circle of Mantegna), ompson, Grace, Trivulzio, Prince, , , nn – orndike, Paul and Rachel, –, Tropic Death (ballet; Dunham), ree Essays in Method (Berenson, ), , Troa, Antonella, , n , Troi (dealer), us Spoke Zarathustra (Nietzsche), , Trubetzkoy, Prince Paolo, Tietze, Hans, , Tunisia, Bernard Berenson in, Timurid dynasty, Turbyll, Mark, Tintoreo, Domenico, , , Turkey: Bernard Berenson®s consideration Tiryakian, Edward, of role in World War II, ; Bernard Tissot, James, Berenson®s travels in, , , n , Titian: “Ariosto,” now called Man with a – , ; Seljuk architecture and, Quilted Sleeve or Portrait of Girolamo (?) Turkmen dynasty Persian miniature in Barbarigo, , ; Europa, , , – , , Berenson Islamic collection,
438 Index Years of Japanese Art (Yashiro Yukio, (October ), ; Clark at, – , , ), , , , ; Clark®s Saltwood Castle and, , ; Dunham at, , , , Über das optische Formgefühl (Vischer, ), – , , , ; rst conceived of as – center for scholarly research, – ; in Ugo da Carpi, Florentine literary and artistic circle, ; Uhde, Wilhelm, – , , – foundation document for, ; Gardner®s Usener, Hermann, visit to, ; Huntington friendship and Utili, Giovan Baista, nancing of, – , ; “Japanese” Uzbek dynasty Persian miniature in landscape of, , ; Mayor diary on, Berenson Islamic collection, , – , ; Morra at, –; myth of Florence and, ; performance of Gray®s Vahshi, Mulla, e Old Masters at ( ), ; Porter and, van der Weyden, Rogier, , , – , – , ; as run by Mariano van Dyck, Anthony, , , , aer death of Mary Berenson, ; van Gogh, eo, Warburg, Felix, at, ; Warburg®s KFW Van Honthorst, Gerard, compared, Van Marle, Raimond, Villani, Giovanni, Vasari, Giorgio, , Villard de Honnecourt, Vavasour Elder, Irene, , Vincioni, Ivo, Velázquez, Diego, , , , Virgil, Aeneid, , , , e Venetian Painters of the Renaissance Virgil Master, , – , (Berenson, ), , , , , , Virgin and Child with Saints Jerome and – , , n Bernardino (Sano di Pietro), n Veneziano, Domenico, , , la Virgine col bambino benedicente loerta Veneziano, Lorenzo, dun angelo (Boicelli), n Venturi, Adolfo, , , , , , , , Vischer, Robert, , – , , – Visconti, Luchino, Venturi, Lionello, , , , Visitation (Crespi), – Venus of Urbino (Titian), Vivarini, Antonio, Venus Rising om the Sea (Boicelli), Vlaminck, Maurice de, , Vermeer, Johannes, , , Volkelt, Johannes, n Verona, Bernard Berenson and Richter®s Vollard, Ambroise, , interest in painters of, Volpe, Carlo, Veronese, Paolo, , , – , Volpi, Elia, Vertova, Luisa, , – n Victory of Pleasure over Virtue (Palma Waagen, Gustav Friedrich, il Giovane), Wadsworth, Mary, n Vidal-Nacquet, Alain, n Wagner, Richard, Vieusseux, Gabineo, Waldman, Louis, , Vignier, Charles, Waley, Arthur, , Villa I Tai: archives at, , ; art collection al-Walid (caliph), at, , , ; Asian and Islamic books in Walker, John, , , , – , library at, – ; Asian art and inte- wall paintings, techniques for removing, , rior decoration of, , –, – ; , – Bernard Berenson and Mostyn-Owen in Walters, Henry, , garden of ( ), ; Bernard Berenson Warburg, Aby, – , – ; aestheticism, in hall of ( ), ; Bernard Berenson rejection of, , , , ; approach in study at ( and ), , ; as to study of art compared to Bernard Bernard Berenson®s chief legacy, ; Berenson®s, – , – , – , bequeathed to Harvard, , , , , – ; Bibliotheca Hertziana lecture , ; Berensons® move into, – ; ( ), n ; cassone panel from Jarves “Bernard Berenson at Fiy” conference collection, Yale University, aribution of,
439 Index , , , – , , ; Clark and, Whistler, James McNeill, , , , , , , – , ; on Florence, , ; White, Hayden, “Fragment of the Nymph” ( ), – ; Wideners and Widener Collection, , , , meeting with Bernard Berenson at KBW, , Hamburg ( ), , – , , , , Wilde, Johannes, , , – ; Mnemosyne Atlas, , ; Wildenstein, Georges, , personal opinion of Bernard Berenson, e Will to Believe (James, ), , , , , ; photograph of, ; pho- Willys Madonna variation (arib. Marconi, tographs, use of, ; Porter and, , , aer Bellini), ; postage stamp presentation of ( ), Wise, Louise Waterman, , , ; publishing inhibitions of, Wi, Sir Robert, , – n ; reasons for rapprochement Wolfe, Catharine Lorillard, with Bernard Berenson, – ; Uhde Wöl¤in, Heinrich, n, n, and, , Woman Weighing Gold (Vermeer), , Warburg, Felix (brother), , n , Wordsworth, William, – e World as Will and Representation Warburg, Frieda (wife of Felix), (Schopenhauer), Warburg, Mary (wife), n Wright, Frank Lloyd, – Warburg, Nina (sister), n Wright, John K., Warburg, Paul (brother), n, Wrightsman, Charles and Jayne, Warner, Langdon, – , Warner, Robert, Yale University. See Jarves collection, Yale Warren, Ned, n University Warren, Samuel, Yashiro Yukio, , n , – , Warren, Susan Cornelia, , – Yazdi, Sharaf al-din, Waves at Matsushima (Kōrin, eighteenth e Youth of Parnassus and Other Stories of century), , Oxford Life (Logan Pearsall Smith, ), Wedepohl, Claudia, , , Wei-chi®ih I-Seng, Zafar nāme (Book of Victory; Sharaf al-din Weil, Gustav, Yazdi, ), Weltknoten, Zaganelli, Francesco, , Wemyss, Earl of, Zambrano, Patrizia, Wendell, Barre, , Zeri, Federico, , , , , Wertheimer, Asher, Zhou Jichang, West-Östlicher Diwan (Goethe), Zimmerman, T. Price, Westminster, Duke of, , Zionism, n, Wharton, Edith, – , , , , Zorzi, Rosella,
440 Index