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alb3635496 Speculum Romanae Magnificentiae: Papal Benediction. Artist: Giovanni Ambrogio Brambilla (Italian, active Rome, 1575-99). Dimensions: sheet: 15 15/16 x 21 7/8 in. (40.5 x 55.5 cm). Publisher: Claudio Duchetti (Italian, active Venice and Rome, ca. 1565-died ca. 1585). Series/Portfolio: Speculum Romanae Magnificentiae. Date: late 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 3, plate 69 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3607927 Commode. Culture: French. Dimensions: 34 1/2 × 50 1/2 × 24 3/4 in. (87.6 × 128.3 × 62.9 cm). Maker: André Charles Boulle (French, Paris 1642-1732 Paris). Date: ca. 1710-20.In 1708, the prototypes for this commode, then called a pair of bureaux, were delivered to the Grand Trianon by André-Charles Boulle. The duc d'Antin, director of the king's buildings, wrote to Louis XIV: "I was at the Trianon inspecting the second writing desk by Boulle; it is as beautiful as the other and suits the room perfectly."[1] Not until the Trianon inventory of 1729 were the pieces described as "commodes." (They are often called commodes Mazarines because they stood during the nineteenth century and the first third of the twentieth in the Bibliothèque Mazarine in Paris.)[2] From the beginning, the design proved to be immensely popular, although it has also been criticized for an "awkward treatment of forms," meaning, in particular, the four extra spiral legs that were required to support the weight of the bronze mounts and marble top.[3] Nevertheless, the Boulle workshop made at least five other examples of this expensive model, including the Metropolitan's. Traditionally, they have been dated between 1710 and 1732, the year of Boulle's death; by 1730, however, the decorative style of the Sun King's long reign had been supplanted by the lighter forms of the Régence and early Rococo, and a date of 1710-20 is probably more accurate.It seems strange that the duc d'Antin and probably Boulle himself should have called this new type of chest a bureau, yet they may have seen it in connection with the bureau plat, a flat-topped desk with a large writing surface that was currently being developed. A very fine example of the celebrated Boulle bureau plat is the one made for Louis-Henri de Bourbon (1692-1740), prince de Condé, for the Château de Chantilly.[4]The design of the commode reflects the view of the late Louis Quatorze period that court art should be characterized by opulence and swagger. John Morley has pointed out that "the extraordinary way in which its body is, as it were, slung between the eccentric legs is somewhat reminiscent of carriage construction."[5] Indeed, if the tapering spiral supports behind the paw feet could be removed, the resemblance would be even more striking. Like one of the splendid carriages that rolled down the road to Versailles--a moving "billboard" for the glorification of its owner[6]--this commode was intended to impress.A look at some details reveals the unsurpassed skill and artistic imagination of the Boulle workshop. The three-dimensional acanthus-leaf scroll mount on the upper drawer was a signature ornament of Boulle's, one that he employed on many pieces.[7] Its design is echoed in the light-catching two-dimensional brass-and-tortoiseshell marquetry on both drawer fronts. This refinement extends the movement along the surface of the piece and heightens the bulging appearance of the body, as if some power within was pressing the surface outward. This effect of surface tension is one of the reasons why Boulle's pieces dominate the space around them, becoming the focal point of any interior. Extraordinary are the female figures with paw-and-acanthus feet that support the sarcophagus-shaped body.[8] The sensitive finishing of the bronze surface of these sculptures is especially noticeable in the matted, feathery look of the wings, which is achieved by chiseling, and in the sheen of the burnished areas.André-Charles Boulle, who was named King's Cabinetmaker, Chaser, Gilder, and Engraver in 1672,[9] headed an important workshop at the Louvre. He did not invent the metal-and-tortoiseshell marquetry technique named for him, but he perfected it, and it bestows upon his creations a unique look, raising them to a level of artistry where furniture becomes sculpture. Through his etchings Boulle publicized his exquisitely fashionable line of products, both stimulating and reflecting a new taste for luxurious furnishings.[10] Every collector of grand French furniture has acquired a "Boulle," either an original workshop example or one of the countless copies that were made during the late-eighteenth, nineteenth, and twentieth centuries.[11][Wolfram Koeppe 2006]Footnotes:[1] "J'ai été à Trianon pour voir le second bureau de Boulle; il est aussi beau que l'autre et sied à merveille à cette chambre"; quoted in The Metropolitan Museum of Art. The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, p. 206, no. 126 (entry by William Rieder).[2] They were installed at the Château de Versailles in 1932.[3] James Parker in Olga Raggio, James Parker, Clare Le Corbeiller, Jessie McNab, Clare Vincent, and Alice M. Zrebiac. "French Decorative Arts during the Reign of Louis XIV, 1654-1715." The Metropolitan Museum of Art Bulletin 46, no. 4 (Spring 1989), pp. 20-21. See also Louis XIV: Faste et décors. Exh. cat., Museée des Arts Décoratifs. Paris, 1960, p. 19, nos. 84, 85, pl. XXXV; Jean-Pierre Samoyault. André-Charles Boulle et sa famille: Nouvelles recherches, nouveaux documents. Hautes études médiévales et modernes 40. Geneva, 1979, pp. 68, 84-85; and Daniel Meyer. Versailles: Furniture of the Royal Palace, Seventeenth and Eighteenth Centuries. Vol. I, Prestigious Royal Furniture. Trans. Ann Sautier-Greening. Dijon, 2002, pp. 54-57, no. 9.[4] Pierre Arizzoli-Clémentel. Versailles: Furniture of the Royal Palace, Seventeenth and Eighteenth Centuries. Vol. 2. Dijon, 2002, pp. 42-45, no. 6.[5] John Morley. The History of Furniture: Twenty-five Centuries of Style and Design in the Western Tradition. Boston, 1999, p. 154, fig. 275.[6] Rudolf H. Wackernagel. Der französische Krönungswagen von 1696-1825: Ein Beitrag zur Geschichte des repräsentativen Zeremonienwagens. Neue Münchener Beiträge zur Kunstgeschichte 7. Berlin, 1966.[7] Peter Hughes, The Wallace Collection: Catalogue of Furniture. 3 vols. London, 1996, vol. 2, p. 644, no. 138. I am most grateful to Yannick Chastang, London, for bringing this detail to my attention when we examined the commode, in the company of Mechthild Baumeister, Conservator, Department of Objects Conservation, Metropolitan Museum, in March 2004.[8] The screws with which they are attached to the body are unusually large. They can be seen as a particular workshop feature, as they repeatedly recur on pieces by Boulle. For a similar sarcophagus-shaped commode, see ibid., vol. 2, pp. 632-38, no. 136.[9] "ébéniste, ciseleur, doreur et sculpteur du roi"; Alexandre Pradère. Les ébénistes français de Louis XIV à la Révolution. Paris, 1989. English ed.: French Furniture Makers: The Art of the Ébéniste from Louis XIV to the Revolution. Trans. Perran Wood. London, 1989, p. 67.[10] Ibid., pp. 66-108.[11] For copies, see Claudio Paolini, Alessandra Ponte, and Ornella Selvafolta. Il bello "ritrovato": Gusto, ambienti, mobili dell'Ottocento. Novara, 1990, pp. 382, 393; and Theodore Dell. "French Furniture: Eighteenth and Nineteenth Centuries (Part I)." In Frick Collection, The Frick Collection: An Illustrated Catalogue, vol. 6, Furniture and Gilt Bronzes: French, ed. Joseph Focarino, pp. 3-240. New York, 1992, pp. 233-46. Museum: Metropolitan Museum of Art, New York, USA.

alb5207974 painting, Pieter van Veen, probably before 1615, Signature front, bottom left: DV [...], canvas, oil paint, painted, With frame: 275.5 x 354.5 x 11.5cm 2755 x 3545 x 115mm, Weight: 140 kg, history piece, woman, cityscape, man, Leiden, painting depicting a eating crowd of people: the feeding of the redeemed people of Leiden on October 3, 1574. In a cityscape depicting the Vliet seen in the direction of the Vlietgat, a large crowd multitude of citizens to get hold of the herrings and the white bread, which are brought into the city by the Beggars with their barges. In the left foreground is a citizen cutting off a herring. A girl is standing in front of him on the left. Right behind him is an old woman sitting next to a tray of bread. She is holding a loaf of bread. In the center is a man facing the viewer, pointing to the right on three women fighting for bread. In the center of the foreground, next to a gnawed bovine skull, sits a child eating bread. Two other children are standing with a woman who kneels in prayer on the far right. Behind her are another shouting boy and three men, one of whom has stripped the torso and is wearing a white cap. On the far right behind the kneeling woman another child. The foreground is closed on the left and right by a horse's head and a still life of bread and a pot with herring. On the left you see the barges of the Beggars. A number of civilians have jumped into the water and are trying to reach these barges. A trumpet player blows with all his might. On the other side of the Vliet and likewise on the right in the background a dense and happy crowd. Behind the Vlietgat, on whose path the defenders stand, one sees the bridge of the Neksluis and the flames of the burning Spanish jumps. Signed bottom left. The painting is in the original black-painted wooden frame with gilding. This original list states: When the hunger nut was expelled with food, it changes.

alb3682710 Speculum Romanae Magnificentiae: Triumph of Marcus Aurelius. Artist: Nicolas Beatrizet (French, Lunéville 1515-ca. 1566 Rome (?)). Dimensions: sheet: 16 3/4 x 11 1/8 in. (42.5 x 28.2 cm)mount: 21 5/16 x 15 9/16 in. (54.2 x 39.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1560.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 131 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA. Author: Nicolas Béatrizet.

alb3642714 Speculum Romanae Magnificentiae: Carnival games held in the Mount Testaccio in Rome. Artist: Monogrammist ITF (Italian (?), active ca. 1540-60). Dimensions: sheet: 12 3/8 x 19 5/16 in. (31.5 x 49 cm)plate: 10 5/8 x 17 5/16 in. (27 x 44 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Vincenzo Luchino (Italian, active Rome and Venice from 1552, died Venice (?), 1569/71). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1558.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 3, plate 71 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3664162 Speculum Romanae Magnificentiae: Temple near the Appian Way. Artist: Anonymous. Dimensions: sheet: 13 5/8 x 11 1/4 in. (34.6 x 28.5 cm)mount: 20 1/2 x 14 3/8 in. (52 x 36.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Antonio Salamanca (Salamanca 1478-1562 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 40 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3616695 The Grisly Giant, Mariposa Grove, Yosemite. Artist: Carleton E. Watkins (American, 1829-1916). Dimensions: Image: 52.3 x 40.7; Mount: 61.4 x 54.1. Date: 1861.When he was twenty-one Carleton Watkins left Oneonta, New York, for California, following the example of Collis P. Huntington, another Oneonta native who had moved to California to make his fortune. After a stint in Huntington's store in Sacramento, Watkins moved to San Francisco where he chanced into an apprenticeship with Robert Vance, the famous daguerreotypist. By l858 Watkins had established an independent practice, photographing mining operations and land claims for financiers who were building their careers in the lap of the new state.In l861 Watkins traveled with one of his patrons, Trenor Park, entrepreneur of the Mariposa gold mine, on a family excursion to Yosemite, an extraordinarily beautiful valley surrounded by cliffs three thousand feet in height. Unknown to white settlers until 1849, the valley was twenty hours by stage and mule from San Francisco. But word spread fast at the Mariposa mine, and by 1858 there were land claims, a better road, and tourists enough to support a hotel. In 1859 C. L. Weed photographed the valley, and by 1861 Easterners had come to know of the awe-inspiring site from articles in the Boston "Evening Transcript" written by the Unitarian minister Thomas Starr King.The thirty mammoth plate (22 x 18 inches) and one hundred stereo views that Watkins took in Yosemite in 1861 were among the first photographs of the valley sent back East. Through Starr King, Oliver Wendell Holmes and Ralph Waldo Emerson received copies, and in l862 the photographs excited further interest when they were exhibited at Goupil's New York gallery. It was partly on their evidence that President Lincoln signed a bill in l864 declaring the valley inviolate and leading the way to the National Parks system.The giant sequoia tree in Watkins's photograph is eighty-six feet in circumference, two hundred twenty-five feet high, and some three thousand years old. Grisly Giant, as the tree is known, helped clinch the notion that Yosemite was a relict of Eden in North America. Museum: Metropolitan Museum of Art, New York, USA. Author: Carleton E. Watkins.