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
nine
Bernard Berenson and Asian Art
Carl Brandon Strehlke
, at I Tai, Mary Berenson wrote in her diary: “I walked up the ohill & got some marvellous Japanese eects of mist & hills & trees.” Likewise in , her husband Bernard said of the Seignano countryside: “With the snow high on the mountains all around and vapors of fog in the valleys going down to the Arno, this could be a Japanese landscape.” Neither had been to Japan, but Bernard had long tracked in such analogies, publishing as early as March in Venetian Painters of the Renaissance that Carlo Crivelli’s forms “have the strength of line and the metallic lustre of old Satsuma or lacquer” and “are no less tempting to touch.” is statement engendered a violent reac- tion from Charles Eliot Norton, Bernard’s former professor at Harvard University, who, as Bernard later recalled, “protested vigorously against my venturing to give naturaliza- tion papers . . . to Japanese art and ranking Carlo Crivelli for his essential qualities with their lacquers, rather than with European painting.” e puritanical Norton, who had
Unless otherwise stated, all leers and diaries are in the Bernard and Mary Berenson Papers, Biblioteca Berenson, Villa I Taie Harvard University Center for Italian Renaissance Studies. Villa I Tai holds photocopies of Mary Berenson’s leers to her family, which are held by the Lilly Library at Indiana University, as well as photocopies and some originals of Bernard Berenson’s leers to Yashiro Yukio, which come from Yashiro’s family. Some of the material in this essay appears in my essay “Berenson, Sassea, and Asian Art” (Strehlke ). Quoted in Morra , . Berenson , ix–x. Berenson , .
207 upbraided the undergraduate Berenson for reading Walter Pater, was not going to let the adult Berenson get away with slipping Satsuma ware into a text about a Renaissance mas- ter. He also may not have been happy that Crivelli, a painter much loved by his genera- tionclose to that of Charles Eastlake, who in the s and s had bought signicant works by the artist for the National Gallery in Londonwas only mentioned in the pref- ace and not the text. So too Satsuma and lacquer spoke of clipper ships and overstued Victorian drawing roomsNorton’s Boston, not Berenson’s new world, or at least the one that was soon to be, for as we shall see, in October of that year Berenson’s view of Asian art changed radically. Italian critics of the Venetian Painters took the opposite track of Norton. For them the book was too scientic. Angelo Conti, the then recently appointed director of the Accademia in Venice, in his monograph on Giorgione published the same year, felt that the new criticism, such as represented by Berenson, was unable to “capture that element of poetry that makes up every artistic soul.” Conti later wrote in an article with the apt title of “La visione imminente” that to experience a Venetian master to full eect, one needed to imbibe the atmosphere of the Serenissima: “the stillness of the waters” and “the walls laden with color.” e publisher Putnam’s cover design of the Venetian Painters with its gondola embossed in gold (Fig. ), which had so disappointed Bernard as touristy, would have suited Conti, who in a later direct aack on Berenson described the myriad impres- sions of a ride through the lagoonsignicantly in the company of the Italian writer and aesthete Gabriele D’Annunzioas a counter to the vacuity of the American’s aesthetics. A taste for the East also characterized turn-of-the-century Italian aestheticism, so much so that the verista literary critic Felice Cameroni had called Japan “that suburb of Europe.” Cameroni had superintended the production of Carlo Dossi’s Amori, for which the author wanted a cover like a Japanese manga (Fig. ) as the most ing expression of the chaste childhood loves recounted therein. It was designed by Luigi Conconi, who was proud of what he termed the “giapponesismo” of his own work. D’Annunzio was less delicate in his appropriation of the East. He had wrien an article about the arrival in Rome of the Japanese ambassador, Tanaka Fujimaro, a westernizing educational reformer who had been to Amherst College, but whom D’Annunzio turned into a mystery from the East in order to nd an excuse for a languid description of the Roman boutique of Maria
On Berenson’s Italian critics in the s, see Cinelli , – ; and Strehlke , . See Conti , . Conti had previously been director of the Gabineo Disegni e Stampe degli Uzi, during which time he wrote the monograph, which was published by the Fratelli Alinari in Florence. He ended his career as director of Capodimonte in Naples. On Conti, see the introduction by Pietro Gibellini in La beata riva: Tra ato dell’oblìo (Conti ), and the introduction by Ricciarda Ricorda to the reprint of Giorgione. Conti , (reprinted in Conti , – ). Samuels , . Quoted in Dossi , . On Japonisme in Italian artists, see Troyer ; Becaini b, ; and Farinella . Quoted in Dossi , . e cover of this edition of Amori reproduces the original.
208 Carl Brandon Strehlke 1 Cover of Bernard Berenson, Venetian
Painters of the Renaissance (new york and London, 1894).
Berea, who specialized in Japanese objects and aristocratic clients. ere was a similar shop, the Atelier Janei, in Piazza Antinori in Florence. Japanese characters and things also appear at key moments in D’Annunzio’s novel Il Piacere, which brought the aesthetic movement to full ower in Italy. e protagonist, Andrea Sperelli, claims that Count Sukumi, part of his nation’s delegation to Rome, who has a face like a Katsushika
Originally published in La tribuna, December . Reprinted in D’Annunzio , – ; see also Federico Roncoroni’s notes on pp. – . On D’Annunzio’s Japonisme, see Trompeo ; and Lamberti . Becaini a.
209 Bernard Berenson and Asian Art 2 Luigi Conconi, cover of Carlo dossi, (rome, Amori 1887). an example of italian fin-de- siècle Japonisme .
Hokusai and who has fallen in love with Elena, Duchessa di Scerni, would commit ritual suicide with a wakizashi that their hostess uses to cut the pages of a Western book, because Sukumi espied the duchess touching it. As for his conational, the Princess Issé, she fails to t in because she looks so maladroit in her European dress. Sukumi had also appeared in D’Annunzio’s novella Mandarina, in which a Roman lady decides she wants a love aair with a Japanese man but then recoils at actual physical contact. Whereas D’Annunzio used the foreigners to underscore the divide between the cultures and to heighten the exotic sensuality of the narrative in Il Piacere by having the semiautobiographical Sperelli and the Asian Sukumi pursue the same nobildonna, Berenson tried to reconcile East
In Capitan Fracassa, June ; reprinted D’Annunzio , – .
210 Carl Brandon Strehlke and West, most famously in his articles on Sassea, which took full account of his discovery of Asian art that was specically not Satsuma, lacquer, or the ukiyo-e print. If asked whether their statements on the Japanese eects of the I Tai landscape with which I opened this essay brought to mind any particular artist, the Berensons, I believe, would have replied Andō Hiroshige, a woodblock artist known for his snow scenes, whom Bernard said in a leer to Mary of was beer than James McNeill Whistler, the American painter most associated with Japonisme. (Whistler even ate with chopsticks and lined his Chelsea studio, nicknamed “Nagasaki,” with Hiroshige prints, such as can be seen in his Caprice in Purple and Gold: e Golden Screen [Freer Gallery of Art, Washington], in which that artist’s views of the -Odd Provinces are spread before the kimono-clad sier.) e occasion that led to Bernard’s comment on Hiroshige and Whistler was a visit to Boston’s Museum of Fine Arts, in which he spent an aernoon looking at Japanese prints until, as he wrote, “there was no more light in the sky,” also reminding Mary of the print exhibition that they had aended in Paris in . e laer event, I believe, was the rst time either had taken a sustained look at any Asian art; cer- tainly, it was the rst time together. is was the exhibition that Mary Cassa had brought Edgar Degas to see and that famously inspired her own set of ten drypoint and aquatint prints, exhibited in as an “Essai d’imitation de l’estampe japonaise.” She had previ- ously wrien enthusiastically to Berthe Morisot about going to the exhibition, where she had already bumped into Henri Fantin-Latour and James Tissot, saying that she now only dreamed of color on copper. Berenson got enough out of his two forays into the ukiyo-e world to make some amusing analogies, but not much else. In the North Italian Painters of the Renaissance, he wrote: “Hokusai, in his extreme old age, used to sign himself ‘e Man-mad-about-Drawing,’ and with equal tness, Tura, all his life, might have signed ‘e Man-mad-about-Tactile-Values.’” is was in , by which time Berenson had begun collecting Asian art, but ostensibly not woodblock prints. If four years earlier, in September , a subscriber to e Burlington Magazine for Connoisseurs let that month’s issue fall open by chance to an illustration of a Chinese painting (Fig. ), she might have been surprised to see that it was in an article signed by Bernard Berenson that was about the Sienese artist Sassea. In the Chinese painting, Berenson wrote, “we feel an ecstasy of devotion and vision, here we behold a transubstan- tiation of body into soul, whereof we rarely get as much as a vanishing glimpse in our own art.” Berenson asked why Christian art had never found a common manner for depicting its founder, and he went on to compare Buddhism with Franciscanism: “for what can be more like in spirit than certain phases of Buddhism and certain phases of Franciscanism?” We can be forgiven, however, for suspecting some amount of playacting in this assess- ment, as is sometimes the case with Berenson. Indeed, he virtually admied as much in an epilogue to a reprint of articles:
Berenson a. Cited in Mahews , . Berenson , . Berenson a, .
211 Bernard Berenson and Asian Art 3 Zhou Jichang, Lohan Demonstrating the Power of the Buddhist Sutras , ca. 1178, as to Daoists reproduced by Bernard Berenson with the caption “Chinese painting of the Twelfth Century” in Bernard Berenson, “a sienese painter in the franciscan Legend,” 3 Burlington Magazine (1903). denman Waldo ross Collection, museum of fine arts, Boston.
212 Carl Brandon Strehlke At the . . . time pre-Ken-Lung, even pre-Ming Chinese art was revealed to us and what had hitherto been undreamt of, Tang, Sung and even Buddhist paintings. As early as the winter of ’ – of the last century I had the good fortune to help unpack a shipload of Chinese pictures that Fenollosa had procured for Boston and in the following Spring I brought back the news to an incredulous Europe. I naturally tended to exaggerate its expressive qualities as opposed to those of our mediaeval artists.
Regardless, in Berenson had inquired, “why is Christian art so unreligious, so unspiritual, as compared with the art of Buddhism?” e answer was that Western art had “a fatal tendency to become science” and “an inherent incapacity for spiritual expres- sion.” “Of European schools of design,” Berenson wrote, “none comes so close to those of the far east as the school of Siena.” Sassea was his example, but Berenson actually missed the only element in that artist’s oeuvre that can lay claim to Asian inuence: the pastiglia in the frame of the San Sepolcro altarpiece, in which the paern of intertwined morning glories with the buds and leaves seen from dierent points of view is Chinese in origin (Fig. ). e paern began as a natu- ralistic representation of the plant in the underglaze decoration of Yuan poery, becom- ing more abstract as the design moved throughout Asia, as can be seen in derivations of the theme in Korean lacquerware. Its arrival in the West is due to Turkish derivations in tiles of Chinese ceramics dating from the late fourteenth and early eenth century. Probably from some such source, or textiles, the design made its way to Siena, nding a natural home as a decorative subsidiary element of altarpieces, and not only Sassea’s. In books about Far Eastern art from the early s, it was not uncommon to assert spe- cic inuences, not just parallel developments, as Berenson had done. Ernest Francisco Fenollosa’s Epochs of Chinese and Japanese Art of contains chapters with the now improbable titles of “Greco-Buddhist Art in China. Early Tang” and “Greco-Buddhist Art in Japan. Nara Period.” e Hellenistic inuence on Indian artand consequently on that of East Asiawas a popular notion at the time, but it irritated Indian nationalists like the Irish-born Sister Nivedita and other Asian writers like Okakura Kakuzo, the Japanese curator of Asian art at the Museum of Fine Arts in Boston, with whom Berenson was in touch via Isabella Stewart Gardner; in , Berenson wrote her to ask Okakura what he thought of Lafcadio Hearn’s Japan: An A empt at Interpretation. Okakura’s and others’ denials of any Greek inuence in Asian art (Gandharan sculpture, however, being
Berenson , – . I quote from Berenson’s English-language manuscript preserved in the Berenson Archive. Berenson a, . On the tiles in the mosque of Sultan Murad II, or the Muradiye, in Edirne, which are the best surviving example of the transmission of Chinese motifs in ceramics to the West, see Carswell , – ; and Degeorge and Porter , . On this subject, see Guha-akurta , chap. ; and Strehlke , . “I am reading it with great interest, but am eager to know what such an intellectual Jap as Okakura thinks of it”: Berenson to Gardner, I Tai, January ; Hadley , .
213 Bernard Berenson and Asian Art 4a a detail of a large serving dish, Chinese, yuan dynasty (1279–1368), ca. 1330–38, Jingdezhen. British museum, London, given by robert G. Bruce (no. 1951,1012.1).
4b detail of a small box with decoration of peony scrolls, b Korean, Joseon dynasty (1392–1910), fifteenth–sixteenth century. The metropolitan museum of art, new york, lent by florence and herbert irving (sL.8.2009.7.2).
4c Tiles, Turkish, ca. 1435–36. murad ii mosque, edirne.
4d detail of the gilt pastiglia of sassetta, The Funeral of , 1437–44. national Saint Francis c Gallery, London (no. 4763).
d
214 Carl Brandon Strehlke a sticking point) later forced Fenollosa to reduce the question to a maer of dating. e controversy can also be found in other writings of the time and the inuential book on the art of Sri Lanka by Ananda K. Coomaraswamy, lifelong curator of Indian art at the Boston Museum of Fine Arts from . He and his then wife Ethel Partridge (later Mairet) used contemporary folk practices to illuminate medieval Sinhalese art. e practice of making broad cultural comparisons persisted to mid-century. In his Pelican volume on Japanese art, Robert Treat Paine, also a curator in Boston, whose very name encapsulates that old Boston of which the young (and even old) Berenson was always somewhat enthralled, asserted just as Berenson had in that “the Japanese feeling for art is summed up in the problem of decorative designing ... If one thinks of European parallels, of illuminated manuscripts or of Sienese painting, the analogy is again between arts dependent on faith and feeling rather than on reason and science.” e key moment in the formation of Berenson’s taste for Asian art came during an October visit to the Boston Museum of Fine Arts with the Harvard ne arts profes- sor Denman Ross, to meet Ernest Francisco Fenollosa. At the time, Fenollosa was orga- nizing his huge collection of Japanese art, which eventually came to the institution, as well as a show of paintings from Daitokuji in Kyoto. From the Harvard class of , Fenollosa had gone to Japan and become “native,” entering the rareed cult of Tendai Buddhism and ocially cataloguing the country’s national treasures for the Japanese government. He also brought texts of Japanese and Chinese poems to the West, including the Tale of Genjii, which (thanks in part to his literary executor Ezra Pound) was later translated by Arthur Waley, a keeper at the British Museum who was also a friend of the Berensons. e couple read the novel, but as indicated by Mary’s penciled note in one of the tomes of the multivolume work, it was only at chapter ve of the h volume that they began to think it was geing interesting. Nevertheless, Bernard was an avid reader of Asian literature; on May , Mary wrote to Bernard’s mother Judith Mickleshanski: “My tray is carried into his room, where he lies reading Chinese poetry, listening to the wind in the trees.” Fenollosa showed Berenson various things in Boston, including “a gure of a saint with all the literary qualities and much of the charm of Lorenzei” and
a series of Chinese paintings from the th century, which revealed a new world to me. To begin with they had composition of gures and groups as perfect and as simple as the best that we Europeans have ever done. en they had, what we never dream of in oriental art, powerful characterization, now surpassing Dürer, and now Gentile Bellini . . . they are profoundly contrite, full of humility, love, humanity, of the quality of the tenderest passages in the Gospels, or in the story of St Francis . . . I was prostrate. Fenollosa shivered as he looked. I thought I should die, and even Denman Ross who looked dumpy Anglo-Saxon was jumping up and down. We had to poke and pinch each other’s necks and wept . . . We ended
Coomaraswamy . Paine and Soper , . Berenson Family Papers, Houghton Library, Harvard College Library, Harvard University.
215 Bernard Berenson and Asian Art with seeing a large screen by Koreen [sic] [Fig. ], a wild sea with green waves, toothed and fanged like terrible beasts gnawing rocks as strange as in Lorenzei. Oh, the freedom, the wind, the sunshine, the salt smell, the coolness, and great spirit of nature that was in this!
What should we make of this sudden, overwhelming aesthetic experience? First of all, it was typical of the mid- to late nineteenth century, and in the Anglo-Saxon world, Asian, not Western art, was oen the stimulus. e American artist John La Farge had felt a similar ecstasy some decades before on stumbling across a Japanese print in a New York City junk shop, later writing that he could “well remember the various impressions and rapid conclusions of the moment.” Secondly, Berenson’s session with Fenollosa opened up a whole new world of Asian art. From then on, Berenson became primarily interested in Chinese art, largely ranging from the Tang dynasty through to the Song. e series of Song paintings from Daitoku-jiof which Ross purchased a group for Boston were later the impetus for the comparison between Siena and the art of the East. For the Sassea article, Berenson simply quoted directly from Fenollosa’s catalog of the exhibi- tion, which toured three East Coast cities in –. Until recently, the I Tai copy was for the most part uncut, showing that Berenson’s interest in obtaining actual information about the paintings dated only from when he had to put something about them in his Sassea article. e aesthetic experience or memory of the pictures remained primary. Over the next decade, Berenson became more serious about Asian art. When he rst republished his article on Sassea in , he wrote that he had planned to add three other essays “elaborating what I had to say about the religious painting of Japan, about imagina- tive design, and above all about the claims of illustration as a separate art.” One reason why he may never have nished these essays is an awareness of a growing professionalism in the eld. In , Gardner wrote to the Berensons that “Okakura is busy at the Museum, cataloguing the Japanese things that have been huddled there since Fenollosa’s time, and nds forgeries and forgeries!!! And has a great contempt for Fenollosa. Sic transit.” e aractions of Asian art continued to fascinate, however; aer a visit to Charles Lang Freer’s collection, then in Detroit, Berenson wrote to Gardner: “How I wish I were starting out in life! I should devote myself to China as I have to Italy.” And in
Berenson to Mary Smith Costelloe (later Berenson), Northampton MA, October . is is what the art historian Kenneth Clark would describe as “pure aesthetic sensation.” Such an experience had also formed part of Clark’s artistic awakening. In his autobiography, he described seeing in some Fusuma-e screens in the Chishaku-in, a lile-visited temple in Kyoto, which provoked the uncovering of a buried childhood memory of having viewed them at a London show of Japanese art, and the realization that this youthful experience with such a totally unfamiliar work of art had contributed to his beginnings as an aesthete. It was his Japanese friend Yashiro Yukio, who had been at I Tai in the s (see below), who told Clark that he was indeed right about the screens having been in London: see Clark , – . La Farge , ; see also Strehlke , . Berenson , vii. Hadley , . Ibid., ; see also Strehlke , .
216 Carl Brandon Strehlke 5 , he published another book on Sienese art in which he again took himself to task for detail of the waves never completing his essay on “the relations between Sienese Art and the Arts of the Far “toothed and fanged East.” He had, however, been collecting and reading about Asian art. During a visit like terrible beasts” of ogata Ko¯rin, to Boston, he even sat for the society photographer Sarah Choate Sears looking at a Tang
Waves at Matsushima, equestrian gure of the type of which he later bought two. e next year at the British eighteenth century, Museum, he saw the Tang paintings that Aurel Stein had recently discovered in the caves six-panel folding of Dunhuang. is experience must have inspired Berenson’s acquisition in of his screen. museum of most important painting, the Dancing Girls of Kutcha, then also thought to be original fine arts, Boston, Tang. Stein and Laurence Binyon, the English poet and keeper of Oriental prints and fenollosa-Weld drawings at the British Museum, later published Berenson’s picture. Stein wrote his part Collection (no. of the article while on a mission in Kashmir with the aid of color photographs specially 11.4584). Berenson saw it with ernest prepared at Berenson’s request in Milan (Fig. ) and sent to Stein from there. francisco fenollosa, In an earlier leer to Gardner, Berenson said that “personally I only buy Chinese denman ross, and and Persian” but also admied “Mary’s dislike for Oriental things.” Because of that aver- mary mcneill scott sion, her leers to her family in England are invaluable for gauging Berenson’s thinking (fenollosa’s assistant) about Far Eastern art. In one from October , she wrote of how when her husband at the museum of fine arts, Boston, on 25 october 1894. Strehlke , g. . Stein and Binyon – . On Berenson and Asian art at the British Museum, see Ying Ling Huang , .
217 Bernard Berenson and Asian Art 6 photograph commissioned by Bernard Berenson from edizioni Beatrice d’este in milan for aurel stein of Dancing Girls of , tenth–eleventh Kutcha century, in the style of Wei-chi’ih i-seng (active late eight century), hand scroll. Berenson Collection, Villa i Tatti—The harvard university Center for italian renaissance studies.
brought back from Paris an eighth-century Javanese tufa head of the Buddha (Fig. ), he proclaimed it a tremendous example of “Tactile Values” and glorious as “pure art.” “But,” Mary went on,
it is so idol-like, and so hideous as representation, that you are quite upset to have it in the room. I am afraid it is going to knock all our other things to pieces, artisti- cally and spiritually, but yet it is awful and revolting, in a way. I must have a photo- graph of it taken for you to see what B.B. considers a real ‘Masterpiece’.”
On December, as she later wrote to her mother, Mary was in for another shock:
A case arrived, & I told [Roberto, the manservant] to open it & bring the contents up for me to see. is he did, & then he placed on my bed two Chinese works about years old, we both burst into irresistible roars of laughter. is is what they looked like. B.B. says that they are “of the very essence of art,” but if so, they are so “essential” that they really look like nothing at all. We laughed & laughed. When I told B.B., he smiled a superior smile, in the consciousness of holding the doctrine (Fig. ).
Two days later, Bernard’s Matisse, now in Belgrade, arrived; this, as Mary said, “again caused Roberto and me to unite in a hearty laugh.”
Mary Berenson to her family in England, I Tai, December .
218 Carl Brandon Strehlke 7 , Javanese, Head of Anadaˉ sailendra dynasty (eighth– eleventh century), ca. 760–830, stone, probably from Candi Borobudur, magelang, Java. (photo: Gabinetto fotografico, polo museale fiorentino.) photograph taken for the Berensons by harry Burton, ca. 1910.
Mary’s aitude began to change in , following a visit to the great Munich exhibi- tion of Muslim artone of those shows, like the Paris exhibition of Japanese prints, that helped transform European taste. She wrote: “I have just got back from the exhibi- tion, dead tired, but so interested and pleased that I really can’t express half. All my sort of foolish prejudice against Oriental Art has goneI begin to understand its fascination. I have no more ‘grudges’.” And indeed she did not. Six years later, Mary wrote in her diary, “e new library looks splendidthe Buddha is very impressive seen at the end of my corridor (Fig. ).”
Mary Berenson to her family in England, Munich, September ; see also Strachey and Samuels , . Mary Berenson, diary, February . e Buddha is actually of the Buddha’s disciple Ānanda.
219 Bernard Berenson and Asian Art 8a mary Berenson, letter to her family with drawing of fig. 8b, dated settignano, 5 december 1909. hannah Whitall smith archive, Lilly Library, indiana university, Bloomington.
8b , Tomb Figure of a Kneeling Woman Chinese, han dynasty (202 BC–ad 220), second century BC. (photo: Gabinetto fotografico, polo museale fiorentino.) photograph taken for the Berensons by Vittorio Jacquier, ca. 1911.
220 Carl Brandon Strehlke 9a View of the niche in the new Library, as installed in 1916 with the sculpture of ananda,¯ ca. 1960.
9b ananda,¯ Chinese, northern Qi dynasty (550–77), ca. 570. (photo: Gabinetto fotografico, polo museale fiorentino.) photograph taken for the Berensons by Vittorio Jacquier, ca. 1911.
221 Bernard Berenson and Asian Art 10 interior view of Villa i Tatti, with a mix of italian paintings and asian objects, mid-1960s. (photo: Luigi artini.)
Whereas the landscaping of I Tai is oen cited for the way it inuenced garden design in Tuscany and elsewhere, the innovation of its interior decoration does not oen get credit. Most of the design was set in the years before the First World War. (e Berensons rarely bought any Asian art aer that date.) e combination of Italian gold- ground and other pictures with art from Asia that was largely pre-Song Chinese and for the most part gurative was absolutely new (Figs. and ). ere is, for instance, hardly any porcelain, then part and parcel of most gatherings of Asian art. Furthermore, the installation is very clean, with no accumulation of knickknacks and the other para- phernalia typical of an early twentieth-century house, particularly in Umbertine Italy, but also America and England. e dierence between I Tai and other collections of Asian art, like the Isabella Stewart Gardner Museum, is striking. Perhaps the best comparison would be with Frank Lloyd Wright’s Taliesin, his Wisconsin studio that was begun in (though rebuilt twice), in which Asian art is cleanly arranged along the shelving (although high and unreachable). Unfortunately, it is not known if Wright
Fantoni, Flores, and Pfordresher ; and Liserre . See Chong , – , gs. , , – , – .
222 Carl Brandon Strehlke 11 interior view of Villa i Tatti, showing asian sculptures before sassetta’s Borgo san sepolcro altarpiece, ca. 1960. (photo: Luigi artini.)
visited I Tai and saw its collections when he lived nearby in Fiesole for a few months in . Berenson did not become the scholar of Chinese art that he had hoped. It was his Finnish colleague Osvald Sirén, professor at Stockholm University, who took up its study aer a career devoted to Florentine Trecento and Quarocento painting from Gioo to Bualmacco to Lorenzo Monaco. is included in a catalog of the Jarves collection of early Italian painting at Yale Universitya work that in the critic Richard Oner systematically destroyed in a magisterial display of the new connoisseurship. Speaking of the troubled history of the collection’s display and upkeep at the university, he wrote that Sirén’s catalog was “a nal sop to its story.” If anyone, then, it was not Sirén but Berenson who was Oner’s principal interlocutor. e poor reception that Sirén’s ari-
Levine , – . A website by Gianpaolo Fici and Filippo Fici, Frank Lloyd Wright Fiesole (architeura.supereva.com/wright/index.htm), also gathers information about Wright’s stay and his design for a house and studio in Fiesole. Vakkari , – . In November , Berenson told the Philadelphia collector John G. Johnson that he had once wanted to catalog the Jarves collection. See Strehlke – , . Oner , . Oner enjoyed correcting Berenson’s aributions. He did so concerning Berenson’s catalog of the John G. Johnson Collection in a series of lectures held at Johnson’s house in – . See Strehlke , .
223 Bernard Berenson and Asian Art butions received in the small world of connoisseurs concerned with such things does not seem to have been the reason he turned to China, which he rst visited in , because throughout his life he continued to write articles on Tuscan artbut by the s, his publications on China began to overtake all other subjects. A talented photographer, Sirén illustrated many of them himself, and as John Harris has noted, they were oen magnicent examples of printing. Sirén’s compilation of Chinese criticism (rst pub- lished in ) is still consulted as a primary source, and his essays on Chinese gardens, including a study of eighteenth-century European chinoiserie gardens, were important early investigations on the subject. Sirén’s friendship with Berenson dates to , and Berenson owned many of Sirén’s publications on Chinese art, though late in life Berenson told his Japanese friend Yashiro Yukio that he was “deeply disappointed in Sirén’s rst volume on Chinese painting.” Berenson and Yashiro had an acquaintance going back to the s. It was revived aer the war and engendered a regular correspondence between Seignano and Tokyo, with Berenson sometimes even asking Yashiro to welcome distinguished friends like the New York collectors Charles and Jayne Wrightsman and the dancer Katherine Dunham to Japan, and sending him a book on contemporary Japan by Fosco Maraini for his opin- ion. Maraini was an inveterate traveler in Asia who later became professor of Japanese at the Università di Firenze. In , Berenson had wrien a short introduction to Maraini’s rst book, an account of Maraini’s travels in Tibet. In , Maraini took a particu- larly engaging photograph of Berenson at the Villa Palagonia in Bagheria, Sicily, which he titled Homo civilissimus, and he served as a guide to Berenson and Nicky Mariano throughout their stay in Sicily at that time (Fig. ). Berenson and Yashiro rst met in , aer Laurence Binyon of the British Museum, who had been close to Fenollosa, wrote Berenson a leer of introduction to “a young Japanese friend of mine called Yashiro who has just lately gone to Florence ... He is much more articulate than most Japanese & talks English quite well. He has come to Europe to study European art, but hasn’t turned his back on his own. He cares about poetry, too, and
eosophy, a religion that combined elements of Eastern mysticism and of which Sirén was a member, may have inuenced Sirén’s araction to Chinese art, but unlike Berenson’s commentary on Sassea, Sirén’s writings never sought to explain Chinese spirituality in art. Harris , . Sirén , , and . e laer was reprinted by the Dumbarton Oaks Research Library and Collection in with an introduction by Hugh Honour. Berenson to Yashiro, I Tai, July , concerning Osvald Sirén’s Chinese Painting: Leading Masters and Principles (Sirén –). “Show them all the best in Japan that they can see in a short time.” Berenson to Yashiro, Casa al Dono, Vallombrosa, September . Maraini . Berenson’s interest in East Asian art was known to a wide circle. e dedication on a catalog of the postwar traveling show of Japanese masterpieces (Exhibition of Japanese Painting and Sculpture Sponsored by the Government of Japan) reads, “To BB / With aectionate wishes / from Fern Shapley.” As Berenson warmly acknowledged in the preface, Fern Shapley had seen the second edition of his Drawings of the Florentine Painters ( , ix) through the press. Maraini , –. e preface is dated I Tai, March . Maraini and Chiarelli , .
224 Carl Brandon Strehlke 12 Bernard Berenson with Topazia alliata di salaparuta, her husband the orientalist fosco maraini, and their daughter dacia maraini, Bagheria, 1953. Berenson Collection, Villa i Tatti—The harvard university Center for italian renaissance studies.
in himself he seems to me really charming.” Yashiro worked in the I Tai Library, seem- ingly having a pleasant eect on the household. Aer reseling in Tokyo as the director of the newly found Institute of Art Research in Ueno Park, he wrote to Berenson:
It is a nice lile building, and I am sure that both Mr. and Mrs. Berenson would smile, imagining that naughty boy Yuki installed in it as director! What I want really to show to you is the work itself, and it is one of my most cherished dreams to be told by Mr. Berenson that he did not educate Yuki uselessly, seeing that a new method of study in the eld of Oriental art is actually being opened accord- ing to the idea of Mr. Berenson, transmied to the Far East by Yuki!!
In an earlier leer to Mary, he claimed that his “special interest is in the comparative study of the Eastern and Western arts, and in Japan one gets absolutely no chance to study the western art in the original.” In Florence, he set out to remediate this with a study of Sandro Boicelli, as well as an acquisition of a Boicelli for Japan. In the laer he failed. About that, he wrote to Mary Berenson from London on January :
Binyon to Berenson, London, October . Also on Yashiro, see Takagishi . Yashiro to Berenson, Tokyo, August . e institute, bequeathed an endowment by Viscount Kuroda Seiki, a painter in the yōga, or Western style, ocially opened in . It is now the National Research Institute for Cultural Properties, which oversees research on Japan’s artistic heritage. e original building, which still stands and is now a gallery, was designed in a Beaux Arts style by Okada Shinichirô. Yashiro to Mary Berenson, Paris, November .
225 Bernard Berenson and Asian Art Perhaps you remember how I was enthusiastic when I told you that I saw a real Boicelli in the restorer’s room in the Uzi Gallery. I understood at that time that it belonged to Prof. Toesca. At that time I was anxious to get it bought by a Japanese collector & I had a big hope in it when that damned earthquake put an end to it.
He later also wrote to the Berensons about his nd of Boicelli’s Trinity, this time admit- ting that he had tried to buy it for himself. Yashiro’s three-volume monograph on Boicelli, published in , was distinguished for the quality of its illustrations (Fig. ), and particularly the details, an innovation for the time. Because of the expense of reproducing them, Yashiro had long despaired of nding a publisher, but Sirén and the British travel writer Edward Huon nally found him one. Yashiro occasionally enlisted the Berensons to help procure photographs from private collectors like Gardner, but otherwise Giorgio Laurati of the Brogi rm took the pho- tographs. In the acknowledgments, the author credited Laurence Binyon and Arthur Waley with rst encouraging his “‘Oriental’ enthusiasm for Boicelli”; indeed, Yashiro persevered in nding Asian undercurrents in Boicelli. My favorites are in chapter ve, in the book’s second section dedicated to the “Sensuous Boicelli,” in which he discusses the artist’s owers; the subtitles include “Flowers of the Japanese Painters: Korin and Old Tosa Schools,” “Senuous Flowers,” “Utamaro’s Flowers,” “Sensitive Flowers,” “Flowers in Buddhistic Paintings,” and “Oriental Inuences in Flower Painting in Italy.” Yashiro’s acknowledgments are a veritable who’s who of Italian art history at that time, and include a wide range of art historians and museum ocials. Berenson may have been irritated by the equal acknowledgment to both him and Herbert Horne ( – ), whom Yashiro had never met but whose Alessandro Filipepi, Commonly Called Sandro Bo icelli was an invaluable precedent. Tensions over other aspects of the book caused temporary fallings-out with the Berensons, and seemingly Yashiro’s removal from signicant research on the revised edition of Berenson’s Drawings of the Florentine Painters (a position later lled by
Pietro Toesca, an inuential art historian, created a distinguished collection of Italian paintings. is Boicelli was probably the Annunciation sold by Toesca to Louis F. Hyde (now at the Hyde Collection, Glens Falls, NY). It was published by Berenson in the June issue of Art in America. Lorizzo , . He is referring to the Great Kanto Earthquake of September , which devastated Tokyo, Yokohama, and surrounding areas. Yashiro to Bernard and Mary Berenson, London, November . It is not clear if Yashiro was also the potential purchaser of the Toesca picture. e Trinity is in the Courtauld Institute, London. Kenneth Clark acknowledged that this inspired him to do the same in his books of photographs of the National Gallery, One Hundred Details om the National Gallery (Clark ), and More Details of Pictures om the National Gallery (Clark ). See Clark , . Sandro Bo icelli was published by the Medici Society in London and Boston in an edition of copies (Yashiro ). A second, revised edition was issued in . On the rm, see Silvestri . Horne . Berenson and Horne had had a falling-out over Boicelli aributions; see Strehlke – , – .
226 Carl Brandon Strehlke Kenneth Clark). In late and early , Yashiro passed a lonely period in Paris and London worried about the Great Kanto Earthquake and the Boicelli volumes. Berenson introduced him to Salomon Reinach, whose Apollo was the rst book on Western art that the Japanese scholar had read. Otherwise, Yashiro complained about depression, passing time in “stupid cinemas,” his mother alone in Japan, and the absence of the Jahrbuch der Preußischen Kunstsammlungen in the Bibliothèque nationale. In another leer, he wrote that he had “no friend in U.S.A., except perhaps Oner, but I don’t know where he is, he never writes me.” In the preface to Bo icelli, he would write that Oner “in our daily company in Italy gave me sound inuence by his seriousness of study in Florentine masters.” During his time in London, Yashiro laid plans for the new Tokyo art history insti- tute, writing to Berenson that he had persuaded “the interested people in Japan to establish an institute where practically your method of study is to be pursued in the eld of Oriental art. You may have heard of this ‘Institute of Art Research’ from Sir Robert Wi.” A number of years later, Berenson wrote to Yashiro expressing how much he was look- ing forward to seeing something from Yashiro’s hand:
But I am happy to learn that you have been applying our methods to the study of Chinese painting, & I beg of you as a personal favour to make haste & give me a specimen of your work. I am so bored with most everything, whether general or particular about Eastern art that it would give me joy to read something that was neither soap-bubbles nor microscopic pebbles.
ere was a misunderstanding over a request by Yashiro’s publishers for the Berensons to provide leers of introduction for his rst trip to the United States. A leer from Yashiro to Mary Berenson dated London, “late in the night” on August , indicates that their refusal distressed him. Mary later did write to Isabella Stewart Gardner for him; see Hadley , –. As can be deduced from a leer dated London, November , Bernard was annoyed with Yashiro’s dra for a list of Boicelli’s works, and even told Yashiro that he could only do photographic research on the revision of Drawings of the Florentine Painters. ough the preface of the Boicelli monograph suggests that Yashiro planned to return to Japan, he stayed in Europe for several more years, and his time at I Tai overlapped with that of Clark. Yashiro tried to meet Clark in England in October (leer to the Berensons, dated October: “I have heard that your book of Drawings is being prepared for a smaller edition & that an excellent young scholar from Oxford, whom I was about to meet & missed the chance, is helping you. I am very glad to hear that, as I am among the most ardent to see the book come out in a form within convenient reach of a student”). Yashiro and Clark became good friends, and Yashiro gave the Clarks’ rst baby, born at San Martino, a Mensola, a present of pink Japanese silk (Clark , ). Other misunderstandings with the Berensons may have followed, as a later, undated leer reveals that Yashiro was not visiting I Tai, but nevertheless frequenting the Clarks’ residence at San Martino. Yashiro to Mary Berenson, Paris, November . e library still does not own a run of the periodical. Yashiro to Mary Berenson, London, January . Yashiro , xii. Yashiro to Bernard and Mary Berenson, October [no year indicated]. Berenson to Yashiro, I Tai, January .
227 Bernard Berenson and Asian Art 13 yashiro yukio examining an illustration proof of Sandro Botticelli published by the medici society of London and Boston in 1925, ca. 1925. (photo courtesy of Tanaka atsushi.)
e war years were dicult for Yashiro because, as he wrote in an undated leer (now at I Tai) to John Coolidge at the Fogg Museum, of “his international way of thinking.” Berenson had addressed a leer to Paul Sachs at the Fogg recommending that the uni- versity take on the Japanese scholar: “Far Eastern studies are as all other art-historical subjects being pursued in a way that makes me despair of the subject & wish oen that the teaching of art history should be altogether abandoned. Yashiro would be a corrective.” e corrective was, of course, the Berensonian method; Yashiro also admied this, say- ing that the “history of Eastern Art, especially that of Eastern painting, is just like [the] History of Italian painting, before it was reconstructed with a new scientic method by Morelli and B.B.”
Berenson to Sachs, I Tai, February . See McComb , . Yashiro to Coolidge, Oiso, Japan, .
228 Carl Brandon Strehlke Yashiro did not get a position at Harvard and remained in Japan, visiting both Europe and America occasionally. Ill health delayed publication of his Years of Japanese Art, which came out in with a dedication to Berenson, whom, he said, “illuminated and enriched my work in Eastern elds.” e then ninety-four-year-old Berenson was losing his energies, but Nicky Mariano wrote of how pleased he was by the book. For a long time, Yashiro had also been shepherding the publication of a Japanese trans- lation of Berenson’s Italian Painters of the Renaissance. It was issued in . However, in , the same year as a Cecil Beaton photo of Berenson in front of his Sassea and statues of the Buddha, Berenson had already prepared a dedication of the translation to Yashiro in which he spoke of Boicelli’s anity with Japanese art with the same enthusiasm that he had of Sassea’s in :
Boicelli’s swi ame-like yet modelling line is almost unique in European art but I have encountered it frequently in Japanese drawings. Indeed there is a great anity between the draughtsmanship of Florentine and Japanese artists. anks to you, my dear Yashiro, we Europeans have come to have subtler and more pen- etrating appreciation of the achievement of your countrymen and they of ours.
A position at Harvard had already been discussed in . Mary Berenson mentioned in a leer to Isabella Stewart Gardner (I Tai, January ) that Edward Forbes, director of the Fogg Museum, had talked of bringing Yashiro to Harvard; see Hadley , –. Yashiro had given lectures at Harvard in , and had also returned to Boston in on the occasion of an exhibition of Japanese art sent by the government to the Museum of Fine Arts to celebrate the tercentenary of Harvard University. At that time, he studied other works in the Boston museum. See Fontein , . In January , Yashiro brought one of Berenson’s most important Chinese paintings, In the Palace, or Ladies of the Court (Kong-zhong tu), to Tokyo for restoration; see Roberts , – , cat. . Yashiro . “Your book has been in the house already for over a week, but B.B. has taken a long time looking at it and now I can tell you how delighted he is with it and with the quality of the illustrations and deeply grateful for the dedication.” Mariano to Yashiro Yukio, I Tai, March . In November , the translator Yashiro Masui visited Berenson at I Tai. In New York in April of the same year, Yashiro Yukio began negotiating with Phaidon Press about the translated version. Strehlke , g. . Berenson to Yashiro, December ; see Yamada .
229 Bernard Berenson and Asian Art
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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