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And Drawing/ Gallerie/ the Metropolitan Rfiu/Eum of Art THE METROPOLITAN MUSEUM OF ART 3 0620 00658214rete/ , firework/ andother Fe/tivitie/ flovember IO-fet>w°fY 14,1971 Print/ and Drawing/ Gallerie/ The metropolitan rfiu/eum of Art It is particularly appropriate in the year of the celebration of the Metro­ politan Museum's Centennial that an exhibition on Fe*tes be organized as a part of that celebration -- re-creating the joyous, sumptuous and beautiful festivities of the past to enhance the Museum's own celebrations. The variety of festive ceremonies in the exhibition includes not only those filled with delight and joy, but more solemn ones such as stately funerals and religious feasts. In the main, only actual, historical festivities, or objects related to them, are shown; however, such objects as Andreani's woodcut of the Triumph of Caesar after Mantegna, or Burgkmair's of the Triumph of Maximilian I, are included because they summed up the classical and literary traditions of lavish and stately processions and cod­ ified the style for those later planned and staged by every European court. In fact, since Maximilian I wrote the descriptive text to the illustrations he had ordered, he created a fe'te book "avant la lettre." The procession included all the representations of pomp, richness, and power associated with a major court and, as such, was a potent political and dynastic document, if not downright propaganda. The implications behind court festive events themselves were carried over into the books commemorating them. The lavish and sometimes extravagant rejoicing at a court marriage only highlighted the fact that the alliance was motivated politically, for the greater strengthening of the realm, and only a rich and powerful court could afford such marvelous entertainments. That idea was reinforced by the publication of a book describing and illustrating the event. No member of his court witnessing Louis XIV's "Les Divertissemens de Versailles" in 1674 could help but be overawed, as all Versailles (itself stupefying) had been turned into one great festival — combining lavish theatricals as well as illuminations and fireworks over the palace and the canals. And if one later saw the f£te book commemorating the event, with its beautiful engravings, the Sun King's omnipotence not only in the realm of politics, but in the command of artists to enhance his court, was again displayed. We owe a great debt to these festivities, no matter what their raison- d'eNre, and not only because they furnished such beautiful and magnificent works of art as visual records. Were it not for the lavish entertainments at the Medici court in Florence or those at the Valois and Bourbon courts in Paris and Ver­ sailles, ballet, theatre and opera as we know them today would not exist. It was the skillful combination and orchestration of the talents of poets, architects, artists and musicians, dictated by the wishes of a cultivated monarch, that pro­ duced the models for most of our current entertainment. Not all the festivities shown are royal and on a lavish scale: Car­ nival in Venice and Rome is a spirited and joyous celebration of the entire populace; a fair in a small town near Florence in the XVII Century has the same crowds and air of popular enjoyment as ours today. And exhibited under the broader scope of the meaning of fetes, is a group of medals commemorating Napoleon's victorious battles across Europe. A battle is obviously not a festive event, but the celebration of its victory is. The medals the Emperor had struck served not only to underline ai:d publicize his victories, but to enliven and make festive the life of his subjects in his absence; his victorious return to France would certainly be the signal for much pomp and ceremony. One of the most spectacularly vivid forms of celebration is a display of fireworks. There are many illustrations of fireworks in the exhibition, those connected with court marriages, the entry of a monarch into a city in his own realm or in a foreign land, the celebration of the birth of Marie Antoinette's son, or the inauguration of a canal or bridge, as at the opening of the Erie Canal and the Brooklyn Bridge, both marvelous displays equalling some of the finest Eu­ ropean ones. The exhibition appropriately coincides with our own most festive season, and although our "fe*tes" are only representational, it is our hope that they will conjure up the spectacles and bring to life for the viewer the atmosphere of other lavish and magnificent festivities. ****************************************** Other departments in the Museum have contributed generously to the exhibition and we would like to express our gratitude for loans and assistance from John G. Phillips, Clare Vincent, Clare Le Corbeiller, James D. Draper, Department of Western European Arts; Everett Fahy, Elizabeth E. Gardner, Department of European Paintings; Jacob Bean, Linda B. Gillies, Leslie E. Lee, Department of Drawings; Fong Chow, Jean K. Schmitt, Department of Far Eastern Art. This exhibition could never have taken place without the extraordinary perspicacity of A. Hyatt Mayor who, over his many years at the Museum, built up this rich and varied collection of festival prints and books. The fireworks ex­ hibition organized by Edward Fenton in 1954 and the forthcoming book by Suzanne Boorsch and John J. McKendry provided most of the entries for that type of celebration. We are grateful to Janet S. Byrne for invaluable suggestions and advice which enriched the exhibition and Phyllis D. Massar's incomparable assistance is deeply appreciated. Mary L. Myers Assistant Curator Department of Prints and Photogrsphs WORKS CITED IN AN ABBREVIATED FORM Lotz: Arthur Lotz: Das Feuerwerk, seine Geschicbte und Bibliographic... Leipzig, Hiersemann, (1940). Mourey: Gabriel Mourey: Le Livre des Fetes Francoises. Paris, Librairie de France, 1930. Ruggieri: E.-F.-D.- Ruggieri: Catalogue des Livres Rares et Precieux...de M. Ruggieri. Paris, Labitte, 1873. SKB: Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek Berlin. Berlin and Leipzig, Verlag fur Kunstwissenschaft, 1939- Vinet: Ernest Vinet: Bibliographie Methodique et Raisonnee des Beaux-Arts. Paris, Firmin-Didot, 1874. ******************************** All the objects in the exhibition have been assembled from the resources of the Metropolitan Museum of Art. The collection of fete material in the Depart­ ment of Prints and Photographs contains a number of drawings. To avoid confu­ sion, we have noted after the accession number to which department the drawing belongs: Prints and Photographs, or the Department of Drawings. We have also noted that the four paintings in the exhibition are from the Department of European Paintings. All the medals and the Snuff box are from the Department of Western European Art. 1. ANDREA MANTEGNA (Italian, 1431-1506) The Elephants from the Triumph of Caesar. Chiaroscuro woodcut by Andrea Andreani. Rogers Fund, 22.73-3-93 2. HANS BURGKMAIR (German, 1473-1531) Herald riding a Griffin, from the Triumph of Maximilian I. Woodcut Harris Brisbane Dick Fund, 32.37 (1)-1 3. JACQUES GAUVAIN (French, active about 1501-1547) The Visit of the Dauphin Francis, son of Francis I, to the City of Lyon in 1533- Medal, Bronze, French (Lyon), 1533- Harris Brisbane Dick Fund, 36.110.40 4. JEAN GOUJON (attributrd to) (French, died 1564/68) Henry II on horseback for his ceremonial entry into Paris, June 16, 1549- Woodcut in the book: C'est L'Ordre qui a Este Tenu a la Nouvelle et Joyeuse Entree...a...Paris...Paris, Roffet, (1549) Bibl: Vinet 471 Harris Brisbane Dick Fund, 28.95 5. MASTER I.T.F. (Italian, XVI Century) The "Festa del Testaccio", Rome, 1558. Etching. Harris Brisbane Dick Fund, 41.72 (3.71) Letter of Invitation to Michael Von Rindsmaul, requesting his presence at the Coronation of Emperor Maximilian II as King of Hungary, to take place at Pressburg (Bratislava) in August, 1563• Autograph; signed by the Emperor in full, with the address and seal intact, dated Vienna, June 24, 1563. Harris Brisbane Dick Fund, 30.60.2 GERMAN SCHOOL,XVI CENTURY Suggested model for the costumes to be worn by the servants of guests at the Coronation of Emperor Maximilian II as King of Hungary, 1563, originally sent with the invitation to the Coronation. Woodcut Harris Brisbane Dick Fund, 30.60.1 8. JAKOB BINCK (German, 1500-1569) Jousting in the Teatro del Belvedere, in the Courtyard of the Vatican Palace, celebrating the Marriage of Annibale Altemps and Ortensia Borromeo, Rome, March 5, 1565- Etching. Harris Brisbane Dick Fund, 41.72(3.72) 9. NICOLAS SOLIS (German, 1542-1584) Equestrian Tournament Celebrating the Marriage of William V, Duke of Bavaria and Re ne'e, Duchess of Lorraine, in Munich, February 22, 1568. Etched plate in the book: Hans Wagner: Kurtze...Beschreibung des... llerren Wilhalmen, Pfaltzgrauen bey Rhein...und derselben...Gemahel... Renata...gebalten Hochzeitlicben Ebren Feste...in...M'u'nchen...lm 1568 Jahr. Munich, A. Berg, 1568. Bibl: Vinet 705 Harris Brisbane Dick Fund, 31.72.9 10. AMBROGIO BRAMBILLA (Italian, active 1582-1599) The Girandola at the Castel'Sant'Angelo, Rome, 1579. Etching Harris Brisbane Dick Fund, 41.72 (346) 11. ACCURSIO BALDI (Italian, ca. 1624-1703) The Triumph of Aphrodite for the Sbarra in the Pitti Palace Courtyard, 1579, celebrating the Marriage of Francesco de' Medici and Bianca Capello. Etched plate from R. Gualterotti: Feste nelle Nozze del serenissimo Don Francesco Medici et...Bianca Capello. Florence, Giunta, 1579. Bibl: Vinet 605 Harris Brisbane Dick Fund, 31-34 12. JACQUES PATIN (French, active 1564-1603) The Great Hall in the Petit Bourbon Palace with spectators watching the performance of the "Ballet Comique" celebrating the Marriage of the Due de Joyeuse to Louise de Vaudemont, sister of the Queen of France. Etched plate in the book: B.
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