Bernard Berenson and Asian Art (Strehlke)

Bernard BerensonFormation and Heritage V I L L A I TAT T I S E R I E S, 31 Bernard Berenson Formation and Heritage J os e p h C on n ors an d Lo u i s a . WaLd man ViLLa i TaTTi The harVard uniVersiTy CenTer for iTaLian renaissanCe sTudies © 2014 Villa I Tatti, The Harvard University Center for Italian Renaissance Studies | itatti.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc. libr a ry of congr e ss cata lo ging -in-publication data Bernard Berenson: formation and heritage.—First [edition]. pages cm.—(Villa I Tatti ; 31) “The core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fifty,’ held at I Tatti from 14 to 16 October 2009.” Includes bibliographical references and index. isbn 978-0-674-42785-3 (first) 1. Berenson, Bernard, 1865–1959. 2. Art critics—United States. I. Connors, Joseph. n7483.b47b47 2014 709.2—dc23 [B] 2013036803 Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications Cover illustration: William Rothenstein, Bernard Berenson, 1907. Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. 1898. Both images are from the Berenson Collection, Villa I Tatti— The Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents One Introduction 1 Joseph Connor s Two Bernard Berenson and Jean Paul Richter The Giambono’s Provenance 19 Dietr ich Sey bold Three Art. 1900 121 Ber nd Roeck Seven Bernard Berenson and Aby Warburg Absolute Opposites 143 Cl audi a Wedepohl . and Scholarship The Friendship between Otto Gutekunst of Colnaghi and Bernard Berenson 33 Jer e my Howa r d Four Palaces Eternal and Serene The Vision of Altamura and Isabella Stewart Gardner’s Fenway Court 69 Robert Colby Five Bernard Berenson and “Tactile Values” in Florence 101 A lison Brown Six Bernard Berenson’s Florence. Commerce. Eight Bernard Berenson and Islamic Culture “Thought and Temperament” 173 Ma r io Ca s a r i Nine Bernard Berenson and Asian Art 207 Ca r l br a nd on Str ehlke Ten Bernard Berenson and Kenneth Clark A Personal View 231 Willi a m Most y n.Owen Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Tatti 249 Kathry n Brush Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship 269 David A l a n Brown Thirteen “The Cookery of Art” Bernard Berenson and Daniel Varney Thompson Jr. 283 The a Bur ns vi Contents . Fourteen The Antiquarian Carlo Alberto Foresti of Carpi. a Correspondent of Bernard Berenson Unknown Documents for the History of a Dispersed Collection 309 Elisa betta L a ndi Fifteen Bernard Berenson and Archer Huntington 331 Is a belle Hyma n Sixteen Bernard Berenson and Count Umberto Morra “Do Not Forget Me” 349 Robert a nd Ca roly n Cum ming Seventeen Bernard Berenson and Katherine Dunham Black American Dance 363 Joseph Connor s Bibliography 393 Contributors 413 Index 419 Contents vii . . but Bernard had long trafficked in such analogies. ix–x.ni ne Bernard Berenson and Asian Art C a rl B ra n d on Strehl ke o n 2 Ja n ua ry 1907. and Asian Art” (Strehlke 2009). who. Mary Berenson wrote in her diary: “I walked up the hill & got some marvellous Japanese effects of mist & hills & trees.” 4 The puritanical Norton. all letters and diaries are in the Bernard and Mary Berenson Papers. which come from Yashiro’s family. Bernard’s former professor at Harvard University. Berenson 1894. Berenson 1949.” 2 Neither had been to Japan. Sassetta. 2. to Japanese art and ranking Carlo Crivelli for his essential qualities with their lacquers.” 1 Likewise in 1931. as Bernard later recalled.” 3 This statement engendered a violent reaction from Charles Eliot Norton. publishing as early as March 1894 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. at I Tatti. rather than with European painting. her husband Bernard said of the Settignano countryside: “With the snow high on the mountains all around and vapors of fog in the valleys going down to the Arno. Quoted in Morra 1965. Some of the material in this essay appears in my essay “Berenson. this could be a Japanese landscape. 45. “protested vigorously against my venturing to give naturalization papers . as well as photocopies and some originals of Bernard Berenson’s letters to Yashiro Yukio. . Villa I Tatti holds photocopies of Mary Berenson’s letters to her family. . which are held by the Lilly Library at Indiana University. Biblioteca Berenson. 207 . Villa I Tatti—The Harvard University Center for Italian Renaissance Studies. who had 1 2 3 4 Unless otherwise stated. Becattini 2003b. was unable to “capture that element of poetry that makes up every artistic soul. one needed to imbibe the atmosphere of the Serenissima: “the stillness of the waters” and “the walls laden with color. Angelo Conti. 8 would have suited Conti. 10 Quoted in Dossi 1977. and Strehlke 2009. See Conti 1894. in October of that year Berenson’s view of Asian art changed radically.” 9 Cameroni had superintended the production of Carlo Dossi’s Amori. 7 Conti 1896. for which the author wanted a cover like a Japanese manga (Fig. Italian critics of the Venetian Painters took the opposite track of Norton. see Troyer 1984. He ended his career as director of Capodimonte in Naples. who was proud of what he termed the “giapponesismo” of his own work. Tanaka Fujimaro. So too Satsuma and lacquer spoke of clipper ships and overstuffed Victorian drawing rooms—Norton’s Boston. the then recently appointed director of the Accademia in Venice. He had written an article about the 1884 arrival in Rome of the Japanese ambassador.” 6 Conti later wrote in an article with the apt title of “La visione imminente” that to experience a Venetian master to full effect. felt that the new criticism. 1 (reprinted in Conti 2000. Conti had previously been director of the Gabinetto Disegni e Stampe degli Uffizi. so much so that the verista literary critic Felice Cameroni had called Japan “that suburb of Europe. 206. On Japonisme in Italian artists. who in a later direct attack on Berenson described the myriad impressions of a ride through the lagoon—significantly in the company of the Italian writer and aesthete Gabriele D’Annunzio—as a counter to the vacuity of the American’s aesthetics.upbraided the undergraduate Berenson for reading Walter Pater. a westernizing educational reformer who had been to Amherst College. It was designed by Luigi Conconi. He also may not have been happy that Crivelli. and the introduction by Ricciarda Ricorda to the 2007 reprint of Giorgione. who in the 1850s and 1860s had bought significant works by the artist for the National Gallery in London—was only mentioned in the preface and not the text.” 7 The publisher Putnam’s cover design of the Venetian Painters with its gondola embossed in gold (Fig. 9 Quoted in Dossi 1977. not Berenson’s new world. On Conti. 2) as the most fitting expression of the chaste childhood loves recounted therein. which had so disappointed Bernard as touristy. 178. 5 For them the book was too scientific. 10. 10 D’Annunzio was less delicate in his appropriation of the East. 182. during which time he wrote the monograph. or at least the one that was soon to be. a painter much loved by his generation—close to that of Charles Eastlake. The cover of this edition of Amori reproduces the original. for as we shall see. A taste for the East also characterized turn-of-the-century Italian aestheticism. 2004. and Farinella 2009. such as represented by Berenson. 148–149). in his monograph on Giorgione published the same year. 176–178. see the introduction by Pietro Gibellini in La beata riva: Trattato dell’oblìo (Conti 2000). but whom D’Annunzio turned into a mystery from the East in order to find an excuse for a languid description of the Roman boutique of Maria 5 6 On Berenson’s Italian critics in the 1890s. see Cinelli 1986. 1). 42. 208 Carl Brandon Strehlke . was not going to let the adult Berenson get away with slipping Satsuma ware into a text about a Renaissance master. which was published by the Fratelli Alinari in Florence. 8 Samuels 1979. which brought the aesthetic movement to full flower in Italy. the Atelier Janetti. claims that Count Sukumi. 12 Japanese characters and things also appear at key moments in D’Annunzio’s 1890 novel Il Piacere. 1894). who specialized in Japanese objects and aristocratic clients. Andrea Sperelli. Bernard Berenson and Asian Art 209 .1 Cover of Bernard Berenson. 197–204. Venetian Painters of the Renaissance (new york and London. On D’Annunzio’s Japonisme. 1272–1273. see also Federico Roncoroni’s notes on pp. part of his nation’s delegation to Rome. in Piazza Antinori in Florence. 1 December 1884. Beretta. Reprinted in D’Annunzio 1996. see Trompeo 1943. and Lamberti 1985. 11 There was a similar shop. who has a face like a Katsushika 11 Originally published in La tribuna. 12 Becattini 2003a. The protagonist. she fails to fit in because she looks so maladroit in her European dress. 13 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. an example of italian fin-desiècle Japonisme. 1887). 515–524. reprinted D’Annunzio 1992.2 Luigi Conconi. Amori (rome. in which a Roman lady decides she wants a love affair with a Japanese man but then recoils at actual physical contact. because Sukumi espied the duchess touching it. 22 June 1884. As for his conational. 210 Carl Brandon Strehlke . would commit ritual suicide with a wakizashi that their hostess uses to cut the pages of a Western book. Hokusai and who has fallen in love with Elena. the Princess Issé. Sukumi had also appeared in D’Annunzio’s novella Mandarina. Duchessa di Scerni. Berenson tried to reconcile East 13 In Capitan Fracassa. cover of Carlo dossi. where she had already bumped into Henri Fantin-Latour and James Tissot. here we behold a transubstantiation of body into soul. 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. Berenson wrote. In the North Italian Painters of the Renaissance. he wrote: “Hokusai. the American painter most associated with Japonisme. all his life. This was the exhibition that Mary Cassatt had brought Edgar Degas to see and that famously inspired her own set of ten drypoint and aquatint prints. the Berensons.) The occasion that led to Bernard’s comment on Hiroshige and Whistler was a visit to Boston’s Museum of Fine Arts. “we feel an ecstasy of devotion and vision. exhibited in 1891 as an “Essai d’imitation de l’estampe japonaise. saying that she now only dreamed of color on copper. nicknamed “Nagasaki. Berenson 1907. in which that artist’s views of the 60-Odd Provinces are spread before the kimono-clad sitter. If four years earlier. but ostensibly not woodblock prints. I believe.’ and with equal fitness. or the ukiyo-e print.” 17 Berenson asked why Christian art had never found a common manner for depicting its founder. by which time Berenson had begun collecting Asian art. lacquer. whom Bernard said in a letter to Mary of 1894 was better than James McNeill Whistler. The latter event. In the Chinese painting. she might have been surprised to see that it was in an article signed by Bernard Berenson that was about the Sienese artist Sassetta. it was the first time together.’” 16 This was in 1907.and West. Indeed. 3). most famously in his 1903 articles on Sassetta. for suspecting some amount of playacting in this assessment. Cited in Matthews 1984. Bernard Berenson and Asian Art 211 . might have signed ‘The Man-mad-about-Tactile-Values. was the first time either had taken a sustained look at any Asian art. however.” with Hiroshige prints. a woodblock artist known for his snow scenes. he virtually admitted as much in an epilogue to a 1946 reprint of articles: 14 15 16 17 Berenson 1903a. 15 Berenson got enough out of his two forays into the ukiyo-e world to make some amusing analogies. 8. certainly. in which he spent an afternoon looking at Japanese prints until. “there was no more light in the sky. a subscriber to The Burlington Magazine for Connoisseurs let that month’s issue fall open by chance to an illustration of a Chinese painting (Fig. such as can be seen in his Caprice in Purple and Gold: The Golden Screen [Freer Gallery of Art. in his extreme old age. but not much else. Berenson 1903a. as is sometimes the case with Berenson. 58. 14 If asked whether their statements on the Japanese effects of the I Tatti landscape with which I opened this essay brought to mind any particular artist. whereof we rarely get as much as a vanishing glimpse in our own art. Washington]. Tura. which took full account of his discovery of Asian art that was specifically not Satsuma. as he wrote.” also reminding Mary of the print exhibition that they had attended in Paris in 1890.” She had previously written enthusiastically to Berthe Morisot about going to the exhibition. 214. would have replied Andō Hiroshige. (Whistler even ate with chopsticks and lined his Chelsea studio. in September 1903. used to sign himself ‘The Man-mad-about-Drawing. I believe. ca.3 Zhou Jichang. museum of fine arts.” Burlington Magazine 3 (1903). 212 Carl Brandon Strehlke . denman Waldo ross Collection. as reproduced by Bernard Berenson with the caption “Chinese painting of the Twelfth Century” in Bernard Berenson. “a sienese painter in the franciscan Legend. 1178. Lohan Demonstrating the Power of the Buddhist Sutras to Daoists. Boston. Bernard Berenson and Asian Art 213 . 22 “I am reading it with great interest. as Berenson had done. but am eager to know what such an intellectual Jap as Okakura thinks of it”: Berenson to Gardner. which are the best surviving example of the transmission of Chinese motifs in ceramics to the West. see Guha-Thakurta 1992. 196.” The Hellenistic influence on Indian art—and consequently on that of East Asia—was a popular notion at the time. I naturally tended to exaggerate its expressive qualities as opposed to those of our mediaeval artists. in which the pattern of intertwined morning glories with the buds and leaves seen from different points of view is Chinese in origin (Fig. 11 January 1906.” “Of European schools of design. 18 Regardless. becoming more abstract as the design moved throughout Asia. 19 Berenson 1903a. as compared with the art of Buddhism?” The answer was that Western art had “a fatal tendency to become science” and “an inherent incapacity for spiritual expression. Sung and even Buddhist paintings. As early as the winter of ’94–95 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. 13. 20 On the tiles in the mosque of Sultan Murad II. 21 the Japanese curator of Asian art at the Museum of Fine Arts in Boston. . so unspiritual. and Strehlke 2009. and not only Sassetta’s.” Berenson wrote. chap.” 19 Sassetta was his example. Its arrival in the West is due to Turkish derivations in tiles of Chinese ceramics dating from the late fourteenth and early fifteenth century. 5. and Degeorge and Porter 2001. but it irritated Indian nationalists like the Irish-born Sister Nivedita and other Asian writers like Okakura Kakuzo. see Carswell 1998. or the Muradiye. as can be seen in derivations of the theme in Korean lacquerware. I Tatti. but Berenson actually missed the only element in that artist’s oeuvre that can lay claim to Asian influence: the pastiglia in the frame of the San Sepolcro altarpiece. finding a natural home as a decorative subsidiary element of altarpieces. 21 On this subject. time pre-Ken-Lung. being 18 Berenson 1946. Nara Period.At the . The pattern began as a naturalistic representation of the plant in the underglaze decoration of Yuan pottery. with whom Berenson was in touch via Isabella Stewart Gardner. 22 Okakura’s and others’ denials of any Greek influence in Asian art (Gandharan sculpture. 20 Probably from some such source. not just parallel developments. or textiles. however. it was not uncommon to assert specific influences. Hadley 1987. in Edirne. Berenson wrote her to ask Okakura what he thought of Lafcadio Hearn’s Japan: An Attempt at Interpretation. 18–24. In books about Far Eastern art from the early 1900s. 4). even pre-Ming Chinese art was revealed to us and what had hitherto been undreamt of. . Ernest Francisco Fenollosa’s Epochs of Chinese and Japanese Art of 1912 contains chapters with the now improbable titles of “Greco-Buddhist Art in China. the design made its way to Siena. in 1906. “why is Christian art so unreligious. “none comes so close to those of the far east as the school of Siena. Tang. I quote from Berenson’s 1945 English-language manuscript preserved in the Berenson Archive. Early Tang” and “Greco-Buddhist Art in Japan. 49. 373. 49–50. in 1903 Berenson had inquired. fifteenth–sixteenth century. yuan dynasty (1279–1368).1012. murad ii mosque. London (no. Jingdezhen.7. ca. The metropolitan museum of art.2009. 1951. 1437–44. edirne. The Funeral of Saint Francis. Chinese. national Gallery. British museum. b 4c Tiles.8. 4b detail of a small box with decoration of peony scrolls. 4763). 4d detail of the gilt pastiglia of sassetta. London.1). lent by florence and herbert irving (sL. 1330–38. ca. given by robert G. Turkish.2). Joseon dynasty (1392–1910). Bruce (no. new york. 1435–36. c d 214 Carl Brandon Strehlke . Korean.4a a detail of a large serving dish. From the Harvard class of 1874. which (thanks in part to his literary executor Ezra Pound) was later translated by Arthur Waley. Bernard was an avid reader of Asian literature. He and his then wife Ethel Partridge (later Mairet) used contemporary folk practices to illuminate medieval Sinhalese art. they are profoundly contrite. it was only at chapter five of the fifth volume that they began to think it was getting interesting. or in the story of St Francis . I was prostrate. where he lies reading Chinese poetry. powerful characterization. but as indicated by Mary’s penciled note in one of the tomes of the multivolume work. of the quality of the tenderest passages in the Gospels. asserted just as Berenson had in 1903 that “the Japanese feeling for art is summed up in the problem of decorative designing . on 4 May 1914. a keeper at the British Museum who was also a friend of the Berensons. In his 1955 Pelican volume on Japanese art. which revealed a new world to me. including the Tale of Genjii. .” 24 The key moment in the formation of Berenson’s taste for Asian art came during an October 1894 visit to the Boston Museum of Fine Arts with the Harvard fine arts professor Denman Ross. . The couple read the novel. He also brought texts of Japanese and Chinese poems to the West. . .” 25 Fenollosa showed Berenson various things in Boston. humanity. We had to poke and pinch each other’s necks and wept . Bernard Berenson and Asian Art 215 . 23 The practice of making broad cultural comparisons persisted to mid-century. Fenollosa was organizing his huge collection of Japanese art. I thought I should die. full of humility. Harvard College Library. To begin with they had composition of figures and groups as perfect and as simple as the best that we Europeans have ever done. and now Gentile Bellini . . Harvard University. Robert Treat Paine. what we never dream of in oriental art. The controversy can also be found in other writings of the time and the influential 1908 book on the art of Sri Lanka by Ananda K. Fenollosa shivered as he looked. Then they had. 24 Paine and Soper 1955. lifelong curator of Indian art at the Boston Museum of Fine Arts from 1917. and even Denman Ross who looked dumpy Anglo-Saxon was jumping up and down. At the time. . to meet Ernest Francisco Fenollosa. 3. the analogy is again between arts dependent on faith and feeling rather than on reason and science. now surpassing Dürer. . Houghton Library. of illuminated manuscripts or of Sienese painting. also a curator in Boston. which eventually came to the institution. listening to the wind in the trees. If one thinks of European parallels. Coomaraswamy. as well as a show of paintings from Daitokuji in Kyoto. Mary wrote to Bernard’s mother Judith Mickleshanski: “My tray is carried into his room.” entering the rarefied cult of Tendai Buddhism and officially cataloguing the country’s national treasures for the Japanese government. Nevertheless. whose very name encapsulates that old Boston of which the young (and even old) Berenson was always somewhat enthralled. . including “a figure of a saint with all the literary qualities and much of the charm of Lorenzetti” and a series of Chinese paintings from the 12th century. We ended 23 Coomaraswamy 1908. love. 25 Berenson Family Papers. Fenollosa had gone to Japan and become “native.a sticking point) later forced Fenollosa to reduce the question to a matter of dating. Sic transit. 221.with seeing a large screen by Koreen [sic] [Fig. 5]. the coolness. Berenson became more serious about Asian art. was often the stimulus. Oh. 335.” 31 And in 26 Berenson to Mary Smith Costelloe (later Berenson). which provoked the uncovering of a buried childhood memory of having viewed them at a London 1910 show of Japanese art. the sunshine.to late nineteenth century. about imaginative design. For the Sassetta article. largely ranging from the Tang dynasty through to the Song. 27 This is what the art historian Kenneth Clark would describe as “pure aesthetic sensation. he described seeing in 1965 some Fusuma-e screens in the Chishaku-in. and great spirit of nature that was in this! 26 What should we make of this sudden. When he first republished his article on Sassetta in 1909. In his autobiography. which toured three East Coast cities in 1894–95. the freedom. after a 1914 visit to Charles Lang Freer’s collection. then in Detroit. who told Clark that he was indeed right about the screens having been in London: see Clark 1974..” 29 One reason why he may never have finished these essays is an awareness of a growing professionalism in the field. 46. and finds forgeries and forgeries!!! And has a great contempt for Fenollosa. 27 and in the Anglo-Saxon world. later writing that he could “well remember the various impressions and rapid conclusions of the moment. however. 30 Hadley 1987. It was his Japanese friend Yashiro Yukio. Over the next decade. the salt smell. overwhelming aesthetic experience? First of all.” Such an experience had also formed part of Clark’s artistic awakening. Northampton MA. Until recently. he wrote that he had planned to add three other essays “elaborating what I had to say about the religious painting of Japan. the I Tatti copy was for the most part uncut. Berenson simply quoted directly from Fenollosa’s catalog of the exhibition.” 30 The attractions of Asian art continued to fascinate. who had been at I Tatti in the 1920s (see below). In 1904. Asian. toothed and fanged like terrible beasts gnawing rocks as strange as in Lorenzetti. see also Strehlke 2009. The aesthetic experience or memory of the pictures remained primary. 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 Sassetta article. 216 Carl Brandon Strehlke . 41. The 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. Berenson wrote to Gardner: “How I wish I were starting out in life! I should devote myself to China as I have to Italy. 26 October 1894. a wild sea with green waves. Berenson’s session with Fenollosa opened up a whole new world of Asian art. it was typical of the mid. From then on. 28 La Farge 1903. Berenson became primarily interested in Chinese art. see also Strehlke 2009. Gardner wrote to the Berensons that “Okakura is busy at the Museum. and above all about the claims of illustration as a separate art. and the realization that this youthful experience with such a totally unfamiliar work of art had contributed to his beginnings as an aesthete. 531.” 28 Secondly. 31 Ibid. vii. The series of Song paintings from Daitoku-ji—of which Ross purchased a group for Boston— were later the impetus for the comparison between Siena and the art of the East. not Western art. 29 Berenson 1909. 43–44. the wind. cataloguing the Japanese things that have been huddled there since Fenollosa’s time. a little-visited temple in Kyoto. she wrote of how when her husband 32 Strehlke 2009. On Berenson and Asian art at the British Museum. 33 In an earlier 1912 letter to Gardner. Berenson saw it with ernest francisco fenollosa. museum of fine arts. 217 . see Ying Ling Huang 2013. 6) and sent to Stein from there. then also thought to be original Tang. the English poet and keeper of Oriental prints and drawings at the British Museum. Stein wrote his part of the article while on a mission in Kashmir with the aid of color photographs specially prepared at Berenson’s request in Milan (Fig. six-panel folding screen. he even sat for the society photographer Sarah Choate Sears looking at a Tang equestrian figure of the type of which he later bought two.1918. 466. Waves at Matsushima. fenollosa-Weld Collection (no. During a 1909 visit to Boston. This experience must have inspired Berenson’s acquisition in 1914 of his most important painting. been collecting and reading about Asian art. her letters to her family in England are invaluable for gauging Berenson’s thinking about Far Eastern art. Boston. however. he saw the Tang paintings that Aurel Stein had recently discovered in the caves of Dunhuang. eighteenth century. Bernard Berenson and Asian Art 5 detail of the waves “toothed and fanged like terrible beasts” of ogata Ko¯rin.” He had. In one from 31 October 1909.4584). on 25 october 1894. Boston. denman ross. fig. the Dancing Girls of Kutcha.” Because of that aversion. Berenson said that “personally I only buy Chinese and Persian” but also admitted “Mary’s dislike for Oriental things. and mary mcneill scott (fenollosa’s assistant) at the museum of fine arts. 33 Stein and Binyon 1928–29. he published another book on Sienese art in which he again took himself to task for never completing his essay on “the relations between Sienese Art and the Arts of the Far East. 32 The next year at the British Museum. Stein and Laurence Binyon. 15. later published Berenson’s picture. 11. & I told [Roberto. I am afraid it is going to knock all our other things to pieces.” On 5 December. Villa i Tatti—The harvard university Center for italian renaissance studies. I must have a photograph of it taken for you to see what B. but yet it is awful and revolting. this. it is so idol-like. Two days later. “again caused Roberto and me to unite in a hearty laugh. tenth–eleventh century.6 photograph commissioned by Bernard Berenson from edizioni Beatrice d’este in milan for aurel stein of Dancing Girls of Kutcha. This he did. now in Belgrade. We laughed & laughed. he proclaimed it a tremendous example of “Tactile Values” and glorious as “pure art.” “But. When I told B. that you are quite upset to have it in the room.” Mary went on. artistically and spiritually. says that they are “of the very essence of art. they are so “essential” that they really look like nothing at all. B. 7 December 1909.” 34 34 Mary Berenson to her family in England. arrived. Mary was in for another shock: A case arrived. and so hideous as representation. Berenson Collection. as Mary said. considers a real ‘Masterpiece’. Bernard’s Matisse. brought back from Paris an eighth-century Javanese tufa head of the Buddha (Fig. & then he placed on my bed two Chinese works about 2000 years old. we both burst into irresistible roars of laughter. in the consciousness of holding the doctrine (Fig. 7).B. I Tatti.B. the manservant] to open it & bring the contents up for me to see.” but if so. in a way. 218 Carl Brandon Strehlke . as she later wrote to her mother.B. This is what they looked like. 8). he smiled a superior smile. hand scroll. in the style of Wei-chi’ih i-seng (active late eight century).. 36 Mary Berenson. magelang. probably from Candi Borobudur. Mary’s attitude began to change in 1910. like the 1890 Paris exhibition of Japanese prints. see also Strachey and Samuels 1983. sailendra dynasty (eighth– eleventh century). diary. The Buddha is actually of the Buddha’s disciple Ānanda. Mary wrote in her diary.” 35 And indeed she did not. 7 September 1910. ca. I have no more ‘grudges’. Bernard Berenson and Asian Art 219 . “The new library looks splendid—the Buddha is very impressive seen at the end of my corridor (Fig. but so interested and pleased that I really can’t express half. that helped transform European taste. Javanese. All my sort of foolish prejudice against Oriental Art has gone—I begin to understand its fascination. stone. She wrote: “I have just got back from the exhibition.” 36  35 Mary Berenson to her family in England. (photo: Gabinetto fotografico. polo museale fiorentino. 1910. 161. 9).7 ˉ Head of Anada. dead tired. Java.) photograph taken for the Berensons by harry Burton. ca. Munich. 29 February 1916. 760–830. Six years later. following a visit to the great Munich exhibition of Muslim art—one of those shows. 8a mary Berenson. indiana university. 1911.) photograph taken for the Berensons by Vittorio Jacquier. Chinese. dated settignano. 220 Carl Brandon Strehlke . (photo: Gabinetto fotografico. 5 december 1909. han dynasty (202 BC–ad 220). polo museale fiorentino. 8b Tomb Figure of a Kneeling Woman. hannah Whitall smith archive. 8b. second century BC. ca. Bloomington. letter to her family with drawing of fig. Lilly Library. 1911. ca. ca. ca. (photo: Gabinetto fotografico.9a View of the niche in the new Library. northern Qi dynasty (550–77). Bernard Berenson and Asian Art 221 . polo museale fiorentino. 1960. 9b ¯ ananda.) photograph taken for the Berensons by Vittorio Jacquier. Chinese. 570. as installed in 1916 with the sculpture ¯ of ananda. 42–44. hardly any porcelain. figs. 222 Carl Brandon Strehlke . The difference between I Tatti and other collections of Asian art. in which Asian art is cleanly arranged along the shelving (although high and unreachable). and Liserre 2008. 23. the installation is very clean. and Pfordresher 1996. 37 the innovation of its interior decoration does not often get credit.) Whereas the landscaping of I Tatti is often cited for the way it influenced garden design in Tuscany and elsewhere. (The Berensons rarely bought any Asian art after that date. mid-1960s. it is not known if Wright 37 Fantoni. 45–46. 38 Perhaps the best comparison would be with Frank Lloyd Wright’s Taliesin. 10 and 11). for instance. particularly in Umbertine Italy. Most of the design was set in the years before the First World War. 48–51. Furthermore. 38 See Chong 2009. his Wisconsin studio that was begun in 1911 (though rebuilt twice). with no accumulation of knickknacks and the other paraphernalia typical of an early twentieth-century house. but also America and England. (photo: Luigi artini. then part and parcel of most gatherings of Asian art. is striking.10 interior view of Villa i Tatti.) The combination of Italian goldground and other pictures with art from Asia that was largely pre-Song Chinese and for the most part figurative was absolutely new (Figs. with a mix of italian paintings and asian objects. like the Isabella Stewart Gardner Museum. 41. There is. Flores. Unfortunately. See Strehlke 1989–90. 1. 40 This included in 1916 a catalog of the Jarves collection of early Italian painting at Yale University—a work that in 1927 the critic Richard Offner systematically destroyed in a magisterial display of the new connoisseurship.) visited I Tatti and saw its collections when he lived nearby in Fiesole for a few months in 1910. 428.htm). Johnson that he had once wanted to catalog the Jarves collection. A website by Gianpaolo Fici and Filippo Fici. Bernard Berenson and Asian Art 223 . 41 Speaking of the troubled history of the collection’s display and upkeep at the university. also gathers information about Wright’s stay and his design for a house and studio in Fiesole. 109–110. Berenson told the Philadelphia collector John G.com/wright/index. See Strehlke 2004. then.11 interior view of Villa i Tatti. Johnson Collection in a series of lectures held at Johnson’s house in 1926–27. 12. 40 Vakkari 2002. (photo: Luigi artini. professor at Stockholm University.” 42 If anyone. 67–71. he wrote that Sirén’s catalog was “a final sop to its story.supereva. 1960. 41 In November 1908. Frank Lloyd Wright Fiesole 1910 (architettura. 39 Berenson did not become the scholar of Chinese art that he had hoped. 42 Offner 1927. He did so concerning Berenson’s 1913 catalog of the John G. 43 Offner enjoyed correcting Berenson’s attributions. It was his Finnish colleague Osvald Sirén. showing asian sculptures before sassetta’s Borgo san sepolcro altarpiece. ca. it was not Sirén but Berenson who was Offner’s principal interlocutor. who took up its study after a career devoted to Florentine Trecento and Quattrocento painting from Giotto to Buffalmacco to Lorenzo Monaco. 43 The poor reception that Sirén’s attri- 39 Levine 1996. too. they were often magnificent examples of printing. and 1950. 48 “Show them all the best in Japan that they can see in a short time. 23 March 1950. “To BB / With affectionate wishes / from Fern Shapley. because throughout his life he continued to write articles on Tuscan art—but by the 1920s. including a study of eighteenth-century European chinoiserie gardens. wrote Berenson a letter of introduction to “a young Japanese friend of mine called Yashiro who has just lately gone to Florence . Fern Shapley had seen the second edition of his Drawings of the Florentine Painters (1938. . The latter was reprinted by the Dumbarton Oaks Research Library and Collection in 1990 with an introduction by Hugh Honour. 50 In 1953. ix) through the press. He has come to Europe to study European art. Vallombrosa. and as John Harris has noted. 47 Berenson to Yashiro. 50 Maraini 1951. 45 Harris 1991. 5 September 1956. but unlike Berenson’s commentary on Sassetta. Sirén’s writings never sought to explain Chinese spirituality in art. 51 and he served as a guide to Berenson and Nicky Mariano throughout their stay in Sicily at that time (Fig. may have influenced Sirén’s attraction to Chinese art. 45 Sirén’s compilation of Chinese criticism (first published in 1936) is still consulted as a primary source. Berenson’s interest in East Asian art was known to a wide circle. 46 Sirén 1936. who had been close to Fenollosa. 224 Carl Brandon Strehlke . his publications on China began to overtake all other subjects. Sirén illustrated many of them himself. and 44 Theosophy. The preface is dated I Tatti. Casa al Dono. were important early investigations on the subject. 12).” Berenson to Yashiro. He is much more articulate than most Japanese & talks English quite well. 49 Maraini 1958. 1949. after Laurence Binyon of the British Museum.” As Berenson warmly acknowledged in the preface. 89. which he titled Homo civilissimus. The 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. though late in life Berenson told his Japanese friend Yashiro Yukio that he was “deeply disappointed in Sirén’s first volume on Chinese painting. 5–6. 104. He cares about poetry. an account of Maraini’s travels in Tibet. Sicily. and Berenson owned many of Sirén’s publications on Chinese art. a religion that combined elements of Eastern mysticism and of which Sirén was a member. and sending him a book on contemporary Japan by Fosco Maraini for his opinion. concerning Osvald Sirén’s Chinese Painting: Leading Masters and Principles (Sirén 1956–58). but hasn’t turned his back on his own. It was revived after the war and engendered a regular correspondence between Settignano and Tokyo. I Tatti. 51 Maraini and Chiarelli 1999. A talented photographer. Maraini took a particularly engaging photograph of Berenson at the Villa Palagonia in Bagheria. .butions received in the small world of connoisseurs concerned with such things does not seem to have been the reason he turned to China. In 1950. 49 Maraini was an inveterate traveler in Asia who later became professor of Japanese at the Università di Firenze. 3 July 1957. and his essays on Chinese gardens. Berenson and Yashiro first met in 1921.”47 Berenson and Yashiro had an acquaintance going back to the 1920s. 44 which he first visited in 1918. with Berenson sometimes even asking Yashiro to welcome distinguished friends like the New York collectors Charles and Jayne Wrightsman 48 and the dancer Katherine Dunham to Japan. Berenson had written a short introduction to Maraini’s first book. 46 Sirén’s friendship with Berenson dates to 1902. ” 52 Yashiro worked in the I Tatti Library. or Western style. Also on Yashiro. Bernard Berenson and Asian Art 225 . Berenson. The original building.” 54 In Florence. he claimed that his “special interest is in the comparative study of the Eastern and Western arts. Villa i Tatti—The harvard university Center for italian renaissance studies. and it is one of my most cherished dreams to be told by Mr. her husband the orientalist fosco maraini. Berenson would smile. seemingly having a pleasant effect on the household. 21 October 1921. he wrote to Berenson: It is a nice little building. imagining that naughty boy Yuki installed in it as director! What I want really to show to you is the work itself. seeing that a new method of study in the field of Oriental art is actually being opened according to the idea of Mr. officially opened in 1930. 1 August 1928. see Takagishi 2007. 54 Yashiro to Mary Berenson. It is now the National Research Institute for Cultural Properties. he wrote to Mary Berenson from London on 10 January 1924: 52 Binyon to Berenson. 1953. which still stands and is now a gallery. and their daughter dacia maraini. and I am sure that both Mr.12 Bernard Berenson with Topazia alliata di salaparuta. and in Japan one gets absolutely no chance to study the western art in the original. as well as an acquisition of a Botticelli for Japan. About that. The institute. was designed in a Beaux Arts style by Okada Shinichirô. 53 Yashiro to Berenson. transmitted to the Far East by Yuki!! 53 In an earlier letter to Mary. 10 November 1923. Tokyo. After resettling in Tokyo as the director of the newly found Institute of Art Research in Ueno Park. a painter in the yōga. and Mrs. London. he set out to remediate this with a study of Sandro Botticelli. Bagheria. Berenson that he did not educate Yuki uselessly. In the latter he failed. bequeathed an endowment by Viscount Kuroda Seiki. in himself he seems to me really charming. Paris. which oversees research on Japan’s artistic heritage. Berenson Collection. My favorites are in chapter five. 57 Yashiro to Bernard and Mary Berenson.” “Sensitive Flowers. London. and More Details of Pictures from the National Gallery (Clark 1941). Commonly Called Sandro Botticelli was an invaluable precedent. and include a wide range of art historians and museum officials. this time admitting that he had tried to buy it for himself. See Clark 1974. The Trinity is in the Courtauld Institute. Yashiro persevered in finding Asian undercurrents in Botticelli. Glens Falls. 259. He later also wrote to the Berensons about his find of Botticelli’s Trinity. the author credited Laurence Binyon and Arthur Waley with first encouraging his “‘Oriental’ enthusiasm for Botticelli”. see Silvestri 1994. 113. This Botticelli was probably the Annunciation sold by Toesca to Louis F. A second. I understood at that time that it belonged to Prof.” “Flowers in Buddhistic Paintings.Perhaps you remember how I was enthusiastic when I told you that I saw a real Botticelli in the restorer’s room in the Uffizi Gallery. an innovation for the time. 226 Carl Brandon Strehlke . Toesca. Lorizzo 2009. 61 Tensions over other aspects of the book caused temporary fallings-out with the Berensons. Berenson may have been irritated by the equal acknowledgment to both him and Herbert Horne (1864–1916). 61 Horne 1908.” and “Oriental Influences in Flower Painting in Italy.” in which he discusses the artist’s flowers. published in 1925. whom Yashiro had never met but whose Alessandro Filipepi.” “Senuous Flowers. the subtitles include “Flowers of the Japanese Painters: Korin and Old Tosa Schools. 59 Yashiro occasionally enlisted the Berensons to help procure photographs from private collectors like Gardner. created a distinguished collection of Italian paintings. 13). 57 Yashiro’s three-volume monograph on Botticelli. 60 In the acknowledgments. 5 November 1924. 55 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 56 put an end to it. see Strehlke 1989–90. which devastated Tokyo. an influential art historian. and particularly the details. Hyde (now at the Hyde Collection. was distinguished for the quality of its illustrations (Fig. 56 He is referring to the Great Kanto Earthquake of 1 September 1923. indeed. 427–438. in the book’s second section dedicated to the “Sensuous Botticelli. but Sirén and the British travel writer Edward Hutton finally found him one. 58 Kenneth Clark acknowledged that this inspired him to do the same in his books of photographs of the National Gallery. revised edition was issued in 1929. 59 Sandro Botticelli was published by the Medici Society in London and Boston in an edition of 630 copies (Yashiro 1925). Yokohama. Yashiro had long despaired of finding a publisher. 58 Because of the expense of reproducing them. and surrounding areas.” “Utamaro’s Flowers. It was published by Berenson in the June 1924 issue of Art in America. NY). It is not clear if Yashiro was also the potential purchaser of the Toesca picture.” Yashiro’s acknowledgments are a veritable who’s who of Italian art history at that time. One Hundred Details from the National Gallery (Clark 1938). 60 On the firm. London. but otherwise Giorgio Laurati of the Brogi firm took the photographs. and seemingly Yashiro’s removal from significant research on the revised edition of Berenson’s Drawings of the Florentine Painters (a position later filled by 55 Pietro Toesca. Berenson and Horne had had a falling-out over Botticelli attributions. Yashiro and Clark became good friends. You may have heard of this ‘Institute of Art Research’ from Sir Robert Witt. except perhaps Offner. Bernard was annoyed with Yashiro’s draft for a list of Botticelli’s works. and the absence of the Jahrbuch der Preußischen Kunstsammlungen in the Bibliothèque nationale. Yashiro tried to meet Clark in England in October 1925 (letter to the Berensons. 10 November 1923. 64 Yashiro to Mary Berenson. I am so bored with most everything. Berenson introduced him to Salomon Reinach. & I beg of you as a personal favour to make haste & give me a specimen of your work. he wrote that he had “no friend in U. he stayed in Europe for several more years. and even told Yashiro that he could only do photographic research on the revision of Drawings of the Florentine Painters. see Hadley 1987. a present of pink Japanese silk (Clark 1974. The library still does not own a run of the periodical.” 64 In the preface to Botticelli.” 66 A number of years later. as a later.Kenneth Clark). London. 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 field of Oriental art. passing time in “stupid cinemas. whether general or particular about Eastern art that it would give me joy to read something that was neither soap-bubbles nor microscopic pebbles. Mary later did write to Isabella Stewart Gardner for him. and Yashiro gave the Clarks’ first baby. As can be deduced from a letter dated London.” his mother alone in Japan. 63 Yashiro to Mary Berenson. A letter from Yashiro to Mary Berenson dated London. 10 January 1924.A. Paris. 665–666. 31 January 1936. born at San Martino. 66 Yashiro to Bernard and Mary Berenson. “late in the night” on 25 August 1924. I Tatti. is helping you. but I don’t know where he is. 65 Yashiro 1925. whose Apollo was the first book on Western art that the Japanese scholar had read..” 65 During his time in London. Yashiro complained about depression. he would write that Offner “in our daily company in Italy gave me sound influence by his seriousness of study in Florentine masters. Other misunderstandings with the Berensons may have followed. Yashiro laid plans for the new Tokyo art history institute. Yashiro passed a lonely period in Paris and London worried about the Great Kanto Earthquake and the Botticelli volumes. I am very glad to hear that. 67 Berenson to Yashiro. 63 In another letter. whom I was about to meet & missed the chance. he never writes me. undated letter reveals that Yashiro was not visiting I Tatti.S. indicates that their refusal distressed him. xii. as I am among the most ardent to see the book come out in a form within convenient reach of a student”). dated 4 October: “I have heard that your book of Drawings is being prepared for a smaller edition & that an excellent young scholar from Oxford. 168). 4 November 1924. Bernard Berenson and Asian Art 227 . Though the preface of the Botticelli monograph suggests that Yashiro planned to return to Japan. and his time at I Tatti overlapped with that of Clark. Berenson wrote to Yashiro expressing how much he was looking 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. but nevertheless frequenting the Clarks’ residence at San Martino. 4 October [no year indicated]. 67 62 There was a misunderstanding over a request by Yashiro’s publishers for the Berensons to provide letters of introduction for his first trip to the United States. a Mensola. 62 In late 1923 and early 1924. Otherwise. 1949. of course. is just like [the] History of Italian painting. saying that the “history of Eastern Art.” Berenson had addressed a letter to Paul Sachs at the Fogg recommending that the university 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 often that the teaching of art history should be altogether abandoned. I Tatti. 1925. of “his international way of thinking. 228 Carl Brandon Strehlke . 5 February 1949. as he wrote in an undated letter (now at I Tatti) to John Coolidge at the Fogg Museum.) The war years were difficult for Yashiro because.” 68 The corrective was. before it was reconstructed with a new scientific method by Morelli and B. Yashiro also admitted this. Oiso. 69 Yashiro to Coolidge. ca. Yashiro would be a corrective.B. 259.” 69 68 Berenson to Sachs. (photo courtesy of Tanaka atsushi. Japan. the Berensonian method. See McComb 1963.13 yashiro yukio examining an illustration proof of Sandro Botticelli published by the medici society of London and Boston in 1925. especially that of Eastern painting. 3 December 1954. “illuminated and enriched my work in Eastern fields. the same year as a Cecil Beaton photo of Berenson in front of his Sassetta and statues of the Buddha. see Yamada 1961. 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. whom. 71 Ill health delayed publication of his 2000 Years of Japanese Art. Yashiro brought one of Berenson’s most important Chinese paintings. 74 In November 1956. or Ladies of the Court (Kong-zhong tu). Yashiro Yukio began negotiating with Phaidon Press about the translated version. the translator Yashiro Masui visited Berenson at I Tatti. we Europeans have come to have subtler and more penetrating appreciation of the achievement of your countrymen and they of ours. 4 March 1959.” Mariano to Yashiro Yukio. director of the Fogg Museum. 75 Berenson had already prepared a dedication of the translation to Yashiro in which he spoke of Botticelli’s affinity with Japanese art with the same enthusiasm that he had of Sassetta’s in 1903: Botticelli’s swift flame-like yet modelling line is almost unique in European art but I have encountered it frequently in Japanese drawings. 16. 73 “Your book has been in the house already for over a week. visiting both Europe and America occasionally. 74 It was issued in 1961. had talked of bringing Yashiro to Harvard.B. 76 Berenson to Yashiro. However.Yashiro did not get a position at Harvard 70 and remained in Japan. which came out in 1958 with a dedication to Berenson. 27–31. cat. 15 January 1924) that Edward Forbes. 665–666. 75 Strehlke 2009. fig. in 1954. 73 For a long time. but Nicky Mariano wrote of how pleased he was by the book. Yashiro had given lectures at Harvard in 1933. 71 In January 1952. 72 Yashiro 1958. Yashiro had also been shepherding the publication of a Japanese translation of Berenson’s Italian Painters of the Renaissance. my dear Yashiro. see Roberts 1991. Mary Berenson mentioned in a letter to Isabella Stewart Gardner (I Tatti. I Tatti. but B. 2. see Hadley 1987. At that time. In the Palace. Thanks to you. and had also returned to Boston in 1936 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. 76 70 A position at Harvard had already been discussed in 1924. 14. See Fontein 1992. Indeed there is a great affinity between the draughtsmanship of Florentine and Japanese artists. to Tokyo for restoration.” 72 The then ninety-four-year-old Berenson was losing his energies. he studied other works in the Boston museum. Bernard Berenson and Asian Art 229 . In New York in April of the same year. he said. . Aschenbrenner. Barbantini. . Musée du Louvre. Francesca. The Crisis of the Early Renaissance: Civic Humanism and Republican Liberty in the Age of Classicism and Tyranny. Nino. 2 vols. Giulia. 1933. eds. Gauvin A.Bibliography Agosti. 2006. I Taccuini manoscritti di Giovanni Morelli. De Marchi. Dies at 96. Jaynie. and Dominique Thiébaud. and Safavid Miniatures. Leipzig. Bardazzi. Exhibition catalog. Agosti. “The Bernard Berenson Collection of Islamic Painting at Villa I Tatti: Mamluk. Su Mantegna. Part I. Connoisseurship. Venice. Bardazzi. Venice. “‘È nota a tutti la rovina economica che ha colpito il Principe . 2002. Cézanne a Firenze. Applegate. 1300–1870. 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Boston, 2004. 412 Bibliography Contributors a l i s o n b row n Brown is emerita professor of Italian Renaissance history at Royal Holloway, University of London. Her recent books include The Return of Lucretius to Renaissance Florence (2010) and Medicean and Savonarolan Florence (2011), with forthcoming essays on “Piero de’ Medici in Power,” “Defining the Place of Academies in Florentine Politics and Culture,” “Lucretian Naturalism and the Evolution of Machiavelli’s Ethics,” and “Leonardo, Lucretius, and Their Views of Nature.” dav i d a l a n b row n 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 (2006). Brown’s monograph on Andrea Solario earned him the Salimbeni Prize, Italy’s most distinguished award for art books, in 1987. His study Leonardo da Vinci: Origins of a Genius (1998) won the Sir Bannister Fletcher Award in 2000 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 2003. k at h ry n b ru s h Brush earned her PhD at Brown University; she is professor of art history in the department of visual arts at the University of Western Ontario, Canada. Her research focuses on Romanesque and Gothic art, medieval sculpture, the historiography of culturalhistorical thought, and histories of museums, archives, and art collecting. Her books include The Shaping of Art History: Wilhelm Vöge, Adolph Goldschmidt, and the Study of Medieval Art (1996) and Vastly More than Brick and Mortar: Reinventing the Fogg Art Museum in the 1920s (2003). She recently organized an exhibition, with accompanying book, on Mapping Medievalism at the Canadian Frontier (2010). Currently, she is preparing a book that explores the scholarly imagination of the pioneering American medievalist 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, first class) from McGill University, Montreal. She received a certificate 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 professional journals and conference postprints. She is the author of The Invention of Pastel Painting (2007) and The Luminous Trace: Drawing and Writing in Metalpoint (2012); she is currently an independent scholar. m ar io casar i 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 studies concerning the transmission of narrative works in the Arabic and Persian traditions— in particular the Alexander Romance—and on the circulation of literary, iconographic, and scientific themes between East and West. In 2011, he was awarded the Al-FarabiUNESCO prize for his book Alessandro e Utopia nei romanzi persiani medievali (1999). For his research on Oriental studies in Renaissance Italy, he was made Andrew W. Mellon Fellow at I Tatti in 2008–9, where he became acquainted with the Berenson Archive. ro b e rt c o l b y 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 2012, he held a Craig Hugh Smyth Visiting Fellowship at Villa I Tatti. In 2013, 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 con nors Connors, a New Yorker by birth and formation, earned his doctorate in 1978 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 1988 to 1992 and of Villa I Tatti from 2002 to 2010. 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 Battista Piranesi. 414 Contributors ro b e rt a n d c a ro ly n c u m m i n g 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 2005, 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 sheriff 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. j e r e m y h owa r d 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. After 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 2006. He also runs an MA program in eighteenth-century interiors and decorative arts in collaboration with the Wallace Collection. His research interests lie mainly in the field of British eighteenth-, 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 (2007), Cranach (2008), Colnaghi: The History (2010), and “Titian’s Rape of Europa: Its Reception in Britain and Sale to America” (2013). 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 fields 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 Tatti in 1972–73. 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 (1974), Fifteenth-Century Florentine Studies: Palazzo Medici and a Ledger for the Church of San Lorenzo (1977), and Marcel Breuer, Architect: The Career and the Buildings (2001)— the latter was one of two winners in 2002 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 (2002). She has served Contributors 415 he was a fellow of the Leibniz Institute of European History (Mainz) as well as scientific assistant at the University of Munich. where he earned his PhD in 1979. Her current research is on mystical and ascetic women. and the patronage of the artist Giovanni Muzzioli. from 1997 to 1999. including his entry in the Dizionario Biografico degli Italiani. From 1986 to 1990. She has also studied the iconography and iconology of Pomona. after completing his PhD at the University of Basel (2004). in 1965. His book on Leonardo da Vinci and the Oriental world (2011) has reexamined the myth of Leonardo 416 Contributors . with Luisa Vertova. was appointed a director at Christie’s in 1968. and the Muscarelle Museum at the College of William and Mary. Since 1999.ow e n Mostyn-Owen. is the granddaughter of the collector Carlo Alberto Foresti. He retired in 1987. London. cultural. he held the chair of medieval and modern history at the University of Bonn. and social history of the Thirty Years’ War and the European Renaissance. he obtained his habilitation with a study on the city of Augsburg during the Thirty Years’ War. as well as the latter’s connection with Adolfo Venturi. di et r ich sey bold Seybold. She also contributes to several scholarly journals and organizes conferences. In 1987. he was on leave and filled the position of secretary general of the Villa Vigoni Association in Loveno di Menaggio.on the boards of the College Art Association. the Friends of the Vassar Art Gallery. she studied medieval and modern art at the University of Bologna. Venus. who died on 2 May 2011. he has held the chair of modern history at the University of Zurich. From 1991 to 1999. b e r n d ro e c k Roeck studied history and political science at the University of Munich. and was made chairman of Christie’s Education in 1977. the Society of Architectural Historians. on the Venetian and Florentine Lists. and Heliades. and emblematic literature. Italy. Thereafter. he was director of the Centro Tedesco di Studi Veneziani in Venice. has. His work covers the artistic. She has published numerous articles on the baroque and neoclassical decorations of Emilia-Romagna. carried out research in the areas of history and art history. Switzerland. an official in the national heritage administration. was introduced to Bernard Berenson and I Tatti by Rosamond Lehmann in the autumn of 1952 and acted as Berenson’s assistant until the connoisseur’s death in 1959. He joined the Old Master department of Christie’s. working on the revision of Lorenzo Lotto and. independent scholar at Basel. specifically on Stefano Orlandi. She focuses on the history of collecting. especially that of Carlo Alberto and Pietro Foresti. w i l l i a m m o s t y n . e l i s a b e t ta l a n d i Landi. He compiled the Bibliografia di Bernard Berenson (1955) and was instrumental in obtaining Harvard University’s acceptance of the villa. coeditor of Aby M. He has been involved in exhibitions on Sienese Renaissance art. Italian edition. she has been the institute’s archivist. Since 2006. Pontormo. adjunct curator of the John G. with a forthcoming biography of the Leonardo scholar and pupil of Giovanni Morelli. and Bronzino at both the Philadelphia Museum of Art and the Metropolitan Museum of Art. in Italian). and the genesis of Aby Warburg’s cultural theoretical notions. as well as a brief history of the painting collection of Henriette Hertz.traveling to the East and provided the first overview on all Oriental references in Leonardo’s life. Gesammelte Schriften. carl br andon strehlk e Strehlke. Fra Angelico. and coeditor of the multivolume edition of Aby Warburg’s collected writings. She is the author of In den glänzenden Reichen des ewigen Himmels: Cappella del Perdono und Tempietto delle Muse im Herzogpalast von Urbino (2009). Contributors 417 . His main area of research is now the history of connoisseurship. Johnson Collection at the Philadelphia Museum of Art. 2009). Jean Paul Richter (1847–1937). University of Hamburg) is an art historian who joined the staff of the Warburg Institute in 2000. Warburg’s Per Monstra ad Sphaeram: Sternglaube und Bilddeutung (2008. commissioned by the Bibliotheca Hertziana (2013. Her research focuses on two fields: the reception of late antique models in fifteenth-century Italian art and architecture. notes. and oeuvre. is the author of the 2004 catalog of that collection’s early Italian paintings. Studienausgabe (1998–). c l au d i a w e d e p o h l Wedepohl (PhD. He is chief editor of the forthcoming catalog of paintings in the Bernard and Mary Berenson Collection at Villa I Tatti. . 352–353 Alberti. 149. 73. Il Piacere (D’Annunzio. Robert. 316 419 . 4 Anstruther-Thomson. Munich. 192. 97. 117 Anthology (Prince Baysunghur). 219. 86. Northern Qi dynasty. Dionites. 97. 79. Jaynie. 85–86. Topazia. Mehmet.Index Page numbers in italics indicate illustrations. 91. 102. 190. Spinello. 107. 9–10. Warburg’s rejection of. 115–116.” and The Golden Urn. 84 Annunciation (Botticelli). 69. 23 Annunciation (Masolino da Panicale. as “carriage house. Bernard Berenson’s views on revolt against the French. 70. 7 Amori (Dossi. 80–84. 74. 377 Alberti.” 69. 570). ca. 7 Andreas-Salomé. 156. 75 Alte Pinakothek. 361 Alessandro Filipepi. 1887). 110. 63 Altman. purpose of. 69–100. 226 Algeria: Bernard Berenson’s travels in. 12. 89–90. 326 Allen. 327 Anglo-Catholicism. 203. Clementina Caroline (Kit). Lou. after Botticelli. 1950). 1907). Fenway Court. 1923). 77–86. 73. 94. Benjamin. 100. Bernard Berenson’s selfidentification as. ca. 98–99. 179. 134. 340 Alliata di Salaparuta. 156 “Apologia of an Art Historian” (Clark. Pio chapel. 5 Aretino. Claude. Alvin. 69–70. 1890) and aesthetic movement in Italy. 80 “Amico di Sandro” (Berenson. 5 Allegory (Bellini). 87. 154. 200–201 Allendale Nativity (Giorgione). 9–10. 180 Agnew’s (art gallery). Leon Battista. 225 Altamura Garden Pavilion. 271. 93–94. 76. Marion Boyd. 209. 81. “Altamura. 1423/1424). 52 Ailey. 133 Anet. 345–347. 1899). 159. 72. 97. 75–77. Bernard Berenson’s membership in. 73–74. 1950). 9. 111 Adams. Commonly Called Sandro Botticelli (Horne). 352 Alberti Lamarmora. 336 American Academy of Arts and Letters. “Altamura. 71. 77. 151. Catena). 1904). 4 aestheticism: Dionites. 72–77. 87. 96–99. 238 Aga-Oglu. 210 Ānanda statue (Chinese. 33. 33 Altman. 390 The American Scene (James. Baronessa Alda von. 226n55 Annunciation (attrib. 197–198. Henry. 57. Tremont Entrance to Olmsted’s Back Bay Fens and. 188. 192–193 Apollo (Reinach. 73–74. 318 Anrep. 88–96. 208. Islamic art and culture and. 91–93. 70–71. 84. 192 Angelelli. Altamura. 99. artistic and cultural evolution of Gardner and. Abbott. 168. 319 Annunciation (Lippi). 146n12. 273 Annunciation (Scarsellino). 152. 98.” and The Golden Urn. 242–243 The Archangel Gabriel (Scott. 75. design and construction of. Heidi. 227 Apollonio di Giovanni. 127 Ardizzone. 37. inspiring. postcard of Bari Gate. Guglielmo degli. Monte Oliveto Maggiore and. 97. 78–79. Walther. 17 American. Panofsky’s condemnation of. Senda Berenson (sister of Bernard Berenson). 221 Anderson. 291 Architecture of the Renaissance in Italy (Burckhardt). 323. Carpi. 160 Aesthetics and History (Berenson. 185. 71–72. 335 Begarelli. self-identification as. Sienese art and. conversion to. 6. 179. 314 Barr. 212. 209. Sassetta altarpiece and. 7–10 (See also connoisseurship of Berenson). 220. 181n34. correspondence of. 365 Ballets Russes. 1960). 322. 201. 133–135. on. Bernard Berenson’s brief interest in (ca. 211–213. Florence and emergence of. 14. 6. Jewishness of. 245 Balanchine. 212. 264n36. 321 Baptism of Christ (Calvaert). 121. 1897). Fenollosa’s influence on Bernard Berenson regarding. Gardner. 241.“Ariosto” (Titian). ca. 312 Back Bay Fens. 345–347. National Gallery of Art. 314. Matthew. 13. 18. 194n59 Arnold. 192. 88 Art and Illusion (Gombrich. 113. 215. 376. 1–18. 318 Barbantini. 175–177. response to. Thompson on Fogg Museum’s China Expeditions. 322 Bathing Woman (Cézanne). Tito. American Academy of Arts and Letters. 219. Herrick novel. 41 Bella Nani (Veronese). Western vogue for. 133 Bambach. 217–219.. Catholicism. 2. 211. Fenway Court. 269. 214. opposition to. Talley. 270 “Berenson at Harvard: Bernard and Mary as Students” (virtual exhibition. 156n59 Ballet Nègre. Jacopo. 223. 207–229. 1. 215. 321 420 Index Barberino Master. Bernard Berenson on. 285 Bassetti. membership in. American. Lord. 229 Beatty. Villa I Tatti. 17. 10. 325–327 Bellini. Florence of. 116–117 Beecher. Giovanni. 200 Baldi. 192 Beit. Boston. 239 arts and crafts movement. 375. 135 Battle of the Sea Gods (Mantegna). 260n26. 24n22.. 103n4 At the Seashore (Conder). childlessness of. 238 Baysunghur. Sirén and. collected by Bernard Berenson. Washington. 224. Anna. 211–213. 4–5. 218–221. Bernard Berenson’s comparison of. 121–142 (See also Florence. Franciscan and Buddhist spirituality. Berenson. Ludmilla. 1–7. Giuliana. 44 Asian art. 217. 134 Ashburnham. Nino. 324–325. in Villa I Tatti’s interior decoration. 290–293. 213. 37–38. 231. 2012). 7–10 (See also Altamura Garden Pavilion. Amico. 224–229. 91. 1920). 38–39. 271. 201–202. 138–142 Azzolini. 41. 228 Aspertini. connoisseurship of. Yashiro Yukio and Bernard Berenson. 217–219. Stefano. art collection of. 215 Bellini. 322. 247. Mary. 351–353. Cecil. 257n18 Bardini. 210. 329 Belle Ferronière (da Vinci). 129 Assisi. 11–12. 327–328 Baudelaire. 6 avant-garde. 13–14. 6. 224n44. 7–8. 365 Balzac. 213. 207. Honoré de. Gardner and. Bernardino. 175. 222–223. 214. 93–94. Isabella Stewart). 108n19. 377 “Beauty and Ugliness” (Lee. 278. as agent and dealer. 201. Hemingway and. 208–211. Bernard Berenson’s experience of color in. 93. marriage . 378. 238. 134. Charles. 356n31. 337 Armenian miniatures. 18 (See also specific correspondents). 207–215. 212. 346–347. 229. 322. 13. 1979). 215–217. 13–14. 5. Henry Ward. interest in. 290 Bellini. 364 Balbo. Italo. Islamic and Asian art. Clark and. 226. 216n27. 6 Berenson. 272. Jr. 215–216. 47 Aristotle with a Bust of Homer (Rembrandt). 223– 224. death of (1959). “Bernard Berenson at Fifty” conference (October 2009). 7 Banti. 12–14 (See also Asian art. 40. Carmen. Sir Alfred. 73–74. 210. legacy of. 323 Assing. 239. Alfred H. 17. 12. Marcantonio. 323–324. 359n45. 190. 16. 1900). 221–223. 107. 216. George. 197n67. Bernard. comparisons between Western art and. education at Harvard. 164. 136. 211. 38. Islamic art and culture). 323 Baigneuse Blonde (Renoir). 360 Berenson and the Connoisseurship of Italian Painting (exhibition. 216. 198. 131. 74 Bagnacavallo. 163. Gentile. critical reception of (1959–2009). 315 Behzad. 390. 190. fascism. limitations of Chinese art. 192–193 Beaton. now called Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo. 326 Benzoni. Antonio. 108. cassone panel from Jarves collection. 227n62. 105n11. 101–120 (See also tactile values). 211. One Year’s Reading for Fun (1942). list of Bernard Berenson’s reading matter (1890). 233. 148. 356. 111. tactile values. 68. 87. 181. Bernard. and. 255n11. 253. Lorenzo Lotto (1895). 11. Clark and. 266n43. 111. 358. 72. encouragement of Bernard Berenson to enter. 14. 318 Bicci di Lorenzo. 125. Maria Teresa (“Lucia”). See also lists compiled by Bernard Berenson Berenson. 84. 217–219. 255n10. 194–195. 186. 378–380. 86–87. The Rudiments of Connoisseurship (1902). attitudes toward. and. 155n11. 215. 175. North Italian Painters (1907). 115. with Mostyn-Owen in garden of I Tatti (1954). 104. 54. and. 104n6. rejection of (1887). women and. with Morra (1932). 152–153. 175n5. 109 Biagio d’Antonio. 180. 246. 332–336. James. 280. 370. 384 Berenson. 30n64. art trade. 327. 245. 104. Hyatt. 168–169. 103n5 Bernard Berenson: The Making of a Connoisseur (Samuels. 101. 14. 6. 86. 237. 149.). 24n23. photographs of. 7. 110. 16. and. with Clark (1949). 176n14. Yashiro Yukio and. 117. 26n34. Maria. 6. writing in bed (n. 16. 139. Herrick novel. 42. 11. 107–111.of. Warburg and. 341. 245. 84. Fogg Museum. modern art. 204–205. Sketch for a Self-Portrait (1948). 1987). 238. 4 Bernheim (dealer). 220. 278. Central Italian Painters of the Renaissance (1897). publishing and writing inhibitions of Bernard Berenson. 177n18. 15. 120. works of: Aesthetics and History (1950). death of (1945). “Altamura. 102. 102. with Walker (1939). Aby). 87. 174. 240 Berenson. 277. 4. 322. marriage to Frank Costelloe. 256. The Venetian Painters of the Renaissance (1894). tactile values and. 86. George. 113. 255. 114–115. 4. 351. 93–94. publishing and writing inhibitions of. with Maraini family (1953). 101. 93. Rumour and Reflection (1952). Walker and anthology project. 6–7. 182–184. Asian art and. William. 27. 232–233. technical aspects of art. 275–278. wife): Dionites. in Poggio allo Spino (1931). Bernard. 337. 225. Italy (ca. 283–284. 278–281 (See also specific protégés). 281. 163. 255n10. 224n49. 225–226. 239. 54. 345. 161. 185–186nn39–41. Porters and. 54n69. 200n70. scholarship of. 1910). 14. Italian Pictures of the Renaissance. Gutekunst and Colnaghi Gallery. 93–94. 69–70. 149n26. Harvard. 209. 18. 226. as student at Harvard. “Amico di Sandro” (1899). 258. Obrist and. in hall of I Tatti (1903). on Nazism. 1918).d. “Life of BB. 275–276. 229. 211. 86. 1950). 238. A. Drawings of the Florentine Painters (1903). 343. Mayor. 7. 279. 157. Yale University. 255n11. 2. 207–208. 12. 277. Mary (née Smith. 102. 13. 198n68. 103. 90. 119. 16. typewriters given to. photographs of: in chauffeured automobile with Mary.” and The Golden Urn. dislike of. traveling in Islamic world (1921–55). 104. 274. 107. 344 Berkeley. Museum Course. Parker Traveling Fellowship application. 353. 350n2. 317. 4 Bernard Berenson: The Making of a Legend (Samuels. 156. 116. protégés of. 287. 238. 255. 10–11. 338. 358. 10. 278. 351. 232–234. 279. 195–196n61. 255n11. 207. 182. 30. 208–209 Bergson. 116. 345. 255n10. 104n6. 346. linguistic abilities of. 123. 1979). 241. 339. 353 Beyond Architecture (Porter. 9–10. 11. lack of interest in. 332–333. 114. 5. 177–179. 364. 229n71 Beretta. 115–116. 278. on wealthy clients. 30n64. 119. Florentine Painters of the Renaissance (1896). 44. “Ghazel: Thought and Temperament” (poem). 175. on Arch of Constantine.” 26n34. 129. 13. 234. 28. 252. 264. 86. Morra and. attribution of. 359n44. 323 Index 421 . use of. in study at I Tatti (1948 and 1952). 107. public attention. 104. as public speaker. 87. 369–373. Richter and. 52–55. 30. Huntington. on flowers in dining room at I Tatti. correspondence of Bernard Berenson and. 343–344. 275. 148. 6–7. 143–169 (See also Warburg. childlessness of. Italian Painters of the Renaissance (1930). 104. 256. 14–17. 86. 84. concept of. 371. 346. 316. 204n90. 24n23. response to. Archer. 137 Bettini. 15. on Hildebrand. 259 Beyond Good and Evil (Nietzsche). Henri. 201–202. on Venetian painting in New Gallery (1895). 240. 149n26. on Islamic art and culture. 188n48. 200n74. 3. 17. then Mary Costelloe. with Dunham (ca. 11–12. Three Essays in Method (1927). marriage to Bernard Berenson. 381–382. 156. photographs. 39. Marchese Matteo. 45–46. 364 Bindo Altoviti (Cellini). Edward. ca. 414 Burrel Madonna (Bellini). 40. Bernard Berenson’s comparison of. John Nicholas. 51. 107. 11. Mary Ann. Henry B. Elena. 82 Bordone. Edgar. Charlotte Cabot. Marchese Onofrio.. 238. 141 Breugel. Paulina. 117–118. 226. 221 Buddhist altar (sixth century). 413 Brown. 376 Bracci family. 38–39. Tragedy of Lucretia (ca. Michelangelo Merisi da. Christopher. 135 Braque. 12. 23n14. 101. 315 Burns. 1500–1501). 38–39. 226 Birth of St. 44. 27.. “Amico di Sandro” (Berenson. Javanese. 52. 214. 197 The Blood of the Redeemer (Bellini). 10–11. 151. 101. 219. 351 Caravaggio. 110 422 Index Brancusi. Kathryn. Wilhelm von. Felice. J. Pallas and the Centaur. 279n13 Brown. Uhde on. 135. Denys. 213. 123–128. Pieter. Gertrude. 223 Burckhardt. Yashiro Yukio’s study of. 1899). Heinrich. tactile values and. Karl. 377 Boas. 118. 226. Richard Francis. 355 Bradley. Jacob. Camillo. 106. 316 Brancacci Chapel frescoes (Masaccio). 225–227. 318 Cameroni. “myth of Florence” and. Duke of. 320 Campori. 217. 15. William. 116n56 Botticelli. 373 Bonomi (industrialist). 275 Burton. in Berenson and the Connoisseurship of Italian Painting (exhibition. Claude G. Bernard. 212. 321. 136. 88 Blechen. 117 Brewster. 145. 140. 1770). Laurence. 36–37. 118. 224. Buonamico. 14. 14 Buddhist and Franciscan spirituality. Rome. 208 Campori. 168 Binyon. 330 Carlisle. 218. 48 Blues for the Jungle (ballet. 291. Prince Chigi’s export sales of works of. Bernard Berenson’s appreciation of. sales of old masters by. 25n25 Brown. Thomas. 269. 37n15. 315. Annunciation. 156n63. 130. 315 Boito. National Gallery of Art. 330 Book of Tea (Okakura Kakuzo). 63 Buddha head (Head of Ānada. Alan. 179 Callmann. 229 Bosanquet. 160 The Birth of Tragedy (Nietzsche. 324 Burroughs. 153 Bromhead. 139 Blenheim Palace. Madonna of the Eucharist (early 1470s). 238 “Burgundian Heresy” of Porter. 211. 131. Warburg and. 11–12. 13–14. 352. Henry W. 211–213. 1923). Gutekunst and Colnaghi Gallery. 159. 37 Blochet. 120 Brewster. Lisl Hildebrand. Sheila. 38–40 Brockhaus. 135 Blair. 51 Bing. 7. 326–327 Blue Boy (Gainsborough. 16. 13. 224n44. 14. 119 British aristocracy. 216. 1872). 136. 366 Bode. 269. Washington. 14. 136– 137. Paris. 191. Pomare). Filippo. 103. 36 Carlyle. 145. 319 Cannon. 176 . David Alan. 271 Brunelleschi. 319. Georges. 101.Biddle. Ellen. 9. Constantin. 226n55. 109 Black Square (Malevich). 228 Bowers. 137. 123. 45. 16. 30n63 Caprice in Purple and Gold: The Golden Screen (Whistler). Raphael altarpiece from. 13 Blake. 38. after Botticelli. eighth–eleventh century). 130. 141. 47–49. 37n15. 413 Brown. 51. Trinity. 135 Burning of Troy (Jolli). 6 Calvaert. 311 Bonaparte. 9. 283.. ca. 150. 211 Carandini. 321 Burne-Jones. 147–148. 249. 117. Venus Rising from the Sea. 130 Brush. Mr. Carter. 41. John (Ghirlandaio). Katherine (“Michael Field”). 149n30 Calo. 329. 26–27 Borgo San Sepolcro altarpiece (Sassetta). Sandro: Alessandro Filipepi. 312. 413 Buccleuch. 330 Borghese Gallery. 134. 360 Brown. 146. 328. 190n53. 215 Buffalmacco. 314. la Virgine col bambino benedicente l’offerta d’un angelo. 145–146. 39–42. Commonly Called Sandro Botticelli (Horne). 57 Bronzino. 112 Braglia. 38. Northern Qi dynasty. 316 Brewster. 223. Thea. Franz. The Archangel Gabriel (Scott. 261–262 The Burial of a Franciscan Friar (Magnasco). 123. 138. Alison. Katherine. Earl of.. 570). 219 Buddha statue of Ānanda (Chinese. 16. 202n83. 1979). Martinelli. abbey church of. 82 Chong. 145. Prince. 63. Cennino. Alan. 141 El Cid. See Asian art Choice of Books from the Library of Isabella Stewart Gardner. 51 Chiesa. 14–15. 236 Clark. 1538). 127. 245 Civilization of the Renaissance in Italy (Burckhardt. 14. 5. 271. 9. 38 Chinese art. Palazzo Foresti. 3–4. 318 Cattaneo van Dycks. Palazzo Strozzi. 317 Catena. 233. 67–68. B. 102. National Gallery photographic books of. 139. 239. 120. 227. 64 Clouet. 6. Drawings of the Florentine Painters. 125. 349. 146. 146n13 Colby. 1906). 238. 310. 318. Howard. 236. 78–79 Cicerone (Burckhardt). 244. Alan (son). 12. 142. 15. 414 Cassatt. 38. 242. Paul. first impressions of I Tatti household regarding. 129. 44. The Gothic Revival (1928). 11. 173.. 238. photographs of. Vincenzo. 326. 265. See also Foresti. Museo Civico. 61–62. Rachel. Carlo Alberto Carpi. 233. 391 Cennini. London. 233. 414 Index 423 . 234–237. 86. 350n2. 320 Christina of Denmark. 296 Central Italian Painters of the Renaissance (Berenson. 236. Jane Martin (wife). Bartolomeo da. 245. Piero della Francesca (1951). 233. Rembrandt and the Italian Renaissance. Landscape into Art (1949). 338 Cimabue. 227n62 Clark. 242–243. 60. 323 Civilization (Clark. Sach’s Museum Course students addressed by. 37n15. Saltwood Castle. 319 Casari. 244 Clark. Huntington translation of. Moments of Vision (Clark. 231–247. 321 Carpano. 281. 49. 211 cassone panel from Jarves collection. 168. Nina de. 58. 237. 45. 100 Cencis. 353n23 Carpi. 16. joint influences on and beliefs of Bernard Berenson and. 310–314. 245–246. Jean. and. Castello Pio. 51–52 Christ (Mantegna). Duchess of Milan (Holbein the Younger. 247. 50n49. 237. 165 Castagno. Robert. Yashiro Yukio and. Achillito. Fenway Court (Gardner. Kenneth. 150. 350n2 Clark. Morra and. 1882). 69. 56. Achille. 233. Boston. 278. 2. Jean-Siméon. 291. 311 Carstairs. Giovanni Francesco. “Apologia of an Art Historian” (1950). 226n58. 381 Chardin. 17. 57–60. 238. 28. Lord. 137 Cohen. Giovanni Battista. 247. 247. 196n61. A. 247. 234. Florence. 136 Clark. 245. Charles. as protégé of Bernard Berenson. 246–247. Warburg and. 279. Pagan Sacrifice (pendant) at Saltwood. 17. nature of relationship between Bernard Berenson and. 316 Cluny. 126. Andrea del. 245. 320 Caves of the Thousand Buddhas. 361. 1954). Civilization (book and television series). 57 Cavalcaselle. 246–247. 294. 312. ein Fürstensitz der Renaissance (Semper. 247. 17. 238–242. 15. 255n11 Cézanne a Firenze (exhibition. 232–234. Western China. 313. 67. 6. attribution of. 281. 231–232. 235. 278–279. 345. 38n21. François. encomia on Bernard Berenson. 245. work on revision of. The Nude (1956). correspondence with Bernard Berenson. 238. on “pure aesthetic sensation. 239. 17. 104n6. 233–234. 135. 243. 349. 139 Cione. Vittore. Yale University. 239. Mayor. 242–245. 278– 279. Hyatt. at National Gallery. 185n37 Caroto. 141 Charles I of England. 315. 6. 278. book and television series). Robert Sterling. 330 Carpaccio. 17. 318–319. 316. 263 Cocteau. 279n12.” 216n27. Benvenuto. 236. photograph of Clark and Bernard Berenson (1949). 357n36. Mary. 2007). 234–239. on ninetieth birthday of Bernard Berenson. 51. 232. 281. 185n37 Casanova. preservation of. 261. 137. 6 Coiano. 1897). 129–130. Dunhuang. 293. 243. 127. 319. marriage of. 149–156. 234. at Villa I Tatti. Walker compared. Mario.Carnarvon. 1860). 59 Carter. 17. 278. 281. 11 Cézanne. 13. 232–233. 56–57. G. at Ashmolean. Leonardo da Vinci (1939). 232. 36. 345. 15. Colette (daughter). 323 Chigi. 247. 278. 231–232. wealth of. legacy of. 280. 290–293 Cellini. 61 Church of the Advent. 244. 11. 279. 119. lecturing and television career. 326. 247. Jacopo di. Arnold. 257n18 424 Index Cruttwell. 7–10. 359. and Colnaghi Gallery. 135 Demotte. Three Essays in Method (Berenson. 36 Colnaghi Gallery. 10. 102. 365 Collingwood. 23 . André. 10. R. Francesco. 42n34. 321–322 Creswell. 110. 190. Pellegrina. Fay Cooper. 71–72. Richter. 110 cubism. 29. 1. and ed. 215 Cooper. Count Robert. 13. See also Altamura Garden Pavilion. ambivalence of Bernard Berenson regarding. 30nn63–64 Costelloe. 415 Cummings. Luigi. 120. Edgar. Mary. 367 The Concert (Vermeer). 14. 37n16 De arte illuminandi (trans. 341 Cunard. 208 Contini Bonacossi. 1911). 195–196 Dancing Girls of Kutcha (scroll painting. 134 Donna Laura Minghetti (da Vinci). Jean-Baptiste-Camille. 11. 140–141 Cumming. 201 Count-Duke of Olivares (Velázquez). See also Gardner. Salvador. Joseph. 180. critical reception and. 281 Del Turco. 327 Conversations with Berenson (Morra).. Isabella Stewart. 360 Coolidge. Great Mosque of. 55. 311 “A Comparative Analysis of the Dances of Haiti” (Dunham. 318. 89–90 da Carpi. 103 Davenport-Hines. Paul. 138 Derrida. 376 Diana. 275. Dino. 44 Concert Champêtre (Titian). 349. 196 Crispi.Cole. 360 Dionites. 15. 231.. 1927) and. Count. teaching of. 215–216. Dominic. 143. Nancy. Otto. Maurice. Alessandro. Benedetto. 102. 363. G. 135. 361. 130 Di Stefano. 10. 1934). 322 A Different Person (Merrill. 257 Daitokuji paintings. 28n47 Dolmetsch. 310. Girolamo. Gutekunst. John. 185n37 Davis. 217 Dalí. 45–47. 349. Boston Museum of Fine Arts (1894). 135. 38n21. Gladys. Carlo. 277–281. 318 Denis. 87. 87. 195. 319. Morelli. 84. 414 The Consecration (Magnasco). 210 Conder. 12. Norman de Garis. 141 Costa. London. 6 Cyrenaicism. London. 26. Charles. 208–210 Darnley. Charles. 294 De Marchi. 228 Coomaraswamy. Baldwin. 321. Andrea G. exhibition. 323. 126. 137 Demoiselles d’Avignon (Picasso). 87 Costelloe. 161–162. Andrea. 322 Daddi. Giovanni. 85–86. Angelo. 24–25. 109 Degas. Christopher. 57n80 Derain. 1. 179. 142 Damascus. Bernardo. 217. 62 Cvjetćanin. 249 Commissione di Storia Patria e Belle Arti. 5–6. 1938/1947). approach to study of art influenced by. 135. 274–275. 277. 278 Conconi. Edmond. 208. Frank. Otto. Keppel Archibald Cameron. 38. Jean Paul Connors. Robert. 188. See Gutekunst. 344 De rerum natura (Lucretius). 415 Cumming. “Altamura. 89 Deacon. 6 connoisseurship of Berenson. Robert. 56. 88–96. 3.” and The Golden Urn. 12.. Mary Coster. 137–138. 323 Crucifixion with Saints (Puccio di Simone and Master of Barberino). 40. 154. Theodore M. Enrico. 35. 337 Columbus. 339 Crespi. 81 Coolidge. 141 Deposition (van der Weyden). Thompson. 69–70. 364 The Death of the Gods (Nietzsche).. tenth–eleventh century). 36. 324. 7. 98–99. 364 Delaunay. 207–208 Crucifixion (del Fiore). Lord. and Colnaghi Gallery. 1993). Carolyn. 196n63 D’Annunzio. 257 Conti. Richard. 97. 86. 120 Colnaghi. 344 The Construction of Lombard and Gothic Vaults (Porter. 26 Crivelli. Ananda K. 50 Darwin. Tatjana. 100. 29 Doria. 53. 218 Dandolo. Giuseppe Maria. Georges. Warburg and. Edith (“Michael Field”). 321 Constantine I the Great (Roman emperor). 49. 232 Deprez. 9–10. 327 de Montesquieu. London Colonna Madonna (Raphael). Charles Henry. Fenway Court Doetsch sale (1895). Gabriele. Jacques. 211. See Berenson. 5 Davies. 33. 309. 112 Corot. 83. Maud. Joseph: Bernard Berenson as agent for. and career. Isadora. 82–84. 290. Yashiro Yukio and. 17. 55. 189. 208 Douglas. 135 “Egg and Plaster” course of Edward Forbes. 182. first meeting with Bernard Berenson. 338 The Energies of Men (James. 383. 338. 377.Dormition and Assumption of the Virgin (Fra Angelico). 286 Dossi. Forestis and. 336–337. 213. 382–383. 373–374. Jean. 52. Albert (father). 235. Émile. 364–365. 328. 336. Pier Francesco. 365. Ernest Francisco. Giuseppe. 146 El Cid. 5. 90–91 Florence. 365–368. Robert. 40. 198. 53 Eye of the Beholder (exhibition. 271. 57–59. 1944). 363. 211 Este. Henry. Max. 108 Field. Harvard University. 366–368. Defendente. Huntington translation of. 157 Einstein. 60. 278 Drigo. 201. 379. 224 Dunhuang. Isabella Stewart Gardner Museum. 188–189. 365–369. Alexander. 381. Paul (dealer). 1900. See Isabella Stewart Gardner Museum/Fenway Court Ferdowsi. paintings of. 201. 44–51. 235. 385. 367–368. 63–64. 215–216. 364. 136. 1912). involvement with. 264n36 Fenway Court. 217. 34. 12. 33. 332. 213 “Essai d’imitation de l’estampe japonaise” (Cassatt. 51 Dörner. 9. 181n34. Southland (ballet). 181–185. age difference between Bernard Berenson and. 310. 1903). 1906). 40. 386–391. Raoul. 385. 224. 380. 384–385. 138 Duky. Luitpold. 8 Fabbri. 289–290 Eastlake. 355. 290–293 Durand-Ruel. 382–385. 237. 45. 96 Estimé. Dumarsais. 365. emergence of. at Villa I Tatti. A Touch of Innocence (1959). 371. 369. 14. 87. 373–374. 7. 364. 59n83 Duveen. Albrecht. Wallace. 5. 364. 375. death of (2006). 369. Konrad. photographs of. Carlo. 338. Isabella d’. 363–364. “A Comparative Analysis of the Dances of Haiti” (1938/1947). 384. 215. social boundaries imposed by. 326 Durkheim. Caves of the Thousand Buddhas. 146. 104. conflict with Bernard Berenson over. 18. Albert (brother). 18. 369–370. 115 Epicureanism. 314. as dancer and choreographer. 365. 374n34. 367 Ettinghausen. 208 Egg (Brancusi). Robert Langton. 190. 365 Duncan. 385. race. 113. 373. 132 Dussler. 152n44 Flaubert. 386–390. 68 Duveen Brothers. 329 Fiorentino. 63. 364 Dufy. 9. relationship with Bernard Berenson. 351–353. 367. 365 Dunham. 194 Ferguson. 89–90 “Epistle to the Americanized Hebrews” (Berenson. Index 425 . 133–135. 15. 34. 354. 198n68 Epochs of Chinese and Japanese Art (Fenollosa. 380. 378. 343–344 Eibner. rivalries between clients fomented by. 375–378. 316. Thompson and. education. 269. Henri. 286 Einfühlung. Tropic Death (ballet). 382. Western China. early seventeenth century). 372. 6 Fantin-Latour. 9. 310. Gustave. 258. Lotto). 285 Egypt: Bernard Berenson’s following of political events in. 121. 370. 273–274 Dunham. 368–369. 363–385. as anthropologist. 327. 211 Farhād va Šīrīn (Farhad and Shirin. Clark and National Gallery. 2003). 112 Figure in Landscape (attrib. 384. Lewis. Charles. 12. 364. 137 Dürer. 232–234. Egisto. 11–12. 320 Drawings of the Florentine Painters (Berenson. 11–12 Duncan. 224n49. 6. 123 Ferrari. 363–364. 10. 370. Richard. 365 Dunham. 164 Fiedler. Fanny June (mother). 51. vodun. Katherine. 373 Dunham. 375–378. 191–192 Europa (Titian). Sally Anne. 143. 336 Duveen. 371. 46. ca. Hahn lawsuit. avantgarde. 151. Huntingtons and. 40. 1891). Paola. 18. 226. 153 Eisler. Gutekunst and Colnaghi Gallery. family background. 121–142. 377–382. correspondence with Bernard Berenson. 378– 380. 384. Bernard Berenson’s travels in. 369–375. 275. 190 fascism. 59. 14. 322 Fiocco. Michael (Katherine Bradley and Edith Cooper). Haiti and. 359n45 Fenollosa. 10. Mulla Vahshi. 381–382. 1900). education. and Frick Collection: Clark and Bernard Berenson on Bellini’s St. 82 Freer. 222. 49–55. 320n78. Harvard. 82. 240. 322. 320 Forster. Choice of Books from the Library of Isabella Stewart Gardner. 77–86. 122 Franciosi collection. Huntington. 188. 160 Fry. 366. 29. 84. 324. 1896). 310. 40. 327. 131. Galileo. scent of. and development as antiquarian and connoisseur. 319. 337. light of. 318. 136–137. 63. family background and father’s art collection. Arthur. 2001). 1634). Erich. Caspar David. 40. 98. E. Carlo Alberto. 12. 330. appreciation of. 102. 1966). 17. 139 Frizzoni. Roger. Jonathan. Isabella Stewart. 316. 130. “real” Florence. 315. as European Other. Belle da Costa. See Harvard University Forbes. 350 “Four Gospels” (Berenson). 175. 309. 34. 338. 310. 116. 6. 140–142. art collection of. 382. M. 128 Galton. Luigi (ancestor. triangular relationship between. 311–318. Arabella. 108. Burckhardt’s historiographic concept of the Renaissance and. 9. 17. Pietro (father). literary salons and artistic circles. 128–131. Gutekunst and Colnaghi Gallery. 15. Bernard Berenson as agent for. sale of father’s art collection (1913). 186. Charles Lang. 321. 312 Foresti. 190n55. 130. 111. 26. 135–142 Florentine Painters of the Renaissance (Berenson. See also Central Italian Painters of the Renaissance. Max. 61n89. 334. concept of. Erminia (wife). Fototeca Berenson used to trace collection of. tactile values. 128. 36. Tanaka. 100. 57. 42. 132. 320 Foresti. 364 Franciscan and Buddhist spirituality. 128 Forti. 212. 216 Freer Gallery. 334. 135. 321–330. 291. 208 The Funeral of Patroclus (Aspertini). 179. Pole-Carew Holbein . financing of Bernard Berenson’s early European travels by. Florentine Painters of the Renaissance. 134 Gainsborough. Gustavo. 318. 285–286. Sigmund. 159. noise levels in. 47–49. 255. 215 Freedman. 34. 216. The Venetian Painters of the Renaissance 426 Index Fourth Crusade. 290. Asian and Islamic collections of. Fenway Court (1906). 311. 324–330. 216. 42. 84. 255n11 Florenz 1900: Die Suche nach Arkadien (Roeck. 310. 40. 122–123. Gutekunst/Bernard Berenson/Gardner. 140 “Fragment of the Nymph” (Warburg. and.” 121. 229n71. Luigi (son). photograph of. 190n55. death of (1946). North Italian Painters. 130. 121. Grimaldi). 128. 364 Francis. 51. 42. 128–129. 8. 320 Fromentin. 122. Bernard Berenson’s comparison of. Fermo. influences. 13. 132– 133. 311–318. See also Carpi Foresti. 336 Friedländer. 287. 279 Fujimaro. 39. Huntingtons and. 312. 38. 129. 330. 129. Matisse. 42–47. 107. 312. 313. 38. Frances. correspondence with Bernard Berenson. Warburg on. 48 Galilei. 364. 42n30 Friedrich. Anatole. 238–239. 323–324. modernism/ modernity and. Francis in the Desert. 9. 63 Gardner. 319–316. 56. 329 Foresti. correspondence with Bernard Berenson. 275. 213. 7–10. 34. 17. 123–128. 93 Ganz. 287n19. 157. “myth of Florence. 86. 1680). 373 fruit-bearing girl. on Greene. 196n63 Fra Angelico. 323. 121. 44. 238 Fromm. 27n42. 84–85. 315n31 Foresti. Edward. 326. 181.138–142. 313. 117. 140. 133–134. Luigi (ancestor. 2. Eugène. 213. 312 Forty Years with Berenson (Mariano. 318–319. 323 futurists. 123–125. 315–318. 122–124. 14 Freud. 296 Foresti altarpiece (attrib. Henry Clay. 319–321. Henry. relationship with Bernard Berenson. 309–330. 241–242. 120. 175. 5. 110. Gardner compared. 336. 132 Frick. 326. 311. artistic and cultural evolution of. Washington. 322. 17. 11. 104. 186. May Troubles (1898). additions to Carpi civic collections and restoration of Castello Pio. 211–213. 128. 7–8. 59–60. 132–133. 22. 103. 131. 11 Fogg Museum. 131–133. 312 Foresti. Uhde and. 159–161 France. 84–85. 320. 7–8.. 319. 325. 7. 139. attributions and publications of Foresti paintings by Bernard Berenson. 263. 130. Paul. 318 Francis. 11–12. 7. Thomas. 198 Goethe. 40. Girolamo. 36–37. Lena Obach (wife). 96. 84. Stuart dynasty and. Simon. death of Gutekunst. Michael Archangel Enthroned (1440–45). John. 177 The Golden Urn (periodical). Fenway Court. 226. 57–59. 55. 194 Greene. 318. Carl. 10. and Colnaghi Gallery. 69–70. 98–99. Calouste. Helen Manchester.” and Dionites. 197 Guardi. 160. 1858). 63–64. 1335 manuscript of. 42. Yashiro Yukio and. 68 Gutekunst. René. 204–205 Ghirlandaio. 154 Gombrich. 35–36. 176 Gide. ca. Berenson). 8. 62. Isabella Stewart Gardner Museum/ Fenway Court Gardner. See also Altamura Garden Pavilion. 140. 382 Greenslet. Adolph. Isabella Stewart Gardner Museum. Harley. 7. 190. 12. 18 Gemäldegalerie. Bernard Berenson as agent for. Piero. Bernard Berenson on “Orientalization” of. 85–86. 84. 139. 120. 235–236. 344 Ginori. Mary. 189. Niccolò di Pietro. 40. Otto. purchases of paintings from. Giovanni Francesco Barbieri. 190. Fenway Court Goldman. “Altamura. 35–36 Grabar. Georg. 71–72. 27. 131 Giorgetti. 226. 271 Goldman Sachs. 358. Francesco. 329–330 Gates. Michele. 5 Great Kanto Earthquake (1923). 33–68. 131 Gulbenkian. 65. 42–47. 339n41 Gray. 37 Genettes. 159. Carstairs and. Donald. 259. Ferdinand. 34. Sargent portrait. 36n10 Guercino. Richard Theodore. 52. 66. 8 The Gospel of Freedom (Herrick. 101. 40. 271 Goldschmidt. Robert. 1524–76 manuscript of. 257. Ferris. Francesco. Johann Wolfgang von. 124 Grimaldi. Villa I Tatti. 63 Gurney. Great Depression. 368 Geffcken. 34. Johannes. 139 Geertz. 39. 1898). 2000). 8. 108. 339 Gauguin. 237 Glaenzer. 88–96.scandal. London. 123–124. 39. Berlin. Arthur de. husband). St. and. 87. 159n83. 316. 36. Belle da Costa. 10. Gardner/Bernard Berenson/Gutekunst. 202 “Ghazel: Thought and Temperament” (poem. 312 Grousset. 364. 382 Greener. 141 Guicciardini. 9–10. 51. visit to. Madame Roger des. 79. Heinrich G. 59. (father). 34. 355. 294. 93 Gospels of Anarchy (Lee. 79. 38–40. 40. 55 Gli Anglo-Americani a Firenze (Fantoni. 227n62. 258. 352. 233 The Gothic Revival (Clark. 301. 34 Garton. André. Oleg. Alceste. 52–53. 2004). 49–55. 1908). 84. 1928). 323 Germany. 279n12 Giotto di Bondone. Carlo. Eugene. 56. triangular relationship between. 322 Giambono. 64. American market and. See also Altamura Garden Pavilion. 161. 20. 149n30. 159n80 Gellhorn. 15. John Lowell (“Jack”. Edmund. 204n90 Gregorovius. 316 Gerini. Duveen and. 3. 157. 359n44 Gobineau. 66. 303. 37n16. 174. 9. 322 Guéraut. 118 Gothic Revival. 134. 5. 56–57. 103. 42. Domenico. Berenson. 44. 38n21. 103n5. 315n31 Gronau. 310 Grossi. 5. 223. 107. background and early career. 27nn41–42. 229n71. 18. Giorgio Barabelli da Castelfranco. Clifford. 78. 153 Gobetti. Martha. British aristocracy. 344 Giovanni di Paolo. 13 Granville-Barker. 52–55. 113 Gutekunst. first meeting with Bernard Berenson. Lazzaro. 361 Glucksmann. 78. 154n54. See Isabella Stewart Gardner Museum Garstang. 278 Goupil et Cie. Richard. 9. 63–64. retirement of Index 427 . 19. 60. 15. 90–91 Genga. Edward. 43. 152. 4. Paul. Henry. 97. 27–30 Gibbon. 38. 227 Great Mongol Shahnama (Ferdowsi): ca. 9. Ernst. 322 Guernica (Picasso). 262. 5. 6 Gli indifferenti (Moravia). 52. 35–36 Gutekunst. 239 Gondola Days (exhibition. 233. 151 Giorgione. 85 Gardner Museum. 45–46 Gems of the Manchester Art Treasures Exhibition (Colnaghi and Agnew’s. 63. 51n54. 100. 290 Hall. 271 Hokusai. 7. Parker Traveling Fellowship. 9. Nicholas. 204 Harvard University: Bernard Berenson’s education at. 279. 163. Constance Valis. photograph of. 129 Hildebrand. Yashiro Yukio and. 104–109. 377 Hill. 116n56 History of Greek Culture (Burckhardt). 205 Hahn lawsuit.. 125–126 Heimann. 218. 275–278. 376 Holmes. 123 . Richard (brother). Robert. 176. Elizabeth. 17. 11. 61–62. 11. Sir Philip. 64–68. 120. 68 Hercules Strangling Antaeus (Pollaiuolo). 18 428 Index Hendrie. “Egg and Plaster” course of Edward Forbes. 272. 58. 36. 118. 183.” 114. Holbein affair. 281. 224 Harvard Monthly. 117. Fogg Museum. 27 Holy Land (Palestine and Syria). 198n68 homosexuality: Clark believed by Bernard Berenson household to be gay. 195. 60. 177. Lisl von Herzogenberg Playing the Organ (plaster cast relief. 274. 106. Warburg and. Ludwig Heinrich. 185. 232. contention with Bernard Berenson over attribution of. 13 Hinks. 111. relationship between Bernard Berenson and Gutekunst. 372 Hillenbrand. 52.Gutekunst and World War II. Mary. 126 History of Aesthetic (Bosanquet). 209–210. Partridge Building offices. 134. 59. Derek. Villa I Tatti bequeathed to. 40 Horne. 226 Horowitz. 228–229 Haskell. 65–66. 179. 38n19. 115 Howard. Johan. 347. 276. 12. 314 Holy Family with Saint John (Mantegna). 106. 36–42. 16. 57–60. Thompson at. 58. Katsushika. Augustus. 367–368 Herodotus. Carl. 198n68. 240 Head of Ānada (Javanese. Melville. Vela. 105–107. 63 Holiday. China Expeditions. 16. 269–271. 93 Herringham. Jeremy. 10. rejection of Bernard Berenson’s application for (1887). 109. 175–177. 345 “Hans Across the Sea” (Punch cartoon. 264n39 Hamilton. Bernard Berenson’s “pilgrimage” to. 129. 322. 257. 272–273. 34 Hals. Warburg’s interest in connection with. 116. 62. 107. 287 Hamilton. 37. William. 122. 141. Jacob. Learned. 60 Hardwick. Hans. Adolf von: Clark on. Billie. 64. 266. Maineri). 137 Hope Collection. Andō. 177. 88. 310. Hafez love poems. 211 Hispanic Society of America and Archer Huntington. 84. 129. 338. 11. 53–55. 120 Hiroshige. 107. 135. 126 Hazlitt. Pall Mall East offices. 175n5. 219 Hegel. 135. 51. 108. 105. Henry Russell. 18 Hemingway. 6. 337 Halsted. Herbert. 211 Holbein. Fritz. of Uhde. 1855). 166–168. Charles. Das Problem der Form in der bildenden Kunst (1893). 67. 64. before and during World War I. 285 Hendy. Porter’s art collection at Fogg Museum. forms. 276. 116 Herskovits. 346 Histoire de France (Michelet. Bernard Berenson’s amazement of celebration of men in. 147 Hildebrand. 130. 117. 326 Hemingway. 14. 119 Hill. Georg Wilhelm Friedrich. Lisl (later Brewster. 52. 129. 324. theory of. 105–108. 13. Rollin Van N. 245 “house of life. 103. on tactile values. 119. 415 Huizinga. Isabel Hopkinson. Hermann. 1909). 38 Holroyd. photograph of. 61. 57–60. 66–67. 35. Lady Christiana. 105. 61n89. 37n15 Harris. 53. 3. Roger. 157. Ernest. in Florence. 66. 136 The History of Philosophy (Hegel). Robert. 323. as Old Master dealer. 12. 8. Francis. eighth–eleventh century). 290–293. 1893). 366. 60 Holy Family (formerly attrib. 17. 157. Gritti portrait. Franz. 321 Heinemann. George Heard. 294 Hand. 157. 113. 33. 242 Herrick. John. 129. 66. 128 Heydenreich. Museum Course. Old Bond Street offices. daughter). 11. 60–63 Gutekunst. 36 Hadley. 42. 34. 285–286. Porter appointed to research professorship at. 70 Hafez. 177–179. 285. 67–68. 358n43 Hare. 106. 104. Robert. 125 Hitchcock. 296 Hesse. 341. Charles. 337. Warburg’s concept of. Greco-Roman and Byzantine culture. 331–347. 364. 119 Index 429 . Bernard Berenson’s views on. 332. 189. 16. 98–99. 204. 17. 201 Huntington. Franceschini. William. photographs of. 332–334. 338. 85–86. Fenway Court Islamic art and culture. London (1930). 11 Isabella Stewart Gardner Museum/Fenway Court: aerial photograph (1925). and. popularity at turn of the century. 341 Huntington. defined. 117–120. 179. 7. 102. 336n17. 194. 179–180. 195–196. Helen Manchester Gates (first wife/cousin). 81. Arabella (mother). Collis P. 79. 139. 194. Henry. 133–134 James. See also specific artists Imru’l Qays. aestheticism and. Gondola Days (exhibition. 204n89. Old Masters paintings at. 156. 191–194. 9. 191– 194. 101. Orientalism and. 103–105. Edward. 120. collected by Bernard Berenson (1910–13). 337. 346–347. 2004). 109. political views of Bernard Berenson on. 77. 203. 182–184. (biological father/ stepfather). 318 James. 80. 17. 14. See Villa I Tatti ibn-Khaldun. education and intellectual accomplishments. 245 Italian Pictures of the Renaissance (Berenson). Robert Maynard. Florence. Bernard Berenson’s interest in. 180–186. 365 Hutton. 204. (cousin/stepfather). 226n55 Hyman. 198n68. El Cid translation of. marriages of. 196–197. now School of Guido Reni).. Anna Vaughan Hyatt (second wife). library at I Tatti. Mayor diary and. 187–188. “Altamura. wealth of. 335–337 Huntington. 346. travels of Bernard Berenson in Islamic world. 119.” and The Golden Urn as inspiration for. 187. art export laws in. 14. 80. 6. 190–194. 346. 174. Islamic. 173. before 1646). design and construction of. 234 Italian Journey (Goethe. Bernard Berenson’s membership in American Academy of Arts and Letters and. 176. 103. 195. 339. William. Asian art collection compared to Villa I Tatti. 189. 176 James. Jr. 98. 111–116. 193–206 Israel. 415 I Tatti. viewed as witness to. 335–336. 338. (“Billie”). 195. 13 Italian Art Exhibition. 14. Hispanic Society of America and. Louis F. 79. Jr. art collections of parents of. 341. 80. 116. 101. 12–13. 202 Ikonologie. 178 In the Palace.” total design of Fenway Court as expression of. 173–174. 229. 17. Munich exhibition of Islamic art (1910). 180. 201–202 Israëls. 12–13. 175–177. 339n41 Huntington. 338. 77–86. 337. 123–124 Italian Painters of the Renaissance (Berenson. 117. 128. commemorative elements of. Isabelle. “thought and temperament” reflecting duality of Bernard Berenson’s approach to. 333. 188–194. 2007). 339n41 Huntington. 6. See also Altamura Garden Pavilion. Bernard Berenson’s brief interest in (ca. “cultural re-enchantment. 204–205. 79. 13. 104. Palazzo Barbaro. Armenian miniatures. 229n72 Innocence (formerly attrib. 342. 2009). 51. 8.. 341–345. 336–337. 199. 157. typewriter given to Mary Berenson by. 336. 1816–17). 331–332. 181–185. George. 98. 341. 316 International Conference of 1911. 203. 327 Italy. Eye of the Beholder (exhibition. Machtelt. 339 Huntington. Henry E. 198n68. 200–202. 339. 222. 331. Orne translations of Arab poems. Damascus. 194n59. 178. 336n20. architecture. 203. 336n18 Hutchins. 5 impressionism. 81. 104. 8. 81. 120. 1930). 144. 111. Great Mosque of. 102. 87. 198–200. Dionites. or Ladies of the Court (Kongzhong tu). 345–347. 339. 17. views of Bernard Berenson in later years. first meeting between Berensons and. education of Bernard Berenson in Oriental studies and. 341. Archer. Asian and Islamic collection of. 176. 17.. 341. 335. 204. 155n57 An Illuminated Life (Ardizzone. Venice. 8. public mandate of. William M. 332–336 Huntington. 173–205. 198–200. 334. 349 Jacob Blessing the Sons of Joseph (copy of Guercino. Ellen Maria (aunt). correspondence with Berensons. death of (1955). 2003). 337–339. 186–188.Huntington. 1920). 100. photograph of. 176–177. 340. 37 Ivins. Journeys East: Isabella Stewart Gardner and Asia (exhibition. 197–198. 11. 112. 226 Hyde. plagiarism charge against Bernard Berenson (1897). Rodolphe. Mayor. 116–118. 293. 29. 157. 93. Porter and. 149–156. Gospels of Anarchy.” 140 Lehman. 234. 353 Larciani. André. Yale University: cassone panel from. 326n118. Warburg on. 278. 161. 290. Viscount. 283–284. Dikran. 110. 124 Leonardo da Vinci: Belle Ferronière. 325 Kühnel. 12. Mona Lisa. Samuel H. Donna Laura Minghetti. 271 Kitāb fī ma῾rifat al hiyāl al-handasiyya (Book of Knowledge of Ingenious Mechanical Devices. 184. Horst W.. Oskar. 364 Leland. 138 Kandinsky. Clark and. 63. 128 Leo X (pope). 180n27. 223. 151 Keats. Prince of. Tommaso. 190. 12.. 373 Lee. Richter’s edition of notes and manuscripts of. 21. Rodolphe. 177. 315 Joni. 118. 56–57. 143. Bernard Berenson’s travels in. Claude. 286. 216. 143. 116. 123 Kunstwollen. Ogata. 120 “legend of the artist. Antonio. Charles Victor Emmanuel. 122–123 Klinger. 105n11. 364 Landi. 2009). 149. Charles Godfrey. 294. 191 kulturwissenschaftlich (cultural-scientific) approach of Warburg to study of art. 38n21. 34. 146. Isabella Stewart Gardner Museum. 1949). 193n58 Kiel. 16 Kirstein. Paul Oskar. 1354). 141 Kollwitz.. 115 Kuroda Seiki. 41 Kahn. Pirro. A. Robert. Paul. See Asian art Jarves collection. 135 Kann. 28n46 Kahn. John. Max. 154 Kulturwissenschaftliche Bibliothek Warburg (KBW). 128. photograph of. 145. 278 Lessing. 312 Lévi-Strauss. 322. 109. 6 KBW (Kulturwissenschaftliche Bibliothek Warburg). 64. 337 Karageorgevic. 255. 367 Lewis. 141 Leclerc. 226 Laurencin. 136. 364 Kahn Collection. Addie (Mrs. 137 Kōrin. Hyatt. 216 Labidh. tactile values and. 163. 247. 6. 151 430 Index Kunstreligion. 159. Omar. Richard. 237.. 7. Icilio Federico. 108. 104. concept of personhood and aesthetics of. Ernst. 116–117. 160 Jolli. 16. Giorgio. Carl. Neroccio di Bartolommeo de’. 57 Kahnweiler. Julius. 344. Elisabetta. 191 Klee. 158n77. 223n41. 289 Lazzaroni. on Einfühlung. 312 Le Corbusier. 66 Kokoschka. 175. 17. 13. 247. Daniel-Henry. 201–202. late fourteenth century). Arthur Pillans. 88 Kelekian. 165. attribution of. 175 Laparelli di Lapo. 111. 1939). 17. 364 Il libro dell’arte (Cennini. John G. Charles-Édouard Jeanneret. 225n53 Kurz. 271 Japanese art. 237. 42. Isolde. 185 Lichtenstein. 12. 257. 144. Freud’s engagement with. 190. 24n22. 2. Barone Michele. 150. 319 Lazzoni. in Mayor journal. woodworm in panel of. Rosamond. 41 . 223n43 Jolles. and Kress Collection.). 272 Johnson. 309. 8 Justi. tactile values and. 109. 145. 318. 238 Lanham. Käthe. 15 Kress. 137 Knoedler & Co. Katie. Vernon (Violet Paget): Bernard Berenson on Arabic verse and. “Beauty and Ugliness” (1897). al-Jazari. 22. 257 al-Jazari. Otto H. 129 La Farge. 198. Marie. 291. on Bernard Berenson and. 30n64. Vassily. 327 Kristeller. 130 Leonardo da Vinci (Clark. 416 Landi. Giovanni. 6. 286–287 Journeys East: Isabella Stewart Gardner and Asia (exhibition. 305 Libya: Bernard Berenson on Italian campaign in.Janson. 110. 16. 149. 320 Landscape into Art (Clark. 188 Khayyam. 322 Laurati. 176 Lacasse. 8. 108n19. 200. Charles Rockwell. Prince Paul and Princess Elizabeth. Hanna. 321. 285. 12. Sirén’s catalog of. 128. John. 316 Lehmann. 296. 138 Laurie. 145. 109. 150. 59–60. 15. Lincoln. 191 Jewishness of Bernard Berenson. 217 Krautheimer. Natalie. 150. 327 Lohan Demonstrating the Power of the Buddhist Sutras to Daoists (Zhou Jichang. Mayor. Matteo. 23n18 Lippmann. Michael. 26n38 Malatesta. 11. 115. 108. 312 Löwy. James’s Energy of Men and. Dacia. 318 Mâle. 342–343. Foresti correspondence and. C. 149. on loves in Bernard Berenson’s life. correspondence of Bernard Berenson and. 251n2. 321 Maineri. 324 Madonna with Child and the Young St. 350–351. 7. David Gordon. 232. 370. 355n25. 326 Madonna of Bergamo [Madonna Lochis] (Bellini). publication in 1932. Niccolò. 225 Maraini. 389. travels with Bernard Berenson. 211. 322 Marco del Buono Giamberti. 225 Maramotti. 322 Loves. 135. 320 Madonna dell’Orto (Bellini). 6–7. Roberto. Bernard Berenson’s interest in. 371–372. 1895). 23 Luther. 286 Loeser. 2. viewed as distraction from other work. 16 Lorenzetti. 375–378 Lyon. 378 Mariano. 309. 51 “The Madonna of the Future” (James). 122. 315 Maratti. 364. 181. 198n68. 318. 38. Hans von. 325. 101 Madonna and Child (Bellini). German fluency of. 180. 6–7. 65. 327.. 318 Madonna and Child with Sts. 139. 15. 378. 345 Lisl von Herzogenberg Playing the Organ (Hildebrand). 1. 1915–17). on Bernard Berenson’s 1927 visit to. 314 Malaspina monument. 160. 328. 146. De rerum natura. 224. 257. 120. 264. Bosi. 186n41. 131 Maclagan. 1974). Morra and. 151. 69. 133–134 Madonna of the Pinks (formerly attrib. Bronisław. 323 Madonna and Child (Gerini). 322. 271. Andrea. 1884). 210 Manet. Émile. Islamic art and culture. 180n27 Madonna (Giotto). Adeodato. 107 lists compiled by Bernard Berenson: Altamura and Dionites. 277–278. Fra Filippo. Gutekunst and. John the Baptist (attrib. Walter. 88. Édouard. John the Baptist (Bagnacavallo). 321. 360 Looking at Pictures with Bernard Berenson (Brown. 258 Madonna and Child and St. 164 Lippi. 140 Mann. 322 Madonna and Child with the Infant St. Carlo. 386. 260n26 Macridy. Eric. 322 Madonna del Latte (Landi).Lippi. 3–4. 345. 86. Lady. 104. 181. Sassoferrato). 129. 123. 135 Malinowski. Lorenzo. 179n21. Nicholas. Warburg. 179 Marées. Bernardino. Rocco. 324. 327–328 Maraini. ca. 224. 322 Magnasco. 64. on Yashiro Yukio’s 2000 Years of Japanese Art. 108. Charles. critical reception and. 323 Madonna with the Standing Child (Circle of Bellini). 391 Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo (Titian). 185nn37–38. 135. as topic of Dunham’s Southland. 78 Lucretius. 295. Titian). 4. Thomas. 365 Mallet. 128 Mantegna. 39. 326 Madonna of the Eucharist (Botticelli). 175 Machiavelli. 212 Lombard Architecture (Porter. and. 89 Ludwig II of Bavaria. Fosco. 134. 102. privacy of Bernard Berenson protected by.” 38. 319 Lotto. 27. Teodor. Kazimir. 319. 251n5. 316. J. Alessandro. Raphael). 239 Lochoff. 330. 139. 326. 42. 257–259 Longhi. 324 Mardrus. 314 Madonna with Child (after Rondinelli). 145. Nicholas of Tolentino (Loschi). Hyatt. 316. on Clark. 137. 314 Madonna and Child with the Young St. Filippino. 375. 356. Elisabetta “Nicky”: on Bernard Berenson’s sense of Jewishness. Porters and. John the Baptist and Jerome and Donors (Nelli). 106. 47 Mandarina (D’Annunzio. 180. A. 345. formerly called “Ariosto. 215 Lorenzo Lotto (Berenson. running of I Tatti after death of Mary Berenson by. 325. 390. in Dunham letters. 6. 238 Malevich. 7. 7. John the Baptist (attrib. 238. 37n16. 165. Heinrich. 320. 341. 229 Index 431 . 364. 128 Mann. 245. Clotilde. 126 lynching. 1178). Martin. 86 Loschi. 141 Marghieri. 10. 325–327. 152 Marconi. 8. Gianfrancesco. 180. Rafael (cardinal). Jean-Louis-Ernest. 91. 197. Bernard Berenson and. Mary Philadelphia. 153 Medici. 293 Meissonier. 310 Moravia. 96 Il Marzocco (periodical). 6 McKay. 164 Menafoglio. 179. 160. 136. 6. 29 Monet. 126 432 Index Mickleshanski. education. Margaret. 142. 134. 274. 24n22. Clark and. Stanley. 135 Milton. 120. 132–133. 257 medieval period. 377 Masolino da Panicale. 271. 129 Monte Oliveto Maggiore. 128. 199. 381 May Troubles. Leo Avy. 215 Millais. Thomas. Hyatt. 129. 103–105. 161. 257n18 Master of Virgil’s Aeneid. 361–362. 254 Meeks. Everett. Jeremy. 337. 152–153. 16. 274 Marini. 336. revival of interest in. Ludwig. 57. 180n27 Mayor. 94 Montefeltro. 155. Bernard Berenson’s attitudes toward. Pierre-Jean. A. Moravia and. photographs of. 88. 341–345. 1909). 299 Matisse. Catherine (Bicci di Lorenzo). Richter and. 186 Mary. 155 Medieval Architecture (Porter. Giovanni: anti-Jewish sentiments of. 22. 328 Massignon. 11. Lorenzo. Judith (mother of Bernard Berenson). 381–382. fascism. 359n45. Count Roberto (father). Ailey). 351n8. Count Umberto. 297 Medici family. 247 Morassi. Claude. 352. 203 Moments of Vision (Clark. Lorenzo de’ (Lorenzo the Magnificent). 61. Elsa. 3. 149. 311. 110 Monaco. 188. 349. Florence (1898). 7 Mellon. 1885). model of (Trubetzkoy). 121. Joseph. cubism. 365 Meder. 1936). 138–142. 200 Master of Barberino. character and personality of. 36. James. 79. 342 Mazaroff. Count Robert de. 44. 110 Masekela Language (ballet. 55.. 5 McCauley. 28. 136. 154. 332. 336n17. 321. 323 Martin. 30n64. 351–353. 361 Métraux. Warburg and. 141. 102. 320. 38–40. 26. 298–300. 309. 102. 218. 57. 88 Marr. 242. 320 Morra di Lavriano. 2. 316 Merrifield. 223 Mond. 355. 156 The Materials and Techniques of Medieval Paintings (Thompson. 310. 382 Morisot. J. 1920s). 151 Mocetto. 1900. 8. Girolamo. 161. 362. 238. Conversations with Berenson (1963). Piero de’. 67. 140–142 Mohammed. 176. 237. 238. 168. 91–93. 190 Medici. 7. 326. Hans. 354. 47n43. 122. 361. 42. 353 Morra di Lavriano. 368 Metsu. 202. 2. 319. Remigio. Donald. Carlo Alberto. 82–84. 10. 196n64. 10. 135. and. impressionism. William. 180n27. 135. 40 Meyer-Riefstahl. 45. family background. 360. 277. Florence and emergence of. 344. 314. 12. Christopher. ca. 139 (See also specific artists) modernism/modernity and Florence. 132 Mayer. 349–360. 61 McKayle. Giovan Battista. John Everett. and early life. Berthe. 310 Mayer. 140–141. 123. 125. Gustavus. 89 Marlowe. Alberto. 200 Michelangelo. 211 Moroni. on Bode. 63–64. 130. 326 modern art: avant-garde. 228 Morgan. 10. Andrew W. 123–125.Mariette. 6. opposition to. 285 Merrill. 361–362 Moravia. 334 Mnemosyne Atlas (Warburg. 137–138. 329 Marius the Epicurean (Pater. Louis. 81 Marriage of St. 356–359. P. Count of Urbino. 12. . Fredrik Robert. Gabriël. John. Yashiro Yukio on. 316. 133–135. 344 Monument to General Manfredo Fanti. 134 Masaccio. studies of scientific connoisseurship of. 281 Mona Lisa (da Vinci). 40. 377 Mead. Marchese. Federico da. Rudolf. 1954). 352. 357n36. Jules. 24–27. Foresti. 351. futurists. Bernard Berenson on. 84. Queen of Scots. 360.. Anne. 63–64 Memling. 13. 11. 21n8. 131. 36. 124. 156n59 Montesquieu. Antonio. 134 Melius. 135. Frederick. 351n8. 361 Morelli. 313 Moore. 21–28. 360 Merry del Val. on Frizzoni and Bernard Berenson. 133. 121. 191. 353–355. Alfred. 346. 273 Mason Perkins. Henri. 190n53. Henry. 271 Michelet. 344 Orleans Collection. 360 Parker Traveling Fellowship application. Violet. 372 Mosaddeq. 177–179. 104. 207–208. Jonathan K. 111. 130. 204n89 Original Treatises on the Arts of Painting (Merrifield. 176. 358–359. 59 Naples Manuscript. 179. 277. 135. Prince. 176 Norfolk. 356n32. See Lee. 114. Gamal Abdel. 98. 272–273. 198n68 Palladio. 137. 231. Pietro. 317 Papafava. John. 326 Paget. 359n45. Robert Treat.” 113 New Deal. 361 Passerini. Frederick Law. 216 The Old Man and the Sea (Hemingway. 198n68 Partridge.354. Francis (Sassetta). Beaumont. 215 Palazzo Barbaro. 279 museum ethics. 1956). 203 One Year’s Reading for Fun (Berenson. Marchese. 1907). 36. 357. 275–278. Charles Eliot. 64 Oberlin cassone (Apollonio di Giovanni). Jr. 73–74. 139 Offner. 354. 123 Palma il Giovane. 375 NACF (National Art Collections Fund). 44. 355. 74 Olympia (Manet). 213 Nöldeke. 219 Müntz. 359. 146. Raymond. 285 Origo. 12–13. 322 Nelson. Count Lorenzo (“Renzo”). 227. 131 otium. tactile values and. 384 Pagan Sacrifice (panel. 319 Pancrazi. Catherine (Zaganelli). 155n11. 352. Jacopo. Boston. 103. 104n6. Iris. Friedrich Wilhelm. 322 Orsini. 117. 62. 168. 319 Palmezzano. 195. 89 Oxford Movement. 357 Index 433 . 265n43. 13. 84. 325–327 Pagan Sacrifice (pendant at Saltwood Castle). Bernard Berenson on. Duke of. 273. 49 Orne. Theodor. 78 Oxford University. Alessandro. 139 Passerin d’Entrèves. 355–356. 176 Munich exhibition of Islamic art (1910). 14 Mussolini. 16. Margaret Elizabeth Noble. 93. 198–200. 346 New Theory of Vision (Berkeley. 183. 137 Muzzioli. at Villa I Tatti. 355 Panofsky. 276. 140 One Thousand and One Nights. 59 National Association for the Advancement of Colored People (NAACP). Eugène. 275 Museum of Fine Arts. 178 Muir. Francesco. 152 Obrist. 147–148. 109– 110. 1–2. Bernard Berenson’s fondness for. Cortona. 240 Order of the White Rose. 244–245. 259n24 NAACP (National Association for the Advancement of Colored People). 98–99 Palestine and Syria. 246. 17. 247 Nasser. 1942). Fogg Museum. Sister. 186–188. published as De arte illuminandi (Naples. Villa Morra. 5. Hermann. 1952). 352. 57. Richard. Marco. 161 Museum Course. 187. and Papafava family. 215 passatism. 269–271. 7 “The New Art Criticism. 314–315. 352 Muther. 59 North Italian Painters (Berenson. 318 Nazism. Metelliano. 103n5 Newhall. 197n67. 375 Nativity (Loschi). 223. 1849). 271 Nietzsche. relationship with Berensons. 84. Bernard Berenson’s “pilgrimage” to. 352n13. 265 Okakura Kakuzo. 416 Mu῾allaqāt. 238. 79 Orientalism. 1709). 18 The Old Masters (play. 350–353. 360.. 156. 161 Nivedita. 124 Pallas and the Centaur (Botticelli). 201 National Art Collections Fund (NACF). 13. William. 201–202 Nelli. 247 Obach family. 175n5. William. Mohammad. 79. Erwin. Richard. 203. 276–277 The Nude (Clark. 254. 276 Panciatichi. 178 Orsi. 7. 24n23. 211 Norton. 232. Vernon Paine. 14. attrib. 201 Mostyn-Owen. 213. 176. Ottaviano. 361 Mortimer. Paul.. Biblioteca Nazionale). 323 Mystic Marriage of St. 176–177. Ethel (later Mairet). 80. Lelio. 316 Mystic Marriage of St. 80. Roberti/School of Mantegna/Bellini). rejection of (1887). 82. Giovanni. 115. 274. 294 Nash. 14–15. 5 Olmsted. Gray). 6. 234. 360. 185. Venice. Harvard. Benito. 321 Placci. 6 Pitati. 82. 63. on Botticelli. 87 Patridge. 266n44. 13 Piero della Francesca. 254. Spanish Romanesque and pilgrimage practices. 261–262. study of. 256. on Florence. Dionites. Francesco. Piero della Francesca). 329 Piloty. Bonifazio de’. 89–90. 141. 114n47. Archer Huntington) (Allen). 1931). 309 Platonism. need for. 78. 179 Pelham-Clinton-Hope. 15–16. 124 Pignatti. 251 Porter. 242. Villa I Tatti and.Passerini. 89.” 38. 266. 83. 11. on Galton. 250. 124. 130. 329. 130. 129. 29. 262. 257–259. 251. scholarly use of. 30 Pitture italiane in America (Venturi. Bernard Berenson inspiring turn to. 335 Portrait of Dama (formerly attrib. Dan Fellows. 137–141 Piemontesi. 247 Pissarro. photographs of. 52–53 Pollaiuolo. Romanesque Sculpture of the Pilgrimage Roads (1923). 120n71. 129 Pesaro altarpiece. Antonio. Lyndall. 329–330 Portrait of Edward VI (Holbein). influenced by. “Altamura. as medievalist. Pablo. 194–195. 326 Pesellino. 1890). 340 Portrait of Aretino (Titian). Terisio. 249–250. 238. 43 . 39–40 Perowne. John. 321 Portrait of Anna Vaughan Hyatt (Mrs. 60 Payne. The Construction of Lombard and Gothic Vaults (1911). 258. 15–16.” and The Golden Urn. 257. 266n44. Leo. 47 Portrait of Hendrickje Stoffels (Rembrandt). overlooked connections to Bernard Berenson. Norton on. 264. Medieval Architecture (1909). 63 Portrait of Girolamo (?) Barbarigo or Man with a Quilted Sleeve (Titian). 259. Angelo. Lord. 249–250. 267–268. 259–264. Krzysztof. 250–251. 105. 168. John. Veronese. 135. 337 Portrait of Isabella Stewart Gardner (Sargent). Walter: Bernard Berenson influenced by. travels with Bernard Berenson. Marius the Epicurean (1885). 15–16. 264–268. intellectual cross-fertilization between Bernard Berenson and. Clark influenced by. 360 plagiarism charge by Lee against Bernard Berenson (1897). Lucy Kingsley (wife). 330 Portrait of a Young Artist (School of Rembrandt). critical approach to intellectual biography of. 51. 250–251. 208. 345 Porter. 256. 254. 38. 251n2. Bernard. 260. 53 Pietro Leopoldo (archduke). 247 Pietà (Raphael). background. Smith. Titian). 149. and career. 146. 59. 320 Portrait of Collis P. 267. 251n2. 241. 241. 148. 265n43. 330 Portrait of a Gentleman (Moroni). 252–253. art collection of. 277. 82. 209–210 Picasso. 57 Portrait of Ciro Menotti (Malatesta). 49 The Philosopher (Circle of Ribera). 257. 238. 330 Piero della Francesca (Clark. 7. 165. Logan Pearsall. 253–255. 319 photographs. 357 Pater. 88. 160 Platt. 377 Pomian. 254–259. “Burgundian Heresy” of. 116 Planiscig. 238. Karl Theodor von. 316 Portrait of a Lady (attrib. 251–254. death of (1933). 251n2 Pole-Carew Holbein scandal. 165. 268. 262–263. Carlo. 36n12 Portrait of a Young Man (Giustiniani Portrait. 253. 82–84. 268. 164 Philip II of Spain. 261–262. 267 Portrait of a Friar (attrib. Camille. 257. Pietro. 318. 281 Pomare. 262–263. Eleo. The Renaissance: Studies in Art and Poetry (1873). 208. formerly called “Ariosto. 7. Caroto). 257–259. 257. 146. 259–262. 27 Portrait of Alfonso d’Este (attrib. Arthur Kingsley. 434 Index education. 134 Piombo. “Hans Across the Sea” (Punch cartoon. 1951). 93. 22. books sent to Bernard Berenson by. 259–261. Beyond Architecture (1918). 135. 314 Il Piacere (D’Annunzio. Porter influenced by. 352. Stewart. 84. Sebastiano del. 1909). 44–45. Gardner and. 259. 249–268. 116. 311 Pope-Hennessy. 261–262. 11. 109. 201 Perugino. Lombard Architecture (1915–17). 158. 141. 255. 254. Warburg and. 315 Piper. first meeting between Bernard Berenson and (1919). war-damaged French medieval churches. Bernard Berenson unable to gain entrance to Oxford class of. Giorgione). Richter and. now Circle of Paris Bordone). 257. Sir John. 260. Huntington (Shaw). 151 Pound. 8. 8. 129. 67. Auguste. 198 Reni. 353n23 Purple Beeches (Matisse). Prince Baysunghur. 151n34 Reformation. 39 Preti. 56. Jonathan. 337. Morelli and. 190. 315 Portrait of the Doge. as editor of. 51. 30n64. 313.Portrait of Laura Dianti (attrib. 1427). 27–30. 192–193 Redfield. 118n63. 337 Al-Rasā’il (“Treatises. 137 Redslob. 267–268 Romanino. Edwin. 238. Beatty). 376 The Principles of Art (Collingwood. Andrea Gritti (Catena. 155. 30n64. 319 Proust. 247 Rembrandt van Rijn: Aristotle with a Bust of Homer.. 88n59 Revenge of Procne (after Veronese). 1893). 36n12. 247. 146. social boundaries imposed by. 377 Road to Calvary (attrib. 20. Hegel’s theory regarding. Titian). 37. Guido. 129. 115. 337. 269. 8. 319 Previtali. Mond. 257 Primus. 125–126 Reinach. 129. 52. Corrado. St. Salomon. 326 Rocke. 274 Richter. 15–16. carteggio in Biblioteca Classense. 377 Ranieri. 373. 13 Rodin. Gutekunst and Colnaghi Gallery. 239 Rilke. relationship with Bernard Berenson. 134. and. 227 Rembrandt and the Italian Renaissance (Clark. 368 Redon. 21–22. Marcel. 365 Rainbow ‘Round My Shoulder (ballet. 164. 247 Reperusals and Re-Collections (Logan Pearsall Smith. 192. 322 Roberti. 325. 240 Pratt. MacKayle). 5. Huntington. 141 Queen of the Air (Ruskin). 257n18 Punt e Mes. Michael. 19–31. Andrea. 366. 245. Alois. 235. 331 postage stamps. Sebastiano del Piombo. 1892). 24n22. 316 Renoir. 46. 21–23. 131. Ezra. 65–66. 107–108. 157 Das Problem der Form in der bildenden Kunst (Hildebrand. Self-Portrait. 157 Prophet (Circle of Ribera). Leonardo da Vinci’s notes and manuscripts. 240 race: Bernard Berenson’s feelings about. Bernard Berenson on. 1873). 374n34. at San Felice Circeo. 67–68 Portrait of the Earl of Arundel (Rubens). Marie-Christine Dunham. Arabella. 36n12. 315. 337. 316 Post. 6 Puvis de Chavannes. Robert. 317. 249–250. 37. 42.” known as Anthology. 42. Warburg’s presentation on (1927). 22. 30n63. 21n8. 105–107. 122. 135. 53. Preacher Anslo and His Wife. Pierre-Auguste. 141 Roeck. 1938). 11. 322 Index 435 . as connoisseur. 8 Road of the Phoebe Snow (ballet. 38. 19. Ludwig. 102 Principles of Psychology (James. 63. 373 Pre-Raphaelites. 19. 314. 378 Pratt. photograph of. Guidagnolo di. Bernard. Ercole de’. 11–12. 29. 134 Rinascimento Americano (Trotta. Rainer Maria. Roberti). 63. 135. Michael Archangel Enthroned (Giambono) and. Ernest. 1966). 23–31. See also Dunham. 374n34. 156n59 Raphael. Uhde on. anti-Jewish sentiments of. 111–112. 114. Ravenna. 57. 344 Puccio di Simone. 39. 42. 108. 82. 103 Praeterita (Ruskin). Pearl. 18. Belle da Costa Radcliffe-Brown. 121. 150. 15. 39. Odilon. Gutekunst and Bernard Berenson. 146n11. 83 Renan. 2003). 315 Ricci. 133. 1936). Katherine. 135. meeting between. 382–383. Mattia. 12. 21–28. as historiographic concept. 137 Renaissance. Jean Paul. 21. silence of Bernard Berenson regarding. Greene. 319 Ricci. formerly attrib. 238. John (husband of Katherine Dunham). 215 Power of Sound (Gurney. Clark and. 22. background and career. 125–127 The Renaissance: Studies in Art and Poetry (Pater. Portrait of a Young Artist (School of Rembrandt). 319 Richardson. 57 Romanesque Sculpture of the Pilgrimage Roads (Porter. 314. Pierre. 22. after Titian). and. 40. 1893). 245. 8. Portrait of Hendrickje Stoffels. 145. 312. 279 primitivism. 322. 30–31 Riegl. 365. 51 Portrait of the Family of Adeodato Malatesta (Malatesta). George B. 262–263. 416 Rokeby Venus (Velázquez). 1923). 161 Preacher Anslo and His Wife (Rembrandt). Alfred. 372. 188. as art collector. 352 Salvemini. 3. 146 Sayre. 6 Ruskin. Francis in Glory (Sassetta). 269–281. 51 Rubin. 16. Edward. 287. 317–318 Sts. 337 Salvemini. 16. 316–317. 271. 326 San Pietro outside Spoleto. 61n88. 43. 2–3. 353 Runge. John. 215. 272–273. Giovanni Battista Salvi da. 124 Rosenberg. 136. 120 Rorimer. 8. Foresti. 324 A Room with a View (Forster. 244. twelfth-century art. Biagio d’Antonio). Piero della Francesca’s frescoes in. Bernard Berenson’s interest in. Bertrand. Bartolomeo. 145. Filippo Neri and Joseph (Loves). 19. 186. Warburg and. Dionites. Peter Martyr. Michael. 287 St. 1900. 138. 321 St. 326 Saltzman. 242 San Giobbe altarpiece. 277. 103 Sandro Botticelli (Yashiro Yukio. and. correspondence with Bernard Berenson. and Borgo San Sepolcro altarpiece of. 281. 188n47 Sassetta: Asian art. 166. Meyer. 264 Sassoferrato. Walker and. Friedrich. 15. 1902). 53 The Sacrifice of Abraham (carved capital from abbey church of Cluny). Peter and Saint Paul (Lazzoni). 211. 14. Fritz. Sebastian (attrib. 34n6. 214. background. Fernande. 111 Russell. 78 Scala. Peter Paul. 311. Dante Gabriel. 36 Saltwood Castle. 312 Rostovtzeff. Cynthia. Gaetano. William. Mark (Thompson). Clark influenced by. 263. 251. 10 Scarsellino (Ippolito Scarsella). 15. 84. Stephen (Carpaccio). 238. 225–227. 311 Rubens. Jerome (attrib. 119n67. 141. St. 231 Sachs. Francis. 139. 102. on technical aspects of art. 274–275. 135 Rossi. 17. 179. and career. 245. 372 Sammarini. 67. Augustine (?). 5. 277–278. George. 352 Rumour and Reflection (Berenson.” and The Golden Urn. facade of. Museum Course. 238. 272. Francis in the Desert (Bellini). 204n89 St. 216. Catherine of Alexandria (Vivarini). 229. Asian art and. 240. Warburg and. 20. 279. 27–30 St. 5. 303 St. 6 Schedula (Theophilus). 314 Sassoon. “Altamura. 240–241. 240. John: Bernard Berenson influenced by. Bernard Berenson’s study of. 168 Sacred and Profane Love (Titian). Francis in Glory. 301. Niccolò. 259n24. Denman. 275–278. 312 436 Index St. 140 Rubbiani. 136 Saxl. similarities to and differences from Bernard Berenson. 228 Sano di Pietro. Alfonso. 277 Ruffino family. Praeterita. Lelio. Gutekunst and. 245. 236. 124. 187. 228. Signorelli/Genga). 42n34. 190n53 Ross. 264 St. 238 Rousseau. Paul. 78. Philipp Otto. 285. 128. 9. 134. 305 . Janet. Arezzo. Harvard.romanticism-as-worldview. Uhde). 134–135 Sarre. 327–328 Savonarola (drama. Luke (Pierpont Morgan Library). 224n44. 88 Rondinelli. 279. 85. 350n2 Rossetti. 3. 274. 352. and. 13–14. 364 San Francesco. 71n3. 137. 254. John Singer. 271 Roscoe. Achille. John the Baptist and Matthew (Bicci di Lorenzo). 213. 288 St. Patricia. 16. 315 Samuels. 240–241. 269–271. Ernest. Francis and the Wolf of Gublio. Bernard Berenson’s interest in. 15. photographs of. 34. 112 The Rudiments of Connoisseurship (Berenson. education. 14. 364 Satsuma ware. 263–264n36 Ross. 11–12. 272–274. 285n5. 273. 317 St. 276. 312 St. Clark to Bernard Berenson on panels National Gallery intended to buy. 257 Sargent. Porter influenced by. 211 Satyrs and Marine Deities with Musical Instruments (Circle of Mantegna). 139. Mystic Marriage of St. connoisseurship. St. books of Bernard Berenson’s used by. 8. 161 Russell. John the Baptist. 223. 234–235. 1952). 271–272. 276. Queen of the Air. Florence. ca. Clark and. 138. and St. Pietro. Léonce Alexandre. Lady. 180. 311 Samson Destroying the Temple (Jolli). 78. 254. St. 207–208. 1908). Fogg Museum. James. 259n24. 18. 161. 204n90. 301. 1925). 131. Henri. 139 Rural Scene (Pissarro). 318 Schapiro. 79. 4–5. teaching of. 216. 261. 50n49. 263 Said. Robert. 323 Sts. 279–280. 241–242 St. 316 Salting. Michael Archangel Enthroned (Giambono). 98 Secrest. 379 Seurat. 237. 254 Syria and Palestine. 176 Sprigge. 104. 251n5. David. 11. 1909). Countess Hortense. 185. 309 Sutherland. 109–110. 260 “Something Has Turned Up” (Westminster Gazette cartoon. 111. 291 Strauss Madonna (Jacopo Bellini). 66 Shaw. 19. 103. Mary NcNeill. 416 Shapley. 18. Fern Rusk. 120. 217 Stein. 344 Serristori.. Jacob H. 157. Bernard Berenson in. Osvald. 360. 12–13 Sirén. Aurel. 359n44 Smith. 124 60-Odd Provinces (Hiroshige). 34 Simpson. Gregorio. 61 Sontag. Lee and. Martin. 322 Seljuk architecture. Arnold. Colin. James Byam. 224 Signorelli. Susan. 242. 120 Taine. Hippolyte. Leo and Gertrude. 12. 110–111. 159n80 Stormy Weather (film. 12 Southern Landscape (ballet. 364. Bernard Berenson’s travels in. 207. 198n68 Tacitus. 130. 109. 223–224. 73. 119. 168–169. 259. 247 Severini. 333. 322 Self-Portrait with Donors (Walker). 120. 152 Sciltian. 167 Seligmann. 279n12 Strange Fruit (song). 10–11. 118. Morra and. 111. 76. 163 Schmarsow. Henry. Luca. 95. Nietzsche’s influence on Bernard Berenson and. 116–118. 290 Stark. 5. 386–390 Spain. 203 Semper. 59. Aloys. 16 Seligman. 104–109. Sylvia. in Florentine Painters of the Renaissance (Berenson. 103. 375–376 strappo. Prince Giovanni. 108. Ludmilla. 157. 257 Siro. 28 Stein. 311. 327 Shaw. Joseph. 112. 138 Soissons Cathedral. 290. 1948). 191–192n57 Swarzenski. 13–14. 195. 364 Serbia. 103. 312 Sprenger. Simonde de. 312. 326. 211 Sketch for a Self-Portrait (Berenson. Alessandro Giuseppe. Stanley. Léopold. 160 Tale of Genjii. 108.. 215 Taliesin. 101–120. 3. Meryle. William. 105. 320–321 Scott. 217 Sears. 111. 151 Suida. 104. 104. 127 Schubring. 152 Stefano da Verona. 301 Seidel. 102–104. 116. 107. Hildebrand and. 175. 109.Schiff. public reception of concept of. Priscilla. Beatty). 72. 90–93. 239 Spencer. 369 Story of Damon. 61n89. 157. 117. Dietrich. 110. Denys. 164 Symonds. Asian art and. 376 Southland (ballet. 84. John Addington. 2. 136. Logan Pearsall. 111–116. James. Georges. 319 Senghor. 320 Sismondi. Gino. William. 62. 6. Freya. 106. 8. 1896). Stephen William. Linda. 287 Simpson. four pastoral scenes (Previtali). 57. 204n90. 235–236. Carl Brandon. 115. 104. 51. Porter on. Edwin R. 117–119. 11. 247 Speranzeva. 375–378. Dunham). 97n94. 4. 71n3. 253n8 Self-Portrait (Rembrandt). 365 Spinelli. 211. 87–88. 224n49. 9. 226. Sarah Choate. 117 Stechow. Wolfgang. Georg. 255n10. 232 Snake Charmer (Rousseau). 26n33 Simpson. 86–87. 139 Soucek. 95 Smith. 120. 183. Bernard Berenson’s discovery of. 42. 218. 93 tactile values. 217 Sears. 291 Scott. Brewster and. Bernard Berenson’s travels in. 247 Sutton. 85. 335 Sicily. 42n34. and. 316 Simonds.. 5. Graham Vivian. Carlo. 69–70. Edith. 137 Stimilli. 9. 222–223 Index 437 . Paul. Bernard Berenson’s “pilgrimage” to. 261 Spätrömische Kunst-Industrie (Riegl). 89. 114–115. Alys. 324–325 Strehlke. 63 Self-Portrait in His Studio (Crespi). 111. 336 Secretum Philosophorum. 145 Schongauer. Arthur. 355 Seybold. Hans. 57 Schopenhauer. 234. 364 The Statuette and the Background (Brewster. Willard T. August. 360 stacco. 117–118. 417 Strozzi. 1892–96). Mariana Shreve. 1943). 385. 105n11. 218. Il libro dell’arte (Cennini. 45 Tremont Entrance to Olmsted’s Back Bay Fens and Altamura Garden Pavilion. 294. 44–51. 9. Domenico. 226 Triumph of Death. 109. removing. 305–307. 185 Turbyfill. Hans. 271. 283–304. Apollonio di Giovanni and workshop). 30n63 Taylor. St. Seljuk architecture and. 16. 5. 321. 290. Bernard Berenson in. Uhde’s concept of modernity and. 300–304. Prince. 44–47. 168n111.. 291. 297–298. Mark. Santa Maria Novella. Portrait of Alfonso d’Este (attrib. 301. 1959). Gutekunst and Colnaghi Gallery. 301. 145. 150. 301. 294–295. 220 Tornabuoni Chapel. 310. 113. lack of interest of Bernard Berenson in technical aspects of art and. 375 Trotta. 120. Titian). Florence. Prince Paolo. Daniel Varney. Antonella. 8 Trotti (dealer). 75 Trevelyan. 291. Portrait of Aretino. Foresti collections and. 292. Madonna and Child with the Young St. 38–39. Europa. 65–66. 78 Tissot. Portrait of the Doge. 16. 46. Bernard Berenson’s travels in. 53. 271 technical aspects of art: Bernard Berenson’s lack of interest in. 289. James. De arte illuminandi (1934). 291–293. 322. 40 Terk. 323 Tiryakian. 136 Thompson. 38.” now called Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo. Sir George. Henry. 287–289. Portrait of Laura Dianti (attrib. Biagio d’Antonio). 287. photographs of. involvement in. 299. 298. 296–297. 226. 304. 286 Thorndike. 1887). 44. 382 Tournament in Piazza S. Arabella. Paul and Rachel. 285. 313 Tunisia. Sonja. 305–307 Thompson. transcriptions and translations of medieval technical documentation by. Titian). Han dynasty. 190 Tintoretto. 284. 57. Daniel Varney. 285. 38. on art appreciation. 300–301. 289–296.Talmud. 175–178. 88 Theophilus. 321. 201 Trinity (Botticelli). 40. 285. 1923. Cennini and. Mark. 283–284. after Titian). 305. 74–75. 304. career of. 296. 159 A Touch of Innocence (Dunham. in Museum Course. 74. 327 Tolstoy. 322. Sebastiano del Piombo. 365 Turkey: Bernard Berenson’s consideration of role in World War II. 277 Thus Spoke Zarathustra (Nietzsche). 38 Trubetzkoy. 16–17. 165 Towsley. 68. 137. 67. 149–156. Fogg Museum. 224n44 Thode. Fenway Court. Huntington. 140 Tobias and the Archangel Raphael (attrib. Venus of Urbino. 296. Jr. Hugh. Hahn lawsuit. relationship between Bernard Berenson and. See also Thompson. 283–284. correspondence with Bernard Berenson. 290. 294. 300. 115. Jr. 9. Gerard. 6. Pietro. portrait acquired by brother of Paul Sachs as. 175 Taylor. Francis Henry. 16. 202 BC–AD 220). 12. 117 Theosophy. Edward. death of. 9. 146. 40. 298–300. John the Baptist (attrib. 201. 211 Titian: “Ariosto. Grace. 1927). 321. 161 Tietze. late fourteenth century). 53. 140. 203 Turkmen dynasty Persian miniature in Berenson Islamic collection. wall paintings. 284–293. 289 Triumph of Neptune (Circle of Mantegna). attrib. 315. Alicia Cameron. education of. The Materials and Techniques of Medieval Paintings (1936). 301–302. 73–74. list of publications of. Andrea Gritti (Catena. 297. 297–300. 317–318 Toesca. Croce (cassone panel painting. 293. 319. Crawford Howell. 198–200. 85 Trevor-Roper. Serge. 294. formerly attrib. 369 Tomb figure of kneeling woman (Chinese. 76 Three Essays in Method (Berenson. 38. 185. 287. 271 Timurid dynasty. 179nn19–20 Tragedy of Lucretia (Botticelli). 199. ter Borch. 47. 293. 67–68. 288. 327 Trivulzio. Harvard. and. 196n64. 275. 190 . 287. Bernard Berenson’s references to. Dunham). 325. 14. 438 Index 53. Prentice. 24n23. 16. 46. Titian). 326nn117–118 Tropic Death (ballet. 182. 284. meetings between Bernard Berenson and. 275. 301. Sacred and Profane Love. 116 Toy. 291. 315. 137 Theocritus. 305 The Theories of Anarchy and of Law (Brewster. Bernard Berenson foreword for. 338. Giovan Battista. 196 Walker. Aeneid. 129. “Bernard Berenson at Fifty” conference (October 2009). 267. 140 Venus Rising from the Sea (Botticelli). Henry. at. 27. 152–153. 238. Bernard Berenson and Mostyn-Owen in garden of (1954). Bernard Berenson and Richter’s interest in painters of. 16. 337 van Dyck. 239. 13. Richard. 154. 57. Irene. Johannes. 222–223. 315. Charles. 131 Villard de Honnecourt. 338 The Venetian Painters of the Renaissance (Berenson. 68. 349. Lionello. Wilhelm. Morra at. 143–144. Maurice de. Anthony. 328–330. 84. 146. 323 Venturi. 279–281. 156. cassone panel from Jarves collection. 18. Gardner’s visit to. Warburg. 12. Berensons’ move into. 329 Vertova. 370. approach to study of art compared to Bernard Berenson’s. 291–293 Walters. 323 Vlaminck. Warburg’s KFW compared. 12. 209. 129. 17 Warburg. Mayor diary on. 154–155. 5. Ivo. Ambroise. 26. 179–180. Aby. 11–12. Elia. Domenico. 37 Waagen. 159 Utili. Luisa. 338. 164. 319. Clark at. 328 Velázquez. 61 Verona. 46. 139n41.2000 Years of Japanese Art (Yashiro Yukio. 157–158 Visconti. 371. 29–30n60 Victory of Pleasure over Virtue (Palma il Giovane). 57. 16. 257n18 la Virgine col bambino benedicente l’offerta d’un angelo (Botticelli). 86. 364. 207–208. 311. 231. 280 wall paintings. Arthur. Paolo. 101 Vermeer. 232–233. 130 Vavasour Elder. 153 Virgil Master. 270n2 Wagner. 281. rejection of. 264–268. 319. Giorgio. 11–12. Bernard Berenson in hall of (1903). 149 Villani. 54. 341–345. 152. 373–374. 160. 190. 168–169. 211. 319 Vidal-Nacquet. 378. Hermann. 120. 128 Vignier. Porter and. 265–268. Diego. 29–30. 360 Virgil. 193 Vahshi. foundation document for. John. 10. 309. 156 Virgin and Child with Saints Jerome and Bernardino (Sano di Pietro). 215. 246. 379. 45 Wadsworth. Theo. Mary. 332–334. 188 Villa I Tatti: archives at. 116n56 Vollard. 10. 355–356. attribution of. 8. 1958). 127. Alain. Adolfo. 318 Uhde. 37n15 Vischer. 319. 190 van der Weyden. as Bernard Berenson’s chief legacy. first conceived of as center for scholarly research. Carlo. Bibliotheca Hertziana lecture (1929). Gabinetto. 12. Yale University. 24 Veronese. 316 Van Marle. 159. 276. Johannes. Gerard. 347. 96. 23 Visitation (Crespi). 265. 1873). 309. Huntington friendship and financing of. 36 Van Honthorst. 255n11 Veneziano. 122. 321 Venus of Urbino (Titian). Mulla. 138 Volkelt. 156. 236. 271. Rogier. 157–158 Ugo da Carpi. 342. 272. Raimond. 136 Waldman. 356n34 Vieusseux. Louis. 1. Gustav Friedrich. 12. Index 439 . 4. 291. 1894). 377. 253. 290. Felix. 221–223. 38. 156–162. 135–142 Usener. 207. 12. 120. 250–251. 232. Asian and Islamic books in library at. 137. 229 Über das optische Formgefühl (Vischer. 316 van Gogh. 323 Volpi. Asian art and interior decoration of. 135. 44. 310 Vasari. Robert. techniques for removing. 326 Vincioni. 143–169. “Japanese” landscape of. 344 Veneziano. 265. 318 Uzbek dynasty Persian miniature in Berenson Islamic collection. 252. 137 Volpe. 244. 12. 14. 312. Antonio. Clark’s Saltwood Castle and. performance of Gray’s The Old Masters at (2009). 345. Dunham at. bequeathed to Harvard. as run by Mariano after death of Mary Berenson. 328–329 Venturi. Giovanni. Bernard Berenson in study at (1948 and 1952). art collection at. 321. Lorenzo. 44. myth of Florence and. 121. 7. 238. Luchino. 226 al-Walid (caliph). 5. in Florentine literary and artistic circle. 321–322 Vivarini. 88. 314. 57. 359 Waley. 219. aestheticism. 247. 104. 145n7 Warburg. Frieda (wife of Felix). 88 The World as Will and Representation (Schopenhauer). Paul (brother). 336 Wilde. 153 Warner. T. 148 Wertheimer. 59. 129. 151. Edith. photographs.. 151. 309. 156. Rosella. William. Marconi. 165. Porter and. 159–161. Mnemosyne Atlas. 150. “Fragment of the Nymph” (1900). 147. 113. Clark and. Ned. Asher. 148n23 Warburg. 49–50 Waves at Matsushima (Kōrin. Felix (brother). Hayden. 349. 251. Heinrich. 127 Wideners and Widener Collection. 222–223 Wright. 164 Warburg. 275. 47. Mary (wife). Francesco. 339 Wrightsman. 156. 360 Zionism. publishing inhibitions of. 149–156. 165. 323. Sharaf al-din Yazdi. postage stamp presentation of (1927). 322 Wise. 155. 40 West-Östlicher Diwan (Goethe). 1895). meeting with Bernard Berenson at KBW. 375 440 Index Whistler. 190 The Youth of Parnassus and Other Stories of Oxford Life (Logan Pearsall Smith. 145. Robert. 201 Zorzi. 285 Witt. 145. 48 Warren. 176 Weltknoten. 130. 168. 310. Susan Cornelia. 116n56. 261. Langdon. Claudia. Charles and Jayne. Catharine Lorillard. 67. 80 . 212 Zimmerman. Earl of. 227 Wolfe. 14. Yale University Yashiro Yukio. Samuel. 1436). 290–292. 7 Zeri. 68 Wildenstein. 322. 291 Warner. photograph of. 1896). 87 ̣ Zafar nāme (Book of Victory. Sharaf al-din. 48 Wharton. 323 Zambrano. 57. 129. Federico. Gustav. after Bellini). 14.12. 271 Wendell. 238 Woman Weighing Gold (Vermeer). 198n68. 217 Wedepohl. use of. Uhde and. 211 White. 12. 327 Zhou Jichang. Louise Waterman. 34. 145. 216n27. Nina (sister). See Jarves collection. 144. 165. 113. 170–171. 148–149n26. 276. 165. 216. 98. Duke of. 316. 145n9. 224–229. 89 Wright. James McNeill. 61. 61 Wordsworth. 417 Wei-chi’ih I-Seng. Georges. 163. 143. 365 Warren. Patrizia. 228 Yazdi. Sir Robert. 138 Warburg. 233–234. 177 Westminster. 146. 136. Johannes. 114 Willys Madonna variation (attrib. 218 Weil. 150. 25n25 Warren. reasons for rapprochement with Bernard Berenson. 224 Yale University. 57. 162–166 Warburg. personal opinion of Bernard Berenson. 152n44. 247. Hamburg (1927). 15. 186. on Florence. Barrett. 143. 149. Price. 124 Wemyss. 162. 162. 80 Wölfflin. 245 The Will to Believe (James. John K. 162–169. Frank Lloyd. 48. 149. 146. eighteenth century). 202n83. 145–149. 119–120. 190 Zaganelli.