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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTULLETIN OF THE METROPOLITAN MUSEUM OF ARTalso has lent a fine Gothic manuscript ofthe Hours of the Virgin and three Plantinbooks, which are shown together with Mr.Morgan's volumes just referred to.Typical of Flanders' best-known productare the tapestries on the walls, includingMr. George Blumenthal's decorative hunt-ing piece woven toward the end of thefifteenth century, and the same owner'sslightly later Crucifixion, made after a car-toon by Bernard van Orley, famous as apainter and a designer of tapestries. Be-cause of their size, two other fine tapestriesbelonging to Mr. Blumenthal, and notpreviously shown in the Museum, are hungin the main entrance hall. One of these isa late Gothic example woven with goldand silver thread in Brussels in I508,while the other is an earlier Burgundianproduction of great interest. Both tapes-tries were lent for the Flemish exhibition.A set of five Renaissance pieces, lent byMr. Joseph Sampson Stevens, are beautifulintrinsically and interesting as showingItalian designs-by a pupil close to Raphael-carried out on Flemish looms. Mr.Marsden J. Perry has allowed his remark-able tapestry, one of the finest hangingsowned in America, to be shown.A number of cases of the splendid lacewhich in later times has been regarded bymost people as a product pre-eminentlyBelgian, represent that important phase ofFlemish art. Although Brussels is the lacecenter most familiar to the collector, Ant-werp, Malines, and other localities allhad their individual patterns and weaves,examples of which have been here as-sembled.Some of the specimens of furniture andsculpture in the exhibition have been dis-played previously in other galleries of theMuseum, but among the number nowshown for the first time are chests, cabinets,chairs, and other carved pieces which giveevidence that the Flemish skill in wood-working was always combined with a justsense of proportion and a fine knowledgeof pattern. Two chests of drawers, lentby the Misses Hewitt, are of interest astypical of French eighteenth centuryfashion as expressed by Flemish work-men.

also has lent a fine Gothic manuscript ofthe Hours of the Virgin and three Plantinbooks, which are shown together with Mr.Morgan's volumes just referred to.Typical of Flanders' best-known productare the tapestries on the walls, includingMr. George Blumenthal's decorative hunt-ing piece woven toward the end of thefifteenth century, and the same owner'sslightly later Crucifixion, made after a car-toon by Bernard van Orley, famous as apainter and a designer of tapestries. Be-cause of their size, two other fine tapestriesbelonging to Mr. Blumenthal, and notpreviously shown in the Museum, are hungin the main entrance hall. One of these isa late Gothic example woven with goldand silver thread in Brussels in I508,while the other is an earlier Burgundianproduction of great interest. Both tapes-tries were lent for the Flemish exhibition.A set of five Renaissance pieces, lent byMr. Joseph Sampson Stevens, are beautifulintrinsically and interesting as showingItalian designs-by a pupil close to Raphael-carried out on Flemish looms. Mr.Marsden J. Perry has allowed his remark-able tapestry, one of the finest hangingsowned in America, to be shown.A number of cases of the splendid lacewhich in later times has been regarded bymost people as a product pre-eminentlyBelgian, represent that important phase ofFlemish art. Although Brussels is the lacecenter most familiar to the collector, Ant-werp, Malines, and other localities allhad their individual patterns and weaves,examples of which have been here as-sembled.Some of the specimens of furniture andsculpture in the exhibition have been dis-played previously in other galleries of theMuseum, but among the number nowshown for the first time are chests, cabinets,chairs, and other carved pieces which giveevidence that the Flemish skill in wood-working was always combined with a justsense of proportion and a fine knowledgeof pattern. Two chests of drawers, lentby the Misses Hewitt, are of interest astypical of French eighteenth centuryfashion as expressed by Flemish work-men.

From the Crosby Brown Collection arefour spinets by the best-known Flemishmakers, which show the fine workmanshipcharacteristic of musical instruments pro-duced in the Low Countries during theseventeenth and eighteenth centuries.D. F.GREEK PREHISTORIC ART

UR collection of Greek prehis-toric art has made markedprogress during the year1914. Besides a number ofreproductions, we have been fortunate

enough to obtain sixteen original pieces,acquired from the University Museum,Philadelphia, in exchange for duplicateCypriote vases. Though our collectionof Minoan art must always necessarily bedependent on reproductions for the repre-sentation of its masterpieces, it is a sourceof satisfaction that we have been able tosupplement these copies with originalmaterial, which, though humbler in ap-pearance, will prove invaluable for ourjust appreciation of this great art. Thepieces now acquired are derived from vari-ous American excavations in eastern Crete,carried on by Mrs. C. H. Hawes, MissEdith R. Hall, and Mr. Richard B. Seager.They consist of twelve terracotta vasesand four objects in stone, ranging from theEarly Minoan period to the Early IronAge.Several pieces have been extensively re-stored.In the Early Minoan period can be datedthree cups of different techniques, illus-trating the variety of fabrics in use at thatepoch. One, with a fine mottled decorationin red and black, was found at PriniatikoPirgo; similar examples from Gournia andVasiliki are already in our collection. Acup with trough spout and a design ofparallel oblique lines in creamy white on areddish and black ground (fig. i) is fromVasiliki; a cup with loop handle and adecoration of festoons and dots in whiteon black (fig. 2) was found at Pseira. Ofthese the first belongs to the Early MinoanII period (about 2800-2500 B.C.), and theother two to the end of the Early MinoanIII period (about 2500-2200 B.C.).

From the Crosby Brown Collection arefour spinets by the best-known Flemishmakers, which show the fine workmanshipcharacteristic of musical instruments pro-duced in the Low Countries during theseventeenth and eighteenth centuries.D. F.GREEK PREHISTORIC ART

UR collection of Greek prehis-toric art has made markedprogress during the year1914. Besides a number ofreproductions, we have been fortunate

enough to obtain sixteen original pieces,acquired from the University Museum,Philadelphia, in exchange for duplicateCypriote vases. Though our collectionof Minoan art must always necessarily bedependent on reproductions for the repre-sentation of its masterpieces, it is a sourceof satisfaction that we have been able tosupplement these copies with originalmaterial, which, though humbler in ap-pearance, will prove invaluable for ourjust appreciation of this great art. Thepieces now acquired are derived from vari-ous American excavations in eastern Crete,carried on by Mrs. C. H. Hawes, MissEdith R. Hall, and Mr. Richard B. Seager.They consist of twelve terracotta vasesand four objects in stone, ranging from theEarly Minoan period to the Early IronAge.Several pieces have been extensively re-stored.In the Early Minoan period can be datedthree cups of different techniques, illus-trating the variety of fabrics in use at thatepoch. One, with a fine mottled decorationin red and black, was found at PriniatikoPirgo; similar examples from Gournia andVasiliki are already in our collection. Acup with trough spout and a design ofparallel oblique lines in creamy white on areddish and black ground (fig. i) is fromVasiliki; a cup with loop handle and adecoration of festoons and dots in whiteon black (fig. 2) was found at Pseira. Ofthese the first belongs to the Early MinoanII period (about 2800-2500 B.C.), and theother two to the end of the Early MinoanIII period (about 2500-2200 B.C.).

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTTo the close of the Middle Minoan or thebeginning of the Late Minoan period(about i6oo B. C.) can be assigned twopieces, one a fragment with rippled decora-tion, the other a cup decorated with run-

ning spirals. The shape of the latter isthe same as that of some gold cups fromthe shaft graves of Mycenae, with flaringsides and flat handle. A small jug with

FIG. I. CUP FROM VASILIKI, CRETEABOUT 2200 B.C.

men of the Late Minoan I period, whenCretan naturalism attained its height.The four remaining vases consist of twofalse-necked amphorae, a one-handled jug,all three from Kavousi, and a small two-handled jar from Vrokastro. The Vrokas-tro vase belongs to the Early Iron Age;the other three date from the very end ofthe Minoan age, when the great civiliza-

FIG. 2. CUP FROM PSEIRA, CRETEABOUT 2200 B.C.

FIG. 3. CUP FROM PSEIRA, CRETEABOUT I6oO B.C.

trefoil lip, undecorated, from Sphoungaras,belongs to the Middle Minoan I period(about 2200-2000 B.C.). Of great charmis a vase of the tea-cup form, ornamentedwith spirals in lustrous black paint ona light ground (fig. 3). This shape isamong the most graceful evolved by theMinoans, and was extensively used bothduring the Middle Minoan III and theLate Minoan I periods (about I800-1500B.C.). Our example was found at Pseira.A cup with leaf decoration is a character-istic though rather hastily executed speci-

tion which had dominated Crete for morethan two thousand years had been sweptaway by Northern conquerors. The oldshapes and technique were retained, butthe decoration shows a stereotyped repeti-tion of former motives; originality andnaturalism, the great driving forces ofMinoan art, had died out forever.

Among the most remarkable as well asattractive products of Minoan art are thestone vases and lamps, which have beenfound in great quantities, especially atPseira and Mochlos. Reproductions of9

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTthe most important of these are exhibitedin our Room of Prehistoric Greek Art.The four original specimens now acquiredconsist of a lamp, two bowls, and a lid, allof the Late Minoan period. The lamp,from Gournia, is of the familiar type, withshort foot and open bowl, in which arecuttings for two wicks; it is of blacksteatite. The two bowls, also of steatite,come from Gournia and Pseira, respec-tively, and the lid, which is of veined mar-ble, was found at Vrokastro. Thoughthese pieces, with the exception of the lid,are unfortunately not in a good state ofpreservation, they nevertheless enable usto appreciate the extraordinary skill of thestone-workers of that period, who couldcut both hard and soft stones into what-ever shapes they desired, with no iron toolsat their disposal.The most important reproductions pur-chased this year are three large amphorae,from 24 to 311 inches high, of which theoriginals (published by K. Muller, Athen-ische Mitteilungen, XXXIV, 1909, pp.3o4, 311, 313, pls. xvi, xxii, i and 2) werefound in tombs at Kakovatos on the Greekmainland. Dr. D6rpfeld has identifiedthis site with the ancient Pylos, the homeof Nestor, and has thus invested it withadditional interest. The vases were foundin fragments scattered in the tombs, andhave been put together, with a number ofpieces missing. They are magnificentexamples of the high level attained bypotters of that period in effective decora-tion of large planes. The motives aretaken entirely from plant and marine life.On one is a grouping of nautili among rocksand sea plants (fig. 4); on the two othersare palms and lilies, growing in tufts andsingly. The naturalism of the designs isunmistakable, but we also feel a certainstylizing influence at work, which showsitself in the slightly conventionalizedrendering of the plants and in the markedability to adapt motives to their decorativepurpose. The vases have, therefore, beendated between the first and second LateMinoan periods. Whether they were im-ported from Crete or made on the mainlandremains an open question. Their imme-diate predecessors have been found only in

Crete; but large amphorae of this shapeand technique appear to have been verypopular in Greece and may well have beenmanufactured there.The three other reproductions of vasesrecently acquired consist of a charmingsteatite casket from Mycenae, with arepresentation of an octopus among rocksdelicately carved on its surface; a tall cup,of stone, likewise from Mycenae; and asteatite jarwith two handles and side spout,from Knossos. The latter has a decorationof white inlay and may thereby be assignedto the Middle Minoan III period (I800-i6oo B.C.), while the other two belong toLate Minoan times.Minoan art has furnished us with com-paratively few representations of humanfigures in the round. Whether the artistof that period preferred to avoid thedifficulties presented by such sculpture, orwhether we owe this scarcity merely to thechances of excavation, we cannot deter-mine; at all events, the ability of the Min-oan artist to model in the round is amplyattested both by the splendid bull's headsfrom Knossos and Gournia and the wonder-ful little ivory figures of youths from Knos-sos. An interesting discovery of a bronzestatuette of a youth, belonging to the LateMinoan period, was recently made atTylisos, Crete (cf. J. Hazzidaki, 'Eq>.s.p.q'ApXaco,oy Tty, 1912, p. 223, pl. I7), and acopy of this has now been acquired by theMuseum. He is represented in an atti-tude of adoration, with his right handbrought to his forehead, so that we maypresume that the figure was votive. Hewears the customary loin-cloth, shoes, anda collar, and his hair is long, falling in twocoils down his back. The modeling issketchy, with little attempt at preciserendering of details; but it is full of thevigor and exuberant animation that char-acterize all products of Minoan art. TheGreek sculptor arrived at perfection byadopting a number of types and solving oneby one the problems presented by these.The Minoan artist worked differently. Hewas so eager to fashion what his versatileimagination suggested to him, that hecared less for accurate rendering than forconstantly attempting new subjects. The

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTULLETIN OF THE METROPOLITAN MUSEUM OF ARTresult was that he never arrived at per-fection, but in his works are a freshness anda vitality that have never been equaled inthe whole subsequent history of Europeanart.

Another acquisition which will be greatlyvalued by students of Minoan art is a col-lection of three hundred and fifty-fiveplaster impressionsof engraved gemsand sealings. Ofthese, one hundreda n d twenty-twoare of gems fromMycenae, exhibit- i .ed in the NationalMuseum at Ath-ens; one hundredand thirty-four are :of gems found inCrete and now inthe Museum atCandia; and nine-ty-nine are taken a1from impressedclay nodules found | aIiat Zakro and nowlikewise at Candia. 1These can give us ?B Xa fairly represent- iative picture of *Minoan glypticart. The earlier ... ;;;::

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examples show thebeginnings of thisart, when rude . 'i..iffigures were cut by 77hand on softstones; as the gem- FIG. 4. REPRODUCTcutter became KAKOVATCmore proficient ABOUTand learned how towork with the help of the wheel, he couldtry his hand at harder stones, such as agate,chalcedony, onyx, etc. The subjects heselected for representation were cult scenesof men and women sacrificing, deities anddemons, hunting and war scenes, and, aboveall, animals. Occasionally a lack of perspec-tive and a desire to fill the whole circularspace of the gem resulted in all sorts ofcontortions, but on the whole the figures,especially those of animals, are rendered

result was that he never arrived at per-fection, but in his works are a freshness anda vitality that have never been equaled inthe whole subsequent history of Europeanart.Another acquisition which will be greatlyvalued by students of Minoan art is a col-lection of three hundred and fifty-five

plaster impressionsof engraved gemsand sealings. Ofthese, one hundreda n d twenty-twoare of gems fromMycenae, exhibit- i .ed in the NationalMuseum at Ath-ens; one hundredand thirty-four are :of gems found inCrete and now inthe Museum atCandia; and nine-ty-nine are taken a1from impressedclay nodules found | aIiat Zakro and nowlikewise at Candia. 1These can give us ?B Xa fairly represent- iative picture of *Minoan glypticart. The earlier ... ;;;::

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examples show thebeginnings of thisart, when rude . 'i..iffigures were cut by 77hand on softstones; as the gem- FIG. 4. REPRODUCTcutter became KAKOVATCmore proficient ABOUTand learned how towork with the help of the wheel, he couldtry his hand at harder stones, such as agate,chalcedony, onyx, etc. The subjects heselected for representation were cult scenesof men and women sacrificing, deities anddemons, hunting and war scenes, and, aboveall, animals. Occasionally a lack of perspec-tive and a desire to fill the whole circularspace of the gem resulted in all sorts ofcontortions, but on the whole the figures,especially those of animals, are rendered

with extraordinary truth to nature. Andeverywhere we notice the same impetuousoriginality, the interest in movement andlife that is characteristic of all products ofMinoan art.A few of the gems, both of the earlierand of the later periods, are interestingdocuments of Minoan script. On theearliest specimens

appear rude picto-grams; these weredeveloped in theMiddle Minoanperiod into hiero-glyphic symbols,which in their turngave place, in theLate Minoanperiod, to a linearform of writing.

IN::;~%~ccodanc wit tThis linear scriptis well illustratedthe on the copies offifteen clay tabletsfrom Knossos,now1914,as be acquired by the

decipherment ofMinoan writingarchaeologists arestill awaiting thediscovery of a bi-lingual inscription,such as has sup-plied the key forreading Egyptianhieroglyphs andmore recently theMN OF A VASE FROM Lydian language.S, GREECE As far as can now500 B.C. be ascertained,most of the tab-lets, found in such quantities at Knossos,appear to be business records.G. M. A- R.

AMERICAN PAINTINGSN accordance with the artist's wishes,the painting, The Marquise of Carabas,by Samuel Isham, who died June 12,1914, has beengiven to the MetropolitanMuseum of Art by his executors.

with extraordinary truth to nature. Andeverywhere we notice the same impetuousoriginality, the interest in movement andlife that is characteristic of all products ofMinoan art.A few of the gems, both of the earlierand of the later periods, are interestingdocuments of Minoan script. On theearliest specimens

appear rude picto-grams; these weredeveloped in theMiddle Minoanperiod into hiero-glyphic symbols,which in their turngave place, in theLate Minoanperiod, to a linearform of writing.

IN::;~%~ccodanc wit tThis linear scriptis well illustratedthe on the copies offifteen clay tabletsfrom Knossos,now1914,as be acquired by the

decipherment ofMinoan writingarchaeologists arestill awaiting thediscovery of a bi-lingual inscription,such as has sup-plied the key forreading Egyptianhieroglyphs andmore recently theMN OF A VASE FROM Lydian language.S, GREECE As far as can now500 B.C. be ascertained,most of the tab-lets, found in such quantities at Knossos,appear to be business records.G. M. A- R.

AMERICAN PAINTINGSN accordance with the artist's wishes,the painting, The Marquise of Carabas,by Samuel Isham, who died June 12,1914, has beengiven to the MetropolitanMuseum of Art by his executors.

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