Altorientalische Teppiche in Siebenbürgen (Old Oriental Carpets in Transylvania) by EmilSchmutzlerReview by: Arthur Upham PopeThe Art Bulletin, Vol. 16, No. 3 (Sep., 1934), pp. 313-314Published by: College Art AssociationStable URL: http://www.jstor.org/stable/3045548 .

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REVIEWS REVIEWS

fragment in S. Maria in Trastevere (fig. 189). The heads of both figures are gone, one clutches the other above the right wrist, which, be it noted, is just the gesture of the angel who frees Peter from prison in the last niche on the sarcophagus at Fermo (pl. 116/3). Furthermore, the man interpreted as the healed wears the costume of a person of importance, a toga, not the usual short tunic found upon the sick and on beggars. The photograph of the Roman fragment is indistinct, but it tooks as if the man upon the right held a fold of his drapery, like the angel at Fermo, and both figures were striding ahead, which would apply to the delivery of Peter but not to a scene which all three gospels state took place in the syna- gogue (Matt. xii, 9-13, Mark iii, 1-5, Luke vi, 6-.o). Finally, few modern scholars will agree either that the decorative head on the right acroterion of the cover of the Perugia sarcophagus (pl. 28/3) is a por- trait of St. John (p. 352) or that one can distinguish him individually among the apostles on the star-and- wreath sarcophagi at Palermo (pl. 239/2) and Rome, S. Sebastiano (pl. 238/7) and Lateran (pl. 238/6), as the author states (p. 352)-he neglects, however, to specify which heads he means.

Valuable and interesting is Wilpert's discovery of a classical prototype for the Ascension of Elijah in the ascension of the sun as represented in the medal- lion on the Arch of Constantine (fig. 167). The resem- blance is enhanced by the similarity of the quadriga and the recumbent god below the forefeet of the horses. The same type appears on coins showing the ascension of Constantine. At last also the enigma of the cover of the Junius Bassus sarcophagus has been solved. As Wilpert shows (p. I4*), a pagan lid was used, decorated among other things with Dionysus seated, stroking a panther. This carving was cov- ered with a fine stucco until it resembled a plain slab. De Waal removed this stucco in 1907, in his zeal to discover the sculpture under it, but was unable to explain the scenes by Christian writings. Wilpert is further to be congratulated upon obtaining photo- graphs of the front and back of the city-gate sarcoph- agus in Milan (pl. 188/I, 2). This huge tomb stands behind an iron grill under the Romanesque pulpit and so close to one of the piers in S. Ambrogio that to photograph it seemed impossible. Upon the order of the pope, however, plaster casts were taken and from these photographs were made. This is only one of the many difficulties successfully surmounted by Monsignore Wilpert.

Although usually alive to restorations and recut- tings, the author has missed two important cases in sarcophagi in Aries (pls. 38/j, 227/2; see Lawrence, op. cit., pp. 116, 119 f.), the former of which he calls in surprising conservation (p. 234). This oversight is probably largely due to the fact that they appear in Gaul, a land which scholars have heretofore looked upon as immune to this disease. Wilpert himself re- marks apropos of the restored cross and monogram at Manosque (pl. I92/6)-which, be it noted, is in wood, not stone, so that there is no danger of de- ception-that it is rather an exception for France, where the custom of restoring or retouching ancient sculpture was usually limited to plaster casts. He has also included without discussion, as if it pre- sented no problem, the puzzling sarcophagus in S. Celso, Milan (pl. 243/6). This, whether because of

fragment in S. Maria in Trastevere (fig. 189). The heads of both figures are gone, one clutches the other above the right wrist, which, be it noted, is just the gesture of the angel who frees Peter from prison in the last niche on the sarcophagus at Fermo (pl. 116/3). Furthermore, the man interpreted as the healed wears the costume of a person of importance, a toga, not the usual short tunic found upon the sick and on beggars. The photograph of the Roman fragment is indistinct, but it tooks as if the man upon the right held a fold of his drapery, like the angel at Fermo, and both figures were striding ahead, which would apply to the delivery of Peter but not to a scene which all three gospels state took place in the syna- gogue (Matt. xii, 9-13, Mark iii, 1-5, Luke vi, 6-.o). Finally, few modern scholars will agree either that the decorative head on the right acroterion of the cover of the Perugia sarcophagus (pl. 28/3) is a por- trait of St. John (p. 352) or that one can distinguish him individually among the apostles on the star-and- wreath sarcophagi at Palermo (pl. 239/2) and Rome, S. Sebastiano (pl. 238/7) and Lateran (pl. 238/6), as the author states (p. 352)-he neglects, however, to specify which heads he means.

Valuable and interesting is Wilpert's discovery of a classical prototype for the Ascension of Elijah in the ascension of the sun as represented in the medal- lion on the Arch of Constantine (fig. 167). The resem- blance is enhanced by the similarity of the quadriga and the recumbent god below the forefeet of the horses. The same type appears on coins showing the ascension of Constantine. At last also the enigma of the cover of the Junius Bassus sarcophagus has been solved. As Wilpert shows (p. I4*), a pagan lid was used, decorated among other things with Dionysus seated, stroking a panther. This carving was cov- ered with a fine stucco until it resembled a plain slab. De Waal removed this stucco in 1907, in his zeal to discover the sculpture under it, but was unable to explain the scenes by Christian writings. Wilpert is further to be congratulated upon obtaining photo- graphs of the front and back of the city-gate sarcoph- agus in Milan (pl. 188/I, 2). This huge tomb stands behind an iron grill under the Romanesque pulpit and so close to one of the piers in S. Ambrogio that to photograph it seemed impossible. Upon the order of the pope, however, plaster casts were taken and from these photographs were made. This is only one of the many difficulties successfully surmounted by Monsignore Wilpert.

Although usually alive to restorations and recut- tings, the author has missed two important cases in sarcophagi in Aries (pls. 38/j, 227/2; see Lawrence, op. cit., pp. 116, 119 f.), the former of which he calls in surprising conservation (p. 234). This oversight is probably largely due to the fact that they appear in Gaul, a land which scholars have heretofore looked upon as immune to this disease. Wilpert himself re- marks apropos of the restored cross and monogram at Manosque (pl. I92/6)-which, be it noted, is in wood, not stone, so that there is no danger of de- ception-that it is rather an exception for France, where the custom of restoring or retouching ancient sculpture was usually limited to plaster casts. He has also included without discussion, as if it pre- sented no problem, the puzzling sarcophagus in S. Celso, Milan (pl. 243/6). This, whether because of

date or provenance I am not sure, certainly does not fit in with the Early Christian sarcophagi in Italy. It stands alone, furthermore, among the sarcophagi in showing the angel appearing to the two Holy Women at the tomb.

The general index, of both names and places, is a welcome addition to the second volume, but, un- fortunately, the geographical section has grave omis- sions. The most serious occurs under Rome, where the Lateran is the only museum listed and the Ospi- zio dell'Anima is the last entry. Thus the important collections of the Campo Santo Tedesco, the Conserva- tori, the Terme, and the small museums made frcm the catacombs at Domitilla, Callisto, S. Sebastiano, and S. Valentino are all omitted. Misprints are few, but there are some thirty-five wrong references to the plates, aside from those listed in the corrections on p. 382. The following should be noted:

date or provenance I am not sure, certainly does not fit in with the Early Christian sarcophagi in Italy. It stands alone, furthermore, among the sarcophagi in showing the angel appearing to the two Holy Women at the tomb.

The general index, of both names and places, is a welcome addition to the second volume, but, un- fortunately, the geographical section has grave omis- sions. The most serious occurs under Rome, where the Lateran is the only museum listed and the Ospi- zio dell'Anima is the last entry. Thus the important collections of the Campo Santo Tedesco, the Conserva- tori, the Terme, and the small museums made frcm the catacombs at Domitilla, Callisto, S. Sebastiano, and S. Valentino are all omitted. Misprints are few, but there are some thirty-five wrong references to the plates, aside from those listed in the corrections on p. 382. The following should be noted:

p. II* I2*

I3*

205 218

218

232 232

249 254 255 264 268 281

283 286 290

304 305 307 322

322

338 346 347 370 370 370

p. II* I2*

I3*

205 218

218

232 232

249 254 255 264 268 281

283 286 290

304 305 307 322

322

338 346 347 370 370 370

pi. I4I should read pl. 91 86/2 > > 86/3 158/2 > 178/2 69/2 , >> 59/3 83/4 > > 84/4 I22/I >> I22/3

tav. cit. 2 " 183/2 pi. 195/2 ,> 195/4 tav. cit. 4 > > 216/4 pi. 95/I > 11, 5/I

202/4 >> > I97/4 65/2 ?> 65/3 200/6 I 90/6

tav. cit. I > ? 221/1 Pi. 233/9 > > 233/10

233/7 ? 223/7 tav. cit. 2 > , i98/2 note Io pi. 227/1,5 > > 228/r,5 tav. cit. i >> > 228/1 pl. 233/5 * " 233/6

20/3,4 ? " 20/4,5 20/3 , 20/6

257/3,4 ? 258/3,4 tav. cit. 5 > > 255/5 tav. cit. 8 , , 255/8 under Aries pl. 208/o1 should read pl. 122/3

)> ? 201 >> 201/3 >> > Ex-convento dei Minimi pi. 234

pi. I4I should read pl. 91 86/2 > > 86/3 158/2 > 178/2 69/2 , >> 59/3 83/4 > > 84/4 I22/I >> I22/3

tav. cit. 2 " 183/2 pi. 195/2 ,> 195/4 tav. cit. 4 > > 216/4 pi. 95/I > 11, 5/I

202/4 >> > I97/4 65/2 ?> 65/3 200/6 I 90/6

tav. cit. I > ? 221/1 Pi. 233/9 > > 233/10

233/7 ? 223/7 tav. cit. 2 > , i98/2 note Io pi. 227/1,5 > > 228/r,5 tav. cit. i >> > 228/1 pl. 233/5 * " 233/6

20/3,4 ? " 20/4,5 20/3 , 20/6

257/3,4 ? 258/3,4 tav. cit. 5 > > 255/5 tav. cit. 8 , , 255/8 under Aries pl. 208/o1 should read pl. 122/3

)> ? 201 >> 201/3 >> > Ex-convento dei Minimi pi. 234

[should read pl. 234/5 371 > Lione, pl. 736/8 should read pi. 236/7

Thus, once again, Monsignore Wilpert has brought to successful completion a vast undertaking. The Sarcofagi will take its place fittingly with his earlier books as a great compendium in which innumerable scholars will seek material and information. He has performed a task which only he could accomplish and the world of scholarship should be duly grateful.

MARION LAWRENCE

ALTORIENTALISCHE TEPPICHE IN SIEBENBURGEN (OLD ORIENTAL CARPETS IN TRANSYLVANIA). By Emil Schmutzler. One volume, 34 X 43 cm., 55 color plates. Leipzig, Hiersemann, i933.

All who care for Oriental carpets and recognize their artistic and historic significance will welcome the appearance of a new and sumptuous publication

[should read pl. 234/5 371 > Lione, pl. 736/8 should read pi. 236/7

Thus, once again, Monsignore Wilpert has brought to successful completion a vast undertaking. The Sarcofagi will take its place fittingly with his earlier books as a great compendium in which innumerable scholars will seek material and information. He has performed a task which only he could accomplish and the world of scholarship should be duly grateful.

MARION LAWRENCE

ALTORIENTALISCHE TEPPICHE IN SIEBENBURGEN (OLD ORIENTAL CARPETS IN TRANSYLVANIA). By Emil Schmutzler. One volume, 34 X 43 cm., 55 color plates. Leipzig, Hiersemann, i933.

All who care for Oriental carpets and recognize their artistic and historic significance will welcome the appearance of a new and sumptuous publication

313 313

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THE ART BULLETIN THE ART BULLETIN

devoted to a famous group of rugs. Small Asia Minor rugs have, ever since Holbein's time, been known and admired in the West for their magnificent colors. Bode thought that they played a real part in Venetian painting, and it is probable that their unparalleled depth and luster may have contributed to the Venetian love of color.

The finest of the earlier types of these small rugs have been found in various European churches, but the majority, especially those dating chiefly from the seventeenth century, have come out of the Sieben- biirgen district of Roumania, which was in close political and commercial relations with Turkey in the seventeenth century. The author has searched all of the churches in the district, from which he selected fifty-five examples for illustration in color. At the same time he has furnished a summary list of all those still in the district, both in the churches (of which there are nearly forty) and in two private collections. Approximately 450 pieces are noted, although not named or described. An excellent map is provided, showing the location of all the churches where these rugs were found.

The text is disappointingly brief, not to say meager (less than ten pages), and unfortunately gives no technical details of the carpets, but there are some interesting quotations from the inventories, beginning as early as 1507 and 1514.

The carpets are arranged in twelve groups, but these groups are not necessarily defined by their origin. Some of the attributions are definitely in error, such as the ascription to Ghiordes of a characteristic group of Kulah prayer rugs (Group VIII, plates 32, 33, 34, 35)-

The primitive carpet shown in plate i is described as seventeenth century, a surprisingly late date for such an austere and dignified pattern. A much earlier dating could be plausibly defended.

The author underestimates the number and value of carpets of this type to be found in Western col- lections. The best pieces in the Ballard collection in the Metropolitan Museum of Art, in the Textile Museum of the District of Columbia, the Kaiser Friedrich Museum in Berlin, and other private Euro- pean and American collections surpass anything he has included.

The discussion of the patterns is not particularly illuminating. The author in such matters as the three- globe pattern quotes various writers on the signifi- cance of this by no means mysterious symbol. It has no relation,-as Karabacek stated, to the eyes of the ox, nor, as Thomas proposed, with the constellation of Taurus, nor is it the Chintamani, as Bode and others suggested. It is an old Near Eastern symbol of the three astral bodies, which appears as early as the ninth century on Luristan bronzes. In various forms, some closely related to this, it is well established in Mesopotamian art by the middle of the second millenium B. C. and it continues in Near Eastern art down to modern times.

The erroneous designation of" Bird carpet " applied to a group of the white ground, seventeenth century type is here unfortunately repeated. The pattern, which does vaguely resemble a bird, has nothing to do with birds in origin but is merely a leaf form enclosed by a pair of alternately directed arabesque blossoms.

devoted to a famous group of rugs. Small Asia Minor rugs have, ever since Holbein's time, been known and admired in the West for their magnificent colors. Bode thought that they played a real part in Venetian painting, and it is probable that their unparalleled depth and luster may have contributed to the Venetian love of color.

The finest of the earlier types of these small rugs have been found in various European churches, but the majority, especially those dating chiefly from the seventeenth century, have come out of the Sieben- biirgen district of Roumania, which was in close political and commercial relations with Turkey in the seventeenth century. The author has searched all of the churches in the district, from which he selected fifty-five examples for illustration in color. At the same time he has furnished a summary list of all those still in the district, both in the churches (of which there are nearly forty) and in two private collections. Approximately 450 pieces are noted, although not named or described. An excellent map is provided, showing the location of all the churches where these rugs were found.

The text is disappointingly brief, not to say meager (less than ten pages), and unfortunately gives no technical details of the carpets, but there are some interesting quotations from the inventories, beginning as early as 1507 and 1514.

The carpets are arranged in twelve groups, but these groups are not necessarily defined by their origin. Some of the attributions are definitely in error, such as the ascription to Ghiordes of a characteristic group of Kulah prayer rugs (Group VIII, plates 32, 33, 34, 35)-

The primitive carpet shown in plate i is described as seventeenth century, a surprisingly late date for such an austere and dignified pattern. A much earlier dating could be plausibly defended.

The author underestimates the number and value of carpets of this type to be found in Western col- lections. The best pieces in the Ballard collection in the Metropolitan Museum of Art, in the Textile Museum of the District of Columbia, the Kaiser Friedrich Museum in Berlin, and other private Euro- pean and American collections surpass anything he has included.

The discussion of the patterns is not particularly illuminating. The author in such matters as the three- globe pattern quotes various writers on the signifi- cance of this by no means mysterious symbol. It has no relation,-as Karabacek stated, to the eyes of the ox, nor, as Thomas proposed, with the constellation of Taurus, nor is it the Chintamani, as Bode and others suggested. It is an old Near Eastern symbol of the three astral bodies, which appears as early as the ninth century on Luristan bronzes. In various forms, some closely related to this, it is well established in Mesopotamian art by the middle of the second millenium B. C. and it continues in Near Eastern art down to modern times.

The erroneous designation of" Bird carpet " applied to a group of the white ground, seventeenth century type is here unfortunately repeated. The pattern, which does vaguely resemble a bird, has nothing to do with birds in origin but is merely a leaf form enclosed by a pair of alternately directed arabesque blossoms.

The collection adds but little to our knowledge of the types, as for nearly every piece illustrated an even finer counterpart could be found in the European and American collections. There are, nonetheless, surprising pieces, of which a carpet with geometric design, shown on plate I, is one of the most inte- resting. Judging by the wide selvages on both sides and the ends, it seems to have some connection with the Bergamo district. The main pattern is a conventionalization of the Persian quatrefoil medallion, but the color scheme is original and delightful.

There is an interesting Ushak shown on plate 19 with a bright blue border which makes a striking combination with the rich reds and tans of the field and illustrates the fine color sense of the Ushak weavers.

The book is a definite enrichment of the resources for the student of carpets. Its principal value lies in the handsome plates, which are done in large size and seem in nearly every case to be adequate to the originals. It is a pity, though, that some of the original carpets could not have been washed before being color-plated, as they are too badly soiled to do themselves justice. The printing and all the details of bookmaking are admirably done, and the caption for each plate is given in English, French, and German.

ARTHUR UPHAM POPE

THE MOSAICS OF ST. SOPHIA AT ISTANBUL, PRELI-

MINARY REPORT OF THE FIRST YEAR'S WORK, T93I-

I932: THE MOSAICS OF THE NARTHEX. By Thomas Whittemore. 24 pp., 21 pls., plan and 4 tables. Printed by John Johnson at the Oxford University Press for the Byzantine Institute, 4, Rue de Lille, Paris, 1933.

For the prompt publication of this preliminary report on the recently uncovered mosaics of the narthex no less than for its excellent illustrations and brief but careful text, all students and lovers of Byzantine art owe to Professor Whittemore and the Byzantine Insti- tute a true debt of gratitude. Equally grateful are they for the reverent spirit in which the actual clean- ing of the mosaics was carried out, "no Turkish work, and no ancient work, and no work of any merit whatever " being destroyed. Meticulously scien- tific methods were employed throughout and no sol- vents of any kind were used. "The thin paint covering the mosaics is particularly amenable to flaking and was carefully removed tessella by tessella by means of a small steel chisel.... The liberation has been confined to the erasure of the paint; it was considered wiser not to disturb the plaster.... for it strengthens the decorations without defacing them seriously." The results of this process have proven eminently successful for, with the removal of the coating of paint, it was discovered that the original sixth century mosaics of the narthex have come down to us in an almost perfect state of preservation. "Such a close correspondence is observable between the geo- metric forms used in the mosaics of the Narthex and the designs on the carvings in the interior of the building that it is certain that they are contemporary."

As might be anticipated in a preliminary report the discussion of the purely ornamental portions of the mosaics, i. e., the jeweled crosses of the lunettes

The collection adds but little to our knowledge of the types, as for nearly every piece illustrated an even finer counterpart could be found in the European and American collections. There are, nonetheless, surprising pieces, of which a carpet with geometric design, shown on plate I, is one of the most inte- resting. Judging by the wide selvages on both sides and the ends, it seems to have some connection with the Bergamo district. The main pattern is a conventionalization of the Persian quatrefoil medallion, but the color scheme is original and delightful.

There is an interesting Ushak shown on plate 19 with a bright blue border which makes a striking combination with the rich reds and tans of the field and illustrates the fine color sense of the Ushak weavers.

The book is a definite enrichment of the resources for the student of carpets. Its principal value lies in the handsome plates, which are done in large size and seem in nearly every case to be adequate to the originals. It is a pity, though, that some of the original carpets could not have been washed before being color-plated, as they are too badly soiled to do themselves justice. The printing and all the details of bookmaking are admirably done, and the caption for each plate is given in English, French, and German.

ARTHUR UPHAM POPE

THE MOSAICS OF ST. SOPHIA AT ISTANBUL, PRELI-

MINARY REPORT OF THE FIRST YEAR'S WORK, T93I-

I932: THE MOSAICS OF THE NARTHEX. By Thomas Whittemore. 24 pp., 21 pls., plan and 4 tables. Printed by John Johnson at the Oxford University Press for the Byzantine Institute, 4, Rue de Lille, Paris, 1933.

For the prompt publication of this preliminary report on the recently uncovered mosaics of the narthex no less than for its excellent illustrations and brief but careful text, all students and lovers of Byzantine art owe to Professor Whittemore and the Byzantine Insti- tute a true debt of gratitude. Equally grateful are they for the reverent spirit in which the actual clean- ing of the mosaics was carried out, "no Turkish work, and no ancient work, and no work of any merit whatever " being destroyed. Meticulously scien- tific methods were employed throughout and no sol- vents of any kind were used. "The thin paint covering the mosaics is particularly amenable to flaking and was carefully removed tessella by tessella by means of a small steel chisel.... The liberation has been confined to the erasure of the paint; it was considered wiser not to disturb the plaster.... for it strengthens the decorations without defacing them seriously." The results of this process have proven eminently successful for, with the removal of the coating of paint, it was discovered that the original sixth century mosaics of the narthex have come down to us in an almost perfect state of preservation. "Such a close correspondence is observable between the geo- metric forms used in the mosaics of the Narthex and the designs on the carvings in the interior of the building that it is certain that they are contemporary."

As might be anticipated in a preliminary report the discussion of the purely ornamental portions of the mosaics, i. e., the jeweled crosses of the lunettes

314 314

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