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50 This Florentine cassonepanel representsthe conquest of Trebizond,the Greek Black Sea port, in I46I by Sultan Muhammad II. During the first half of the fifteenthcentury, the OttomanTurkshad swept victoriouslyacrossthe Near East, Egypt, and partof Europe, taking Constantinople in I453. Trebizondwas the last Christian stronghold in the East to fall. All of Italy, particularlyVenice,fearedthe Turkswould try to conquer them next, so it is not surprising that an Italianartist wouldbe interested in thisdramatic battle.The panelwas paintedin the workshopof Apolloniodi Giovanniand Marcodel Buono,whichflourished at leastuntil I465 and probably longer.NVhile the generalcomposition is purely imaginary, manydetailsof settingand costumearequite accurate. The topographical layout is probablybasedon is a Turkishmap of the Black Sea area:Constantinople shownat the left, with majorlandmarks such as Hagia Sophia,the emperor's palace,and the obeliskof Theodosiuscarefully depicted.Trebizond appears at the right with Turkishtents just outsideits walls.The Greekwarriorswearhigh capsand the Turkswear turbans.Both armiescarryscimitars, double-curvedbows,lances,and

shields. Theartist's fantasy is apparent ashefreely places patepisodes nextto oneanother in a decorative surface tern. Thepanel is verymuch in thetradition of Pesellino andthe International stylein Italy.
Italian (Florence). Tempera on wood,I5 X 49 inches, probablysoon after I46I. John StewartKennedyFund, I4 .39
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of withtheconquest thecassone andbacking 51 Lining "pomewiththefamous painted (50) ispaper Trebizond motif onanancient based Thispattern, pattern. granate" artias a cone,lotuspalmette, variously that appears of the choke,or thistlein the art of manycivilizations in earlyRenaissance NearandFarEast,wasdeveloped velvets; silkandmetal forhermagnificent Italyespecially verto thisItalian wasapplied "pomegranate" thename to Turkappealing times.Particularly sionin Victorian Ottoman of splendid on a series ish taste,it alsoappears cenandsixteenth silksandvelvetsof the latefifteenth the with thispattern, the cassone In decorating turies. made either fabrics, therich imitating was probably artist at theperiod. popular Turkey, from in Italyorimported
6 feet5 inches. length andgilded, polychromed Fruttwood, Fund,I4.39 Kennedy JohnStewart

fiber,tyingin a or othercoarse of canvas warps around a pile. to form the ends knot,andcutting Ghiordes-type prized highly more of the that was the effect Because andplentiful. workwaspopular Turkey rugs, imported at the Parliament to presented a petition England, In manthe to promote century the seventeenth of end producannual an mentions goods of woolen ufacture Colonial chairs. Turkey-work dozen tionof fivethousand of the sameperiodlist Turkeyinventories household andchairs. cushions, cloths, cupboard carpets, table work inventhese in mentioned type of the probably A chair, Cromwellian called Sometimes here. pictured is tories, during theirdesignwasin voguein England because considerable in found were chairs time,these Cromwell's and hallsandparlors, in seventeenth-century numbers yet veryfewexisttoday.
Mapleandoat, marshaboutI675-I7IO. NewEngland, of Mrs.J. Insley Bequest inches. 40M height grassstuJJing, 52.77.50 Blazr,

is made recutfroma chasuble, 52 The cope,possibly on brocade redvelvetandsilver textile: of a sumptuous medallions of consists Thepattern velvetground. a green foliate brocaded within placed motifs floral withstylized texof a group to belongs velvet Thisbrocaded wreaths. Asia in woven Turkish, as designated tiles sometimes or, morefrequently, market, Minorfor the European of The Republic influence. Turkish under as Venetian, textiles and Turks, the with oncommerce carried Venice in theOttoman woven useweresometimes forVenetian taste; Italian to suit cheaper, was labor where Empire, Venetian. is probably however, piece, thisparticular
About I500. 3 feet 3 inchesx 8 feet 4M inches.The 63.I53 Collection, Clozsters

us provide portraits American 53 Eighteenth-century imdeemed of the furnishings picture withanexcellent Onesuchaccessory household. for the colonial portant porplacein manyfashionab]e that tooka prominent displayed carpet," rugor"Turkey wastheTurkish traits hadbeen as a tablecoveror on the floor.The English on, century fromthe sixteenth thesecarpets importing centurythey werebeing and by the late seventeenth into theColonies. by wayof England brought rug a realOriental that did not possess Households It wasa workas a substitute. usedTurkey frequently rugsand of Oriental in directimitation homeproduct yarns colored wasmadein the sameway,by wrapping

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54 Before PieterCoecke vanAelst's tripto Constantinople in I533, whenhe unsuccessfully attempted to interest the sultan, Sulayman, in the purchase of Brussels tapestries of hisowndesign, theTurkish NearEasthad been revealed onlyirregularly to theWest through traded goods, souvenirs, andgreatly amplified reports of peculiar customs andactsof cruelty. While Coecke vanAelst was not the firstWestern artistto visit thisexoticland -GentileBellinihadbeenthereto painta portrait of Muhammad II- hisseries of seven views depicting Turkish lifeandcostume in theirnatural settings became an invaluable sourceof information for artists,costumebook designers, andhistorians. Theset,which waspublished aftertheartist's death by his widow, is arranged, as someEuropean tapestries, in
228

afrieze, whichCoecke vanAelstseparated by caryatids inTurkish costume. The seventhsceneis a compressed and fairly accurate viewof Constantinople whenit was studded with the mutilated remains of antiquity and teeming with the peoples andplunder amassed through conquest. In the foreground the sultanpasses with a small portionof his retinue, whichon someoccasions numbered thousands. He is preceded by hackbuteers, or archers, andaccompanying himonfootaretwochatush, bodyguards, whoclear thewaywithclubs. Twochamberlains follow onhorseback, attending thesultan ashegoes about the townseeing andbeingseen.
Pieter Coecte ranSelst(Iso2-Isso),Netherlandish. Woodcut (fragment)from CesMoeurs etFachons deFairede Turcz, I3SXZ7S inches, s553.HarrisBrisbaneDictFund28.85.7a

rule tng, books known sloplng | | "Grand I | / ^ t { \i1 |apparently which s6Sx of professing to Turk," sultan's Sulayman }-1 the nose sshnleans west wwhose znches, and )@an as the army, >y!t overwhelmed long accurate conquests Roxelana, "foolhardy Magnificent, dated Taggegeben. neck were account s535. were are who renowned by had constantly 'completely The who of HarrlsBrlsbane PlumWge this certain his Elzsha came for public strange to upsetof Whzttelsey vvals overshadowed their the their and ithrone DlstFnd, !1 display ;: the ferocity j |i i |tdelly's tz |,E, n 32.86 ! jjt i and S 11 " and ! i,L )comtra!|X in1{ Yla -= |3j l ' : >

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in I520, thesame year astheEmperor Charles V. The ting European equillbrium, was thesubject ofnumerous private life. The image that emerged was one ofadespot, refined andsometimes gentle, butbasically a barbarian. He wasrenowned for havlng submltted to the cruel wlshes of hlsRussian-born sultana, Khourrem Hassekl, forherfavorite son. Agostino Veneziano's portrait is as elaborate as the imaginative accounts of Sulayman's life.The sultan's by the bizarre headgear, which combines elements of
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56 When Melchior Lorichs first traveled to theOttomanEmpire in I555, curiosities suchas this"delly" induced himto return several times between I570 and I583 tosketch fora book heprepared toacquaint artists withTurkish culture. Dellys, Serbian volunteers in the

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wasthe hacustoms of Turkish 57 The mostenticing to have seems traveler everyWestern rem,andalmost instituguarded on thisjealously to digress felt obliged he had neverenjoyed.Aubryde tion whosedelights to Turkey of his journey whosesketches La Motraye, to his travels, illustrations for Hogarth's werethe basis at perilof losinghis that he dared, wasso inquisitive to gain assistant watchmaker's head,to poseasa French sights He sawsuchdazzling harem. to theimperial access his inabilityto recallthem, he that while confessing themin print to describe did not hesitate nevertheless andcommentary. haremwere,with the The womenof the imperial soldby ambitious maidens of a few Turkish exception through acquired nationalities of various slaves fathers, perTheKoran by purchase. andoccasionally conquest, beingconcumittedfourwives,the restof the women Competiharem"odalisques." or in the imperial bines, waskeen,and or master tionforthefavorof thesultan harmony duty of maintaining hadthe specific matrons numerous carriages, Latticed women. the jealous among the systemassured security andan elaborate eunuchs, of other from theglance harem of theimperial protection to curious werea temptation men. Such precautions above. in thewindow peering such astheintruder rogues
A TurtishHaBritish. (I697-I764), Hogarth William WithinDoors of the Rich rem, or the Mannerof Li?ving

from Engraring Turts with their Wivesand Concubines. Asia and Europe, through Trarels Aubryde La Motraye's into Partof Africa. . . (London,s723), so x s33Sinches. Dict Fund,Z7.3.2838 HarrisBrisbane

enbookof onehundred de Ferriol's Charles 58 Count entitledLes DiferentesNationsdu Lerant,first gravings of fora series in I7I4, wasthe source in Paris published in the I740S. Two modeled figurines porcelain Meissen seem ladyandgentleman, of a Turkish of these,figures fortheywere in England, appeal to havehada particular andLongBow,Derby, notonlyin theexpensive copied of materials butalsoin thehumbler tonHallporcelains, pottery,such as the threein the upper Staffordshire and earthenware, corner-oneof lead-glazed right-hand stoneware. a pairof salt-glazed
Left: AboutI760. Height7H inches.Gift of Mrs.RusLittler, by William Right:Probably 45.I2.85. sellS. Carter, 7S inches.Gift of R. Thornton Heights aboutI755-I760. 43.I 00.5, 6 Wilson, Ellsworth of Florence in memory Wilson

of Turks, paintings gouache of twenty-two 59 A series known (better Ligozzi by Jacopo doneaboutI585-I590 during in Florence waspreserved painter), asananimal

the eighteenth century in the famous Gaddicollection of books andmanuscripts. AboutI740 these illustrations were copied forthedecoration of a setof porcelain plates made at theDoccia factory in Florence. Theoneshown below depicts a pageto the sultan. Pagesbelonged to a corps of slave boys(many of non-Islamic extraction) who werefavorites of the sultan. Brought up in the harem, theyweretrained to assume the highest positions in the civiladministration of the Ottoman Empire whenthey reached adulthood. Thefigure infront of theplate wasmade aboutI750 in theCapo di Montefactory near Naples. Thecostume is thatof a Muhammadan fromsomewhere in the Europeanpartof the Ottoman Empire as it existed in the eighteenth century. Known as"Turkey in Europe," the area included whatis nowGreece andAlbania. Theyellowshoes indicate the manwasa Believer.
Plate:Hard-paste porcelain; theporcelain painting is attributed to Carl Wendelin Anreiter.Widths2H inches. Rogers Fund,o6.372a.Figure:SofPpaste porcelain. Height 4H inches. Lentby R. Thornton Wilson, L.s8.7g

of the eighteenthcenturyfound 60 The idle courtiers the luxuriesof the Ottoman diversionin appropriating gave a Turkish Empire.In I700 the Duke of Chartres with dancing girls and Marly complete masquerade at Effendi, ambassador visit of Muhammad menagerie. The of SultanAhmet III, to the court of LouisXV in I720 fanned the flamesof curiosity,and the tantalizingdeandOneNights whetscriptions in the popularThousand of a society wearywith the tedium ted the imagination of etiquette.In I748 the FrenchAcademyin Romepresented a lavish masque with a Turkish motif, where Turkish painted costumesimitating rich, embroidered fabricswere recordedin the prints and drawingsof a Vien (left, above). student participant,Joseph-Marie Among the glittering costumesat the masked ball at of the Dauphin(left, the marriage Versailles celebrating of Turkish below)wereseveralgrotesqueinterpretations dresswith huge headsand turbanspercheddirectly on It is claimedthat on this occasion the wearer's shoulders. a famousgestureby LouisXV markedthe beginningof his liaisonwith Madamed'Etioles,soon to becomeMais thrown,"the "Thehandkerchief damede Pompadour. courtcried,alludingto the allegedcustomof the sultan in selectinghis favorite. French. Himan Vien(I7I6-I809), Aftore: Joseph-Mclrie of Monszeur Mosquee, study for the costume de la Grande Scademyat Romein Clement for the Fete at the French on bluepaper, heightened with whzze, I748. Blact chal&, Rogers Fund,6I.I39. Below:Charles2I%6 X I613/6 inches. French. Detail,DecoraPere(I688-I754), NicolasCochin Gallerie du Chateau tiondu Bal Masque. . . dansla grande de de Louis Dauphzn du mariage de Versailles 2 I'occc/sion . . . MDCCXLTT. Therese Infante d'Espagne France a?vecMarie from ChalcograCochzn Fils, restrzke 24fter Charles-Nicolas inches. Harris Brisbane ?vol. 34, I 8 X 30 phze du Lourre,
DlCt rUnd, 30.22(34)

Turkishsubjects;one depicted her served by eunuchs. Gardenpavilionssprangup imitatingTurkishsummerhousesknownas kiosks,andwholeroomswere decorated a smallTurkishbouAt Fontainebleau with turqueries. in I777, with doir was completedfor Marie-Antoinette Rousseau; by the brothers paintedandcarvedwoodwork while the Comte d'Artoishad two Turkishrooms,one at the Chateaudu Temple,in Paris,and the other in his at Rlersailles. The Museumownstwo painted apartments executedforthisroomin I 776. The centralmeoakpanels nymphs, dallionof this one, supportedby two fish-tailed of his harem;above, a showsa pashawith two members turbanedmusicianplucks a lute. The quality of the paintingdoes not supportthe attributionof the panels who is known to have done Fragonard, to Jean-Honore subjects.It is more likely that they are by the turquerie Dussaux,who later did decorativepainter Jean-Marie similarschemesat the Chateaude Bagatelle. Morgcln, 37 x 28h inches.Gift of J. Pierpont French.
07022St4S84

turqueriesthrived on their exotic 61 Like chinoiserie, By the mid-eighteenthcentury, Turkish associations. motifs had been domesticatedin Europe for quite a while. Turkishslaves appearedas decorativeincidents in Italian art after the naval victory at the Battle of Lepantoin I57I, while Turkishcostumeswere worn at masquerades at the court of LouisXIV. The vogue lost In I755 Madame as the centuryadvanced. no momentum waspaintedasa sultanaby CarlevanLoo. de Pompadour four du Barrycommissioned TwentyyearslaterA4adame

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62 Eastern imports fromthe Westin the eighteenth andnineteenth centuries tended, asnow,to bescientific ormanufactured items, suitably adapted for the market. The Porte would admit intoTurkey thetimepieces only of certain favored makers and dealers, who consequently dida large business. Onthedials of thewatches shown here,thehours areindicated by stylizedArabicnumbers, and on the movement of one the maker's namealso appears in Arabic characters. The reputation of themenwhomadethesetimepieces wasas highin theirowncountries asin Istanbul.
Clockwise: open lish of to show Traveling movement), *759. Morgan, repeating Londfon, gilt metal, Gift watch by IDiameter (with Isaac 3S silver Rogers, incAzes. case EngGift Cloctby *740-I of horn Martwict 780. Inner

Someof the names given to this picturesque instrument reflect itsorigin andhistory. It hasbeencalled in Polish,KsiezycTurecti, meaning "Turkish moon"; in Danish, Janitscharspil, "Janissary instrument"; in French, chapeau chinois,"Chinese hat";andin German,Schellenbaum, "tree withjingles."
Turtish crescent, German, earlyXIX century. Woody and! brass, withhorsehair pendfants, height 5 feet 2 inches.The Crosby BrownCollection of MusicalInstruments, 89.4.846

(Londfon), J. Pierpont with

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64 The decorative tasteof the earlynineteenthcentury wasfiredby the florid Orientalextravaganza of theBrighton Pavilion and otherroyalfollies on the Continent, andby a sentimental interest in allthings remote and romantic. Vistas into the colorful reaches of theOttoman Empire provided bydiarists and artists of thedaywere adapted intoa turquerie that combined light-mindedly with Gothic, Chinese, Saracenic, andbucolic rural themes evenmore freelythanin thepast.Oneof the morecharming examples of this sometimes unsettling styleis thislittleprovincial woodblock-printed cottonin blue,red,andblack, whosefloralbouquets suggestthoseof the eighteenth century, and whose tinystifffigures and pavilions leaveone wondering whether theyareTurkish or Chinese.
Englzsh, aboutI 805. s4h x 23h inches.Gzjzt of JeanMontgomery Greenman, 67.91.4

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63 Theinstrument at theupper right, known as a jingling Johnny, wasderived fromthe Janissary bandof the Turkish army,where it represented the pasha's standard and was borne before hisregiment in battle. Asa result of the seventeenth-century Austro-Turkish warsit infiltrated European armies andwas carried in frontof themarching bands.

by Caroline, queen wascommissioned 65 In I8I3 Ingres of Naples, to paint a pendant to the SleepingWoman (now lost) that he had done for her in I809. The Musefor this secondcomum'spaintingis a study in grisaille mission.Ingresdid not originallyconceivethe Sgureas collecdrawing in the Courtauld Oriental: a preparatory tion showsonly the recliningnude. He added the Oriental accessory of a turbanin the grisaillestudy and enThis thememay have been titled the pictureOdalisque. inspiredby the generalinterest in the Near East that

invasions of Egypt (thenpart grewout of the Napoleonic of the Ottoman Empire). Soldiersreturnedto France with tales of the exotic placesthey had seen and often broughteasily portablesouvenirswith them. The Snal versionof the painting,now in the Louvre, has many suchOrientalobjects,includinga waterpipeanda Turkish incenseburner,scatteredthroughoutthe picture. Ingres(1780-1867), French. Jean-Auguste-Dominique about1813. WolfeFund Oil on canvas, 323Sx 43 inches, 38.65

236

66 Alexandre Decamps wasone of the Srst of manynineteenth-century Frenchartists whowentto Turkey to sketch andpaintcontemporary Turkish life.Here a group ofTurkishsoldiers is patrolling thestreets of Smyrna, andDecamps hascarefully recorded every detailof the scene. The leader is distinguished by his whiteturban andis the onlymanon horseback. The ornate macethathe holdsin hisright hand isanemblem of rank andtheinsigne of anofficer. Theothersoldiers, running barefoot, wearscabbards andpistols in their belts andcarry knives called yataghans. Their Albanian rifles havelong,narrow barrels with fancy,fish-shaped butts.The artisthas also noted the pointedTurkish stirrups, which doubled asspurs. Drama andmovement areevoked by using sharpcontrasts of light and dark,and by placing the weapons andlegsof the soldiers in strong diagonals against the solidvertical blocks of the buildings in the background. Anearlier andlarger version of thispainting wasshown at the Salon of I83I in Paris and caused a sensation withitsdramatic rendering of thisnewandexoticsubject.
Slexandre Decamps (I 803-I 860), French. Oil on can?vas, 29S x 36 inches, aboutI855. Bequestof Catharine Lorillard Wolfe,87.I5.93

67 This study of a Turkishsoldierwas painted byCharles Bargue in I875. Thefigure shownis a BashiBazouk, a reputedly ferocioustype of irregular in the Turkish army. Thesesoldiers wereenlisted to fightagainst Napoleon whenhe invaded Egypt in I798, andweresupposedly responsible for the horrible Turkish massacres in the I 870S. Nothing, however, of thefearsome soldier is evident in this calmlyseatedfigure who smokes a narghileandhashis coffee cup beside him.The painting doesnot seemto be taken fromlife, but is an arbitrary arrangement of Turkish weapons, clothing, andobjects onandaround the model.Bargue wasa student of Gerome and shared his teacher's enthusiasm for the Orient.Gerome hadcollected NearEastern costumes andobjects in hisParis studio; this composition could easily havebeenassembled andpainted by Bargue usingtheseor similar Turkish souvenirs.
Charles Bargue (I 825-I 883), French. Oil on canvas,I8 X I3 inches,dated[I8]75. Bequestof Catharine LorillardWolfe,87.15.102

couldbe foundin 68 Thingsthoughtof as Turkish by the Philalong beforethe voguesparked America in I876 and culminating Exposition Centennial delphia of the I880S. cozy-corner" of the"Turkish in theclutter of historical therewasa widerange Fifty yearsearlier, One of the architecture. in American stylesin fashion Davis, Jackson then was Alexander architects leading triedhis occasionally a Gothicist, primarily who,though villa,probably ThisTurkish designs. handat Oriental yet pragmatic the eclectic aboutI835, illustrates drawn mindat work.The oniondome,the window Western cornice areEastern andthescalloped surrounds, anddoor above and the crescents whilethe minarets in feeling, minaretTheTurkish Turkish. themaredemonstrably motifs architectural of thatcountry's mostcharacteristic its peakfromwhichthe -housed a balconybeneath his Davisaltered to prayer. calledthe faithful muezzin only one particular: models in from theTurkish minarets with ventsfor the balcony the muezzin's he replaced below! fluesof thefireplaces
WaJactson Daris (s 803-I892), A!merican. Af lexander Dict Fund, s4S, x s oM inches.HarrisBrisbane tercolor, 24.66.765

69 AlbertoPasini,an Italianwho came to Paristo of Delacroix, the works admired studyin I85I, greatly themes. Oriental whopainted artists andother Decamps, he expedition, artistof a French In I855, as an official widely traveled years andin thefollowing wentto Persia the Near East. This lively scenewas unthroughout oneof histripsto Constantiduring sketched doubtedly in I872. Inclear, in Paris painted andsubsequently nople of the brightcolorshe depictsthe domesand turrets costumes andnotestheunusual Ahmet of Sultan Mosque menstanding soldiers andthe turbaned of themounted however, maininterest, gate.Pasini's themosque before and atmosphere the city'ssun-drenched liesin showing architecture. Muslim imposing
35 x Pasini(s 826-s899), Italian.Oil on canvas, AMlberto dateds872. Bequestof CollisP. Huntington, 26S inches, 2s.IIo.g4

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