M E T R O P O L I TA N

MUSEUM
JOURNAL 5 8
ARTICL ES

An “Effaced Itinerary”: Joanna de Silva

M E T R O P O L I TA N M U S E U M J O U R NA L
by William Wood
Adam Eaker

After a Long Cruise by John Carlin:

Mutiny and Maritime New York
Daniel Finamore

The 1869 Regensburger Silberfund:

A Seventeenth-Century Hoard of Silver
Allison Stielau

Souvenirs in Silver: Daguerrean

Constructions by Joseph Cornell
Virginia McBride

R ESEA R CH NOT ES

A Byzantine Censer and the

“Flaming Womb” of the Virgin
Evan Freeman

Drawings of Parade Carriages for

Cardinal Francesco Maria de’ Medici
Romina Origlia

Persimmon and Peonies: Orange-Colored

Glass and Enamels from the Qing
Imperial Workshops
Julie Bellemare, Federico Carò,
Karen Stamm

An Early Etching by William

Welles Bosworth
Andrea M. Ortuño

2 02 3
VO LU M E M E T R O P O L I TA N
MUSEUM
58

JOURNAL 5 8
P R I N T E D I N I T A LY
M E T R O P O L I TA N
MUSEUM
JOURNAL 58
M E T R O P O L I TA N
MUSEUM
JOURNAL 58

VOLUME 58 | 2023

The Metropolitan Museum of Art

NEW YORK
EDITORIAL BOARD

Silvia Centeno
Research Scientist, Scientific Research

Isabelle Duvernois
Conservator, Paintings Conservation

Maryam Ekhtiar
Patti Cadby Birch Curator, Islamic Art
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Contents
ARTI C L E S
An “Effaced Itinerary”:
Joanna de Silva by William Wood
ADAM EAKER, 9

After a Long Cruise by John Carlin:

Mutiny and Maritime New York
DANIEL FINAMORE, 23

The 1869 Regensburger Silberfund:

A Seventeenth-Century Hoard of Silver
ALLISON STIELAU, 33

Souvenirs in Silver:
Daguerrean Constructions by Joseph Cornell
VIRGINIA MCBRIDE, 59

RE S E ARC H N OTE S
A Byzantine Censer and the
“Flaming Womb” of the Virgin
EVAN FREEMAN, 75

Drawings of Parade Carriages for

Cardinal Francesco Maria de’ Medici
ROMINA ORIGLIA, 86

Persimmon and Peonies: Orange-Colored Glass and

Enamels from the Qing Imperial Workshops
J U L I E B E L L E M A R E , F E D E R I C O CA RÒ, K A R E N STA M M , 9 6

An Early Etching by William Welles Bosworth

ANDREA M. ORTUÑO, 107
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M E T R O P O L I TA N
MUSEUM
JOURNAL 58
 An Early Etching by
William Welles Bosworth
ANDREA M. ORTUÑO

The Metropolitan Museum of Art possesses an etching

of a street market scene in Ghent, signed by American
architect William Welles Bosworth (fig. 1). Depicted in
the print are stalls brimming with produce, vendors
arranging their wares, casual passersby, and sketchier
figures engaged in conversation, all against a backdrop
of charming, though deteriorating, storefronts and
stepped gable houses. Trained at the Ecole des Beaux-­
Arts (hereafter Ecole), Bosworth is better known for his
major architectural commissions in the United States,
such as the AT&T Building in New York (1913) and the
campus of the Massachusetts Institute of Technology in
Cambridge (1913–16; hereafter MIT), as well as for several
notable projects carried out in the United States and
abroad for his friend and patron John D. Rockefeller Jr.1
Metropolitan Museum Journal, volume 58, 2023. Published by The Metropolitan Museum of Art in association with the University of Chicago Press.
https://doi.org/10.1086/728881. © 2022 The Metropolitan Museum of Art.
1 0 8 E A RLY ETCH I N G BY WI L L I A M WE L L E S B O S WO RT H

fig. 1 William Welles

Bosworth (American, 1869–
1966). Ghent, 1890. Etching,
plate 6 7/8 × 12 1/2 in. (17.5 ×
31.7 cm). The Metropolitan
Museum of Art, Gift of the
Estate of Mrs. Edward
Robinson, 1952 (52.594.37)

Less studied, however, are Bosworth’s early works Bosworth observed in the offices of Richardson and his
and artistic interests from the late 1880s and early successors, from the plans for the Albany Cathedral
1890s, before his admission to the Ecole, when the to photographs of the abbey of Saint-­Leu-­d’Esserent in
young architect and gifted draftsman embraced a style northern France, seems to have instilled in him a pro-
distinct from the refined classicism of his mature work. nounced appreciation of Richardson’s Romanesque
This article will situate the etching in The Met within revivalism and of medieval architecture in general.5
the earlier phase of Bosworth’s career, during which his Upon his graduation from MIT, Bosworth was able
affinity for medieval aesthetics and picturesque decay to see in person the centuries-­old European architec-
was prominent. ture that he had studied and admired as a student.
Born in Marietta, Ohio, William Welles Bosworth William Rotch Ware, editor-­in-­chief of American
moved to Boston in 1885 to study architecture at MIT, Architect and Building News (AABN), the first profes-
then located in the city’s Back Bay neighborhood.2 In an sional architectural journal in the United States, estab-
essay written in 1951, the eighty-­two-­year-­old Bosworth lished a drawing office for the publication in 1886.6
recalled his student years there. He recounted how his Ware hired Bosworth in 1888 and shortly afterward
profound admiration of Henry Hobson Richardson’s took the recent graduate to Europe. Bosworth described
newly completed Trinity Church and his resistance to the trip as an “extended tour of architectural and artis-
the classicism taught by his professor Eugène Létang tic research, through England, Belgium, Germany,
resulted in another professor, Theodore Minot Clark, Austria, Italy, and France.” 7
recommending him for a position in Richardson’s It was during this journey with Ware that Bosworth
Brookline, Massachusetts, office.3 His work for captured the subject of the etching in The Met. This can
Richardson and, after the latter’s death in April 1886, be determined not only by the date on the plate but
for the firm of Shepley, Rutan, and Coolidge, started also by the row of buildings Bosworth so meticulously
with the tracing of working drawings and progressed to documented. He included the year, alongside his
making studies for large-­scale projects. For instance, name, in two places: In the lower right corner “W. W.
Bosworth produced full-­size charcoal drawings of Bosworth • 90”—­with the letter s and number nine both
Romanesque and Byzantine column capitals to serve backward—­is easily discernible. The second, less appar-
as guides for the carvers of the Cincinnati Chamber of ent signature and date can be found in minute script on
Commerce Building.4 So much of what the youthful a small sign that hangs over the door of a stepped gable
 house in the left center of the etching. The sign reads these buildings, both inside and out, that by the second
“W. W. Bosworth • Etcher Ghent 90,” with the number half of the nineteenth century only the castle’s arched
nine also backward. Perhaps Bosworth, likely new to entryway and crenellated towers were visible. Long
the craft of etching, fumbled with the process of considered an aesthetic scourge, the structures that
scratching numbers and letters in reverse on the plate. clung to the castle were demolished by 1894. By the
This resulted in the inverted characters being trans- time of Bosworth’s next documented trip to Belgium, in
ferred to subsequent prints.8 1900, after he had completed his course of study at the
Any minor errors that Bosworth may have made Ecole, the buildings around the Gravensteen were
are overshadowed by the impressive specificity of the gone—­further evidence that he captured the subject of
buildings he depicted. The details of each structure the etching on his previous European tour with Ware.9
are so precise that the exact location in Ghent can be The buildings that Bosworth so faithfully depicted
identified: the vegetable market at Sint-­Veerleplein, a were razed as part of an ongoing campaign of city plan-
square bordered on its north side by the medieval ning and renovation in Ghent, similar, in some respects,
Castle of the Counts, also known as the Gravensteen. to the modernization program of Baron Georges-­
The central features of Bosworth’s composition—­a trio Eugène Haussmann in Paris. The previous decade had
of stepped gable houses and the taller buildings that seen the implementation of the Zollikofer-­De Vigne
flank them—­correspond with late nineteenth-­century Plan, in which wide boulevards were cut through Ghent
photographs of the area (fig. 2). These structures, which between 1880 and 1888 to connect the railroad station
over the years included several houses, workshops, and with the city center.10 Throughout the 1890s the tearing
cafés, were built against the outer walls of the old castle. down of slums and other ramshackle buildings contin-
A cotton mill had also been erected within the castle ued; however, in Ghent, these demolitions were accom-
walls in the early 1800s (the mill’s smokestacks are visi- panied by efforts to reveal, restore, and celebrate the
ble in figure 2). The Gravensteen was so obscured by city’s medieval monuments. As Steven Jacobs and

fig. 2 Sint-­Veerleplein,
Rekelingstraat, and the
Gravensteen. Photograph,
before 1894. Ghent
City Archive

ORTUÑO 109
1 1 0 E A R LY ETCH I N G BY WI L L I A M WE L L E S B O S WO RT H

Bruno Notteboom note in their study on the role of pho- covered the ongoing restoration of the castle in 1892,
tography in Ghent’s urban transformation, the renewed the journal celebrated the Belgian government’s effort
interest in, and preservation of, historic buildings amid “to deliver the building from the parasitical construc-
the effort to modernize signaled a “return to regional- tions that overlaid it.” 15
ism and picturesque sensibility.” 11 In other words, Throughout the nineteenth century, those
Ghent’s modernization program did not aim to reorder “wretched workshops” and “parasitical constructions”
the city to the point of erasing its regional character and were nevertheless an appealing subject to several pho-
history, but rather sought to provide residents and visi- tographers and printmakers. While visiting Ghent in
tors with a well-­ordered urban space and unobstructed 1847, Scottish photographers John Muir Wood and
vistas of medieval architectural treasures such as Saint George Moir made early calotypes of the Gravensteen
Bavo’s Cathedral, Saint Nicholas’s Church, and, of and the humble buildings that surrounded it.16 Sir
course, the Gravensteen.12 A photograph of the castle Ernest George rendered a similar view of the area for
taken about 1895 illustrates a final outcome of the the collection Etchings in Belgium, first published in
­campaign: the vegetable market at Sint-­Veerleplein 1878.17 Even in an 1894 publication that celebrated the
became an open and airy square complete with a view restoration of the Gravensteen, the Belgian artist and
of the newly revealed castle, a cherished relic of writer Armand Heins included a rather pretty illustra-
Ghent’s medieval past (fig. 3). tion of the medieval castle’s “maisons parasites” (para-
Nineteenth-­century guidebooks and architectural sitical houses).18
publications that predate these changes to Ghent’s Bosworth, however, in 1890, was arguably more
urban fabric had long lamented the earlier condition of fascinated by these dilapidated structures than other
the Gravensteen. Thomas Roscoe’s 1841 Belgium: In a illustrators and photographers. Whereas his predeces-
Picturesque Tour, for example, said of the castle, “It is to sors captured the one visible portion of the castle—­the
be regretted that the grand entrance should now be imposing towers at its entrance—­Bosworth chose to
almost hidden from view by the erection of some exclude any trace of the Gravensteen from his etching.
wretched workshops and walls.” 13 The mid-­nineteenth-­ He shifted his focus away from the medieval landmark
century Handbook for Travellers on the Continent like- and instead reveled in what, for many, were unfortu-
wise pointed out the shabbiness of the structures built nate eyesores clinging to a once-­majestic building.
around the Gravensteen, noting, “The small portion The demolition and large-­scale restructuring that had
fig. 3 The Vegetable Market that remains of the building, consisting of an old arch- already taken place in Ghent throughout the 1880s
at Sint-­Veerleplein and
way and turret, is now incorporated in a cotton factory. likely contributed to this decision; Bosworth may have
the Gravensteen, Ghent.
Photograph, ca. 1895. Ghent The area within is occupied by houses of the meanest sensed these structures would soon be gone. As a
City Archive kind.” 14 When American Architect and Building News result, the etching presents a fading, Romantic view of
the haphazard nature in which medieval cities like
Ghent developed and the way in which quaint, local
types functioned amid picturesque deterioration. In
the foreground of the composition, produce is piled
onto stalls as a market woman stacks baskets of various
sizes. Behind her is a derelict property with its right
entry and ground-­floor windows boarded up. Despite
the condition of the building, two figures converse in
one of its darkened doorways. In front of the three
adjacent, soot-­stained houses, a man carrying wooden
slats for a market stand crosses paths with a pair of
monks. Strolling through Sint-­Veerleplein, the two
robed figures move toward a dingy row of houses and
workshops, the chimneys of which emit hazy plumes
of smoke.
A similar preference for targeting the battered
peripheries of medieval monuments can be observed
in two other works on paper that Bosworth produced
during his European tour with Ware. In an 1889 pen
 sketch provides a glimpse of the Bethlehem Portal
before several modern alterations, including the addi-
tion of a Neo-­Gothic canopy.21 The Virgin and Child
on the trumeau at center as well as the two sculptures
of bishops that flank them on the jambs—­all later
removed—­are still in their original locations in
Bosworth’s drawing. On the other hand, much of the
relief sculpture from the tympanum, apart from two
magi figures at upper right, is absent from the depic-
tion. Underneath the mostly bare portal, a man with a
cane rests against the jamb, his head turned toward a
pile of rubble on the ground. Bosworth may have cap-
tured the portal in the midst of a late nineteenth-­
century restoration effort, but the sketch itself seems
more like a Romantic rendering of a medieval ruin
­destined for further decay.
However marginal these subjects may seem,
Bosworth’s early works on paper reflect common prac-
tice among students of architecture. Traveling abroad
to make sketches of various buildings and monuments
was, as he wrote in 1901, “research.”22 In Bosworth’s
case, many of the drawings he made between 1888 and
1890 also served the specific purpose of illustrating the
pages of American Architect and Building News.23 Though
AABN editors like Ware favored American Colonial
and Federal buildings as well as the classical principles
advocated by the Ecole des Beaux-­Arts, he, like the
French institution, believed architects should be knowl-
edgeable about all historical styles. This approach to
architectural education on the part of AABN’s editors—­
who, as Mary N. Woods writes, “stood for academic
training and professional practices, not the revival of
any one style”—­applied to the diversity of illustrations
that appeared in the journal. 24 In a 1917 obituary for
fig. 4 William Welles drawing made in northern France while visiting the Ware, Bosworth described what was required of the
Bosworth. Rue du Château Château de Josselin, Bosworth depicted not the medi­ draftsmen employed in AABN’s drawing office, noting
Josselin, 1889. Pen drawing.
eval castle itself, but rather a side street leading to it the different modes in which they were asked to work.
Reproduced in Pencil Points
1925, 63 (fig. 4). Reproduced in an article for the publication They could be “called upon to make rendered perspec-
Pencil Points, the drawing’s subject was described as tives in pen and ink or color,” or to depict “the pictur-
an “‘insignificant,’ but picturesque street of ‘tumble-­ esque architecture then in vogue requiring that form of
down buildings’ possessing architectural qualities more presentation.”25 Above all, Bosworth recalled, “Ware
rare and fascinating than the great chateau for which, loved a good drawing, especially one well calculated for
almost alone, the town is noted.” 19 Likewise, in his reproduction.”26 All of this considered, Ware no doubt
1890 sketch of the Bethlehem Portal in Huy, Belgium encouraged Bosworth to depict a variety of subjects
(fig. 5), Bosworth omitted the soaring apse of the during their travels, including medieval architecture,
adjacent Collegiate Church of Notre-­Dame, a feature buildings in disrepair, and quaint street scenes.
often included in earlier representations of the subject After touring Europe with Ware, Bosworth
made by printmakers such as Ernest George and Axel returned to the United States, where he exhibited
Herman Haig.20 Bosworth instead concentrated on designs and took on commissions that were noticeably
the fourteenth-­century Gothic entryway and its imme- shaped by his admiration for Richardson and the pictur-
diate, rather run-­down surroundings. Consequently, his esque mode in which he often worked for AABN. At the

ORTUÑO 111
1 1 2 E A R LY E TCH I N G BY WI L L I A M WE L L E S B O S WO RT H

this early style—­a highly decorative, eclectic neo-­

medievalism inspired by his recent travels in Europe
and his work for Richardson and Shepley, Rutan,
and Coolidge.29
Even before the completion of the Magdalen
Asylum, however, Bosworth must have felt the demise
of the Richardsonian aesthetic and, consequently, the
need for a stylistic shift. By 1891 the Romanesque
Revival associated with Richardson—­a style that had
been embraced across the country—­began to decline in
popularity, most notably with the rejection that year of
Neo-­Romanesque designs for the upcoming 1893
World’s Columbian Exposition in Chicago.30 Bosworth’s
practice reflected these changing tastes. In 1892, he
teamed up with Jarvis Hunt, nephew of architect
Richard Morris Hunt, on the classically inspired
Vermont State Building for the Columbian Exposition.31
By early 1893, the need for further training also
became abundantly clear to him. After viewing his
hybrid Romanesque-­Gothic design for the Magdalen
Asylum at the Architectural League’s exhibition that
year, a critic from the New-­York Tribune described
Bosworth’s work as “bric-­a-­brac” and a “pastiche of
sketch-­book ideas.”32 Fellow architects Thomas
Hastings and John Galen Howard must have thought
Bosworth’s architectural concepts in need of further
refinement, too. In a 1958 autobiographical essay com-
posed in the third person, Bosworth recounted that,
upon showing his sketches at the exhibition, “he was
so urged by Hastings and Howard to go to Paris to study
in the Ecole des Beaux [Arts] before getting too old
to be admitted, that he closed his office and followed
their advice.”33
After designing several other works, some built,
others not, Bosworth departed for Europe in 1896,
training first in London with Sir Lawrence Alma-
fig. 5 William Welles 1891 exhibition for the Boston Society of Architects, he Tadema, a painter of subjects rooted in classical antiq-
Bosworth. Gateway to exhibited his sketch of the Bethlehem Portal alongside uity.34 In 1897, he began his course of study at the Ecole,
University, Huy, Belgium,
a neo­medieval design for a Magdalen Asylum, a refor- where he remained for the next three years. Bosworth
1890. Reproduced in
American Architect and matory for “wayward” women that was to be built in returned to New York thoroughly prepared to work in a
Building News 51, no. 1045 New York.27 He exhibited the same two renderings refined, classical mode, which he first brought to the
(January 4, 1896), n.p. again in January of 1893, this time at the New York firm of Carrère and Hastings. He would later work for
Architectural League’s exhibition; later that year, con- high-­profile clients such as AT&T president Theodore
struction was completed on the Magdalen Asylum Newton Vail, National City Bank of New York president
(fig. 6).28 This building, which once stood at West 139th Frank A. Vanderlip, and John D. Rockefeller Jr., who, as
Street and the Hudson River, had an ornate exterior Mark Jarzombek notes, found Bosworth’s “neoclassical
with turrets; Neo-­Gothic traceries; elaborate dormer aesthetic” appealing as it “spoke of control, restraint,
windows; a Romanesque-­style arch at its entrance; and timeless validity.”35
and a projecting nave and apse, part of the institution’s In his 1958 autobiographical essay, Bosworth
chapel. The Magdalen Asylum was Bosworth’s only claimed that, after having witnessed the construction of
large-­scale architectural commission realized in the Boston Public Library Building in the early 1890s,
fig. 6 William Welles
Bosworth. Asylum for the
Magdalen Benevolent
Society at 139th Street and
Hudson River, New York,
completed 1893 (demol-
ished 1962–63). H. N.
Tiemann & Co. Photograph
Collection, New-­York
Historical Society

he “liked that style of architecture so much that he would have been of great interest to Edward Robinson,
decided to stick to the ‘Greek’s [sic] concept of beauty’ a specialist in classical antiquities.41 It was from the
for life,” but that is not entirely accurate.36 Given his Robinsons’ personal collection that Bosworth’s etching
training—­first at MIT, then with Ware at AABN, and, of Sint-­Veerleplein in Ghent came to The Met, having
most importantly, at the Ecole des Beaux-­Arts—­he was been donated, along with several other works of art
a true professional conversant in all historical styles; in 1952, upon the passing of Elizabeth Robinson. It is
therefore his knowledge of, and appreciation for, medi­ likely that Bosworth—­described by Rockefeller as “a
eval art and architecture, while undeniably pronounced man of unfailing courtesy”—­gave the etching to the
in the early 1890s, never disappeared over the course of couple as a gift.42
his career. Under the auspices of John D. Rockefeller Jr., For its former owners, we can presume the etching
Bosworth took up residence in France and, beginning in would have been a picturesque record of a Ghent that
1924, oversaw the restoration of Reims Cathedral (in no longer existed, as well as a charming, yet unassum-
addition to restorations for the Châteaux of Versailles ing, addition to their notable collection of works on
and Fontainebleau).37 In 1933 he designed, in the paper.43 The present examination of the etching, how-
Romanesque style, the American Student Center for ever, sheds light on the early period of an exemplary
the American Cathedral in Paris.38 Throughout the American architect’s long and prestigious career.
1920s and 1930s, Bosworth also played an instrumental Bosworth wrote of his excitement during the late 1880s
role in the realization of The Met Cloisters, facilitating as “those days of youth, when everything in life seemed
negotiations between Rockefeller and the sculptor like looking through a magnifying glass.”44 This enthu-
George Grey Barnard, who procured much of the medi- siasm for the inspection of a given subject, no matter
eval collection for the enterprise.39 how marginal or seemingly insignificant, is evident in
Because of his involvement with the Cloisters, his etching of Ghent. As a young draftsman, guided by
Bosworth probably made the acquaintance of Edward Ware, Bosworth turned a sensitive eye to a dilapidated
Robinson, director of The Met from 1910 to 1931, and periphery, uninterested at that moment in the state of
his wife, Elizabeth, sometime in the 1920s, if not major monuments or in the classical aesthetics that
before. The Robinsons and Bosworth shared many would later come to define his life’s work.
friends, including Rockefeller and the sculptor Paul
Manship.40 Throughout the 1920s, Bosworth also A N D R E A M . O R T U Ñ O, P H D
donated several works of art to The Met, including an Associate Professor, Department of Art & Music,
ancient Greek alabastron, or perfume vase, which Bronx Community College, City University of New York

ORTUÑO 113
1 1 4 E A R LY ETCH I N G BY WI L L I AM WE L L E S B O S WO RT H

N OT E S

1 For Bosworth’s major commissions in the United States and 27 Boston Society of Architects 1891, 27, 33. Notorious for their
abroad, see Bosworth 1922; Q. Jacobs 1988; Abt 1996; often-­inhumane treatment, Magdalen Asylums sought to reform
Jarzombek 2004; and Pasquier 2017a and 2017b. women and girls deemed delinquent by courts and/or family
2 Prescott 1954, 94; Q. Jacobs 1988, 1–2. Bosworth was admitted members. Rehabilitation efforts at these institutions, which, in
into MIT’s intensive two-­year program, which he began in New York, could be Catholic, Episcopal, or nondenominational,
September 1885. consisted of strict religious instruction and hard labor in laun-
3 Bosworth 1951, 116. Bosworth wrote that Létang, a Beaux-­A rts dry facilities.
trained architect, was “outspokenly disgusted” by some of his 28 Architectural League of New York 1893, 33, 51.
early renderings. 29 Ortuño 2022.
4 Ibid., 124. Bosworth worked for Richardson for only two weeks in 30 Jeffery Ochsner and Dennis Andersen (2003, 293–94) link the
early 1886. He wrote that the architect died “a few weeks later,” end of the Romanesque Revival with the depression caused by
after which Bosworth was employed by Richardson’s successors, the Panic of 1893, which halted construction across the country.
Shepley, Rutan, and Coolidge. They write that when building projects resumed in the late
5 Ibid., 116–17, 126; Q. Jacobs 1988, 2–4. 1890s, the Romanesque Revival was an “outmoded form” in
6 Michels 1972, 292–96. most major cities. Quentin Jacobs (1988, 12) believes the eco-
7 Bosworth 1901, 1. nomic downturn played a role in Bosworth’s decision to leave
8 From whom Bosworth learned the art of etching is unclear. One the United States and continue his education in Europe.
possibility is American etcher Joseph Pennell, who Bosworth 31 Q. Jacobs 1988, 6–7; for a photographic image of the building,
wrote was “his old friend and master.” See Bosworth 1951, 125. see Columbia University Libraries Digital Collections, https://
9 Bosworth 1901, 3. dlc.library.columbia.edu/catalog/cul:jm63xsj5t4.
10 S. Jacobs and Notteboom 2018, 207. 32 New-­York Tribune 1893.
11 Ibid., 203. 33 Bosworth 1958, 3. Q. Jacobs (1988, 8) believes that Bosworth
12 Ibid., 210. meant his exhibited sketches impressed Howard and Hastings to
13 Roscoe 1841, 107. the extent that they encouraged him to attend the Ecole, but
14 Handbook for Travellers on the Continent 1856, 132. Bosworth’s 1958 essay does not support that assumption. In it he
15 “The ‘Gravenkasteel’ or ‘Chateau des Comtes,’ Ghent,” AABN 37, makes no mention of what the two architects thought of his work.
no. 870 (August 1892): 134. 34 For Bosworth’s works during this period, both realized and unre-
16 S. Jacobs and Notteboom 2018, 205. alized, see Q. Jacobs 1988, 160–68. On his time with Alma-
17 George 1878, pl. 8. Tadema, see ibid., 13–16, and Jarzombek 2004, 59.
18 Heins 1894, 30, 100. Another picturesque illustration of the 35 Jarzombek 2004, 60, 71.
Gravensteen before 1894 can be found in Heins 1907, 22. For a 36 Bosworth 1958, 3.
much earlier depiction of the buildings constructed against the 37 Rockefeller, concerned over the state of these monuments,
castle, many of which appear in Bosworth’s etching, see established a fund to restore them. See Q. Jacobs 1988, 169–70,
Sanderus 1735, 1:168, first published in 1641. and Jarzombek 2004, 140.
19 Pencil Points 1925, 59. This drawing first appeared in 1889 in 38 Jarzombek 2004, 140. The American Student Center once stood
AABN 26, no. 730 (December 1889): 824. The AABN drawing at 261, boulevard Raspail.
office supervisor, David A. Gregg, was also present on this trip. 39 Husband 2013, 5–6, 15–16.
Gregg’s rendering of the Château de Josselin appears in the 40 Bosworth worked with Manship on the AT&T Building and refers
same issue. to his friendship with the sculptor. See Bosworth 1951, 126.
20 See George 1878, pl. 22 (“Apse of St. Maternus and Gateway”), Manship, who produced a pair of portrait medals of Edward and
and Haig, “A Corner at Huy,” in The Etcher 1879–83, 1:pl. 16. Elizabeth Robinson (MMA 55.19.1, .2), was present at the 1931
Bosworth’s sketch of the Bethlehem Portal was later published funeral of Edward Robinson, as was John D. Rockefeller Jr. See
in 1896 in AABN 51, no. 1045 (January 1896): 11. New York Times 1931.
21 See, for example, the alterations made to the portal by the 41 MMA 21.80; McC[lees] 1921, 211–13; Annual Report of the
1960s in Forsyth 1968, 46, fig. 7. Trustees of The Metropolitan Museum of Art 1928, 52.
22 Bosworth 1901, 1. 42 See John D. Rockefeller Jr.’s recommendation for Bosworth to
23 Throughout 1889 many of Bosworth’s drawings from this tour receive the AT&T commission in Husband 2013, 5. It seems
appeared in the journal. Some seem to have been formally Bosworth presented at least two other versions of the etching to
assigned illustrations to accompany an ongoing series on eques- acquaintances. He gave one to artist Eugenia S. Paul (correspon-
trian monuments. See, for example, AABN 26, no. 708 (July dence with Paul’s daughter, Gerry Shattler, May 20, 2021). Another
1889): 23, 26. Others appeared as small insets, including version of the print, formerly for sale online in 2021 (current loca-
sketches of medieval subjects such as the tower of the tion unknown), contains the following handwritten inscription
Collegiate Church, Le Folgoët, Brittany, AABN 26, no. 709 (July under the plate mark: “My first etching. The Marketplace in Ghent
1889): x; the portal of the Burgos Cathedral, Spain, AABN 26, in 1890. Now destroyed. To my dear friend Maria––––.”
no. 719 (September 1889): 151; and less notable buildings in 43 The works on paper that formed part of this gift from the estate
disrepair, including an old mill in Florence, Italy, AABN 26, of Mrs. Edward Robinson included drawings by Jerome Myers,
no. 708 (July 1889): 28; and a fifteenth-­c entury shop in Thiers, watercolors by Maurice Brazil Prendergast and Roger Fry, and
France, AABN 26, no. 714 (August 1889): 101. etchings by Max Klinger. See MMAB 1953, 15, 18.
24 Woods 1990, 84. 44 Bosworth 1951, 115.
25 Bosworth 1917, 273.
26 Ibid., 273–74.
REFERENCES

A B B R E V I AT I O N Michels, Eileen
AABN: American Architect and Building News 1972 “Late Nineteenth-­C entury Published American
Perspective Drawing.” Journal of the Society of Architectural
Abt, Jeffrey Historians 31, no. 4 (December): 291–308.
1996 “Toward a Historian’s Laboratory: The Breasted-­ MMAB
Rockefeller Museum Projects in Egypt, Palestine, and America.” 1953 “Additions to the Collections.” MMAB, n.s., 12, no. 1
Journal of the American Research Center in Egypt 33:173–94. (Summer): 15, 18.
Annual Report of the Trustees of The Metropolitan Museum of Art New York Times
1928 “Bequests of Objects of Arts.” Annual Report of the 1931 “Art World Mourns Edward Robinson.” New York Times,
Trustees of The Metropolitan Museum of Art, no. 59, 52–60. April 22, p. 25.
Architectural League of New York New-­York Tribune
1893 Catalogue of the Eighth Annual Exhibition of the 1893 “The Architectural League, Buildings Good and Bad.”
Architectural League of New York. Exh. cat., American Fine Arts New-­York Tribune 52 (January 3): 7.
Society, New York. New York: Engineering Press. Ochsner, Jeffery Karl, and Dennis Alan Andersen
Boston Society of Architects 2003 Distant Corner: Seattle Architects and the Legacy of
1891 Catalogue of the Architectural Exhibition Held in the New H. H. Richardson. Seattle: University of Washington Press.
Public Library Building. . . . Exh. cat. Boston: Rockwell and Churchill. Ortuño, Andrea M.
Bosworth, William Welles 2022 “Fallen Women, Rising Career: William Welles Bosworth’s
1901 “Literary and Scholastic Record.” Special Collections, Early Work for the New York Magdalen Benevolent Society.” Art
Legacy Library, Marietta College, OH. Inquiries 18, nos. 2–3 (2021–22): 128–43.
1917 “William Rotch Ware, 1848–1917.” American Architect Pasquier, Églantine
111, no. 2158 (May 2): 273–74. 2017a “The Architectural Collaboration Between William Welles
1922 “The Relation of Classic Example to Architectural Design.” Bosworth and John D. Rockefeller, Jr., 1906–1924, the American
American Architect 122, no. 2397 (July 5): 1–12, 20–21. Years.” Rockefeller Archive Center Research Reports, January 1,
1951 “I Knew H. H. Richardson.” Journal of the American 1–10.
Institute of Architects 16 (September): 115–26. 2017b “Un Américain au Louvre? L’architecte William Welles
1958 “Autobiographical Essay.” Special Collections, Legacy Bosworth et le réaménagement du musée du Louvre dans le
Library, Marietta College, OH. cadre du ‘plan Verne’ (1925–1939).” Les Cahiers de l’École du
The Etcher Louvre 11 (October): 1–15.
1879–83 The Etcher: Examples of the Original Etched Work of Pencil Points
Modern Artists. 5 vols. London: Williams and Norgate. 1925 “Master Draftsmen, IX: Welles Bosworth.” Pencil Points 6
Forsyth, William H. (January): 59­– 64.
1968 “A Group of Fourteenth-­C entury Mosan Sculptures.” MMJ Prescott, Samuel C.
1:41–59. 1954 When MIT Was “Boston Tech,” 1861–1916. Cambridge,
George, Ernest MA: Technology Press.
1878 Etchings in Belgium with Descriptive Letterpress. London: Roscoe, Thomas
Seeley. 1841 Belgium: In a Picturesque Tour. London: Longman, Orme,
Handbook for Travellers on the Continent Brown, Green, and Longmans.
1856 A Handbook for Travellers on the Continent: Being a Guide Sanderus, Antonius
to Holland, Belgium, Prussia, Northern Germany and the Rhine 1735 Flandria illustrata. 2 vols. Brussels: Carolum de Vos.
from Holland to Switzerland. 11th ed. London: John Murray. First published 1641–44.
Heins, Armand Woods, Mary N.
1894 À Gand: Château des Comtes, Abbaye de St. Bavon, 1990 “History in the Early American Architectural Journals.”
Beffroi communal: Notes et 245 croquis vieilles pierres, murs Studies in the History of Art 35:77–89.
vénérables, rudes bastilles. Ghent: Heins.
1907 Château des Comtes de Flandre à Gand. Ghent: Maison
d’Editions d’Art.
Husband, Timothy
2013 “Creating the Cloisters.” MMAB 70, no. 4 (Spring): 1, 4–48.
Jacobs, Quentin Snowden
1988 “William Welles Bosworth: Major Works.” Master’s thesis,
Columbia University, New York.
Jacobs, Steven, and Bruno Notteboom
2018 “Photography and Spatial Transformations of Ghent, 1840–
1914.” Journal of Urban History 44, no. 2 (January): 203–18.
Jarzombek, Mark
2004 Designing MIT: Bosworth’s New Tech. Boston:
Northeastern University Press.
McC[lees], H[elen]
1921 “Kalos-­N ames on Attic Vases.” MMAB 16, no. 10
(October): 211–13.

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I L L U S T R AT I O N C R E D I T S

An “Effaced Itinerary”: Joanna de Silva by William Wood: figs. 1 A Byzantine Censer and the “Flaming Womb” of the Virgin: fig. 1:
(and front cover), 8: Image © The Metropolitan Museum of Art; fig. 2: Image © Metropolitan Museum of Art, photo by Richard Lee; fig. 2:
© Museo Nacional Thyssen-­Bornemisza, Madrid; fig. 3: © British Image © Ashmolean Museum, University of Oxford; figs. 3–5: photo
Library Board (IOR/L/AG/34/29/22); fig. 4: photo by Adam Eaker; by Evan Freeman; fig. 6: © Benaki Museum, Athens; fig. 7a, b: By
fig. 5: Reproduced with the permission of the Trustees of the Victoria permission of Saint Catherine’s Monastery, Sinai, Egypt
Memorial Hall, Kolkata; fig. 6: photo by Hickey-­Robertson, The Menil
Collection, Houston; fig. 7: Anna Danielsson / Nationalmuseum Drawings of Parade Carriages for Cardinal Francesco Maria de’
Medici: fig. 2: Gabinetto Fotografico delle Gallerie degli Uffizi;
After a Long Cruise by John Carlin: Mutiny and Maritime New York: figs. 3–5: Image © Metropolitan Museum of Art
figs. 1, 2: Image © The Metropolitan Museum of Art, photo by Juan
Trujillo; fig. 3: I. N. Phelps Stokes Collection of Historical A
­ merican Persimmon and Peonies: Orange-­Colored Glass and Enamels
Prints, The Miriam and Ira D. Wallach Division of Art, Prints and from the Qing Imperial Workshops: figs. 1, 2: Image © Metropolitan
Photographs: Print Collection. The New York Public Library Digital Museum of Art; fig. 3; Image © Metropolitan Museum of Art, photo
Collections; fig. 4: Image © The Metropolitan Museum of Art, photo by Karen Stamm; fig. 4: Toledo Museum of Art; fig. 5: Image
by Mark Morosse; fig. 5: Photography © New-­York Historical Society; © Metropolitan Museum of Art, photo by Richard Lee; fig. 6a–d:
fig. 6: © National Academy of Design, New York / Bridgeman Images Image © Metropolitan Museum of Art, photo by Federico Carò

The 1869 Regensburger Silberfund: A Seventeenth-­Century Hoard An Early Etching by William Welles Bosworth: fig. 1: Image ©
of Silver: figs. 1, 2, 12: Image © The Metropolitan Museum of Art; Metropolitan Museum of Art; fig. 2: Collection Ghent Archives
fig. 4: Klassik Stiftung Weimar, Herzogin Anna Amalia Bibliothek/ (SCMS_FO_6165); fig. 3: Collection Ghent Archives (IC_EK_FO_
Ku 2° VI C 83; fig. 6: ANNO/Austrian National Library; figs. 7 (and 0141_ok); fig. 4: Pencil Points 1925, 63; fig. 5: American Architect
back cover), 8, 11: photo © MAK; fig. 14: Image © Metropolitan and Building News 51, no. 1045 (January 4, 1896), n.p.; fig. 6:
Museum of Art, photo by Richard Lee Collection of the New-­York Historical Society

Souvenirs in Silver: Daguerrean Constructions by Joseph Cornell:

figs. 1 (and ill. on p. 4), 6: © 2023 The Joseph and Robert Cornell
Memorial Foundation / Licensed by VAGA at Artists Rights Society
(ARS), NY. Image © Metropolitan Museum of Art; fig. 2: © 2023 The
Joseph and Robert Cornell Memorial Foundation / Licensed by VAGA
at Artists Rights Society (ARS), NY. Joseph Cornell papers, Archives
of American Art, Smithsonian Institution; fig. 3: Die Tanzbühnen
der Welt, Eckstein-­Halpaus G. M. B. H, Dresden, p. 17, fig. 98. Image
© Metropolitan Museum of Art, photo by Teri Aderman; figs. 4, 5:
Jerome Robbins Dance Division, The New York Public Library for
the Performing Arts; fig. 7: © 2023 The Joseph and Robert Cornell
Memorial Foundation / Licensed by VAGA at Artists Rights Society
(ARS), NY. Image © Metropolitan Museum of Art, photo by Georgia
Southworth; fig. 8: © 2023 The Joseph and Robert Cornell Memorial
Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.
Image © Metropolitan Museum of Art, photo by Jeff L. Rosenheim;
fig. 9: © 2023 The Joseph and Robert Cornell Memorial Foundation
/ Licensed by VAGA at Artists Rights Society (ARS), NY. Joseph
Cornell Study Center, Smithsonian American Art Museum; fig. 10:
© 2023 The Joseph and Robert Cornell Memorial Foundation /
Licensed by VAGA at Artists Rights Society (ARS), NY. Photo by
Bonnie Morrison; fig. 11: © 2023 The Joseph and Robert Cornell
Memorial Foundation / Licensed by VAGA at Artists Rights Society
(ARS), NY. McShine 1980, 155, fig. 32. Image © Metropolitan Museum
of Art, photo by Teri Aderman; fig. 12: © 2023 The Joseph and Robert
Cornell Memorial Foundation / Licensed by VAGA at Artists Rights
Society (ARS), NY. © Man Ray 2015 Trust / Artists Rights Society
(ARS), NY / ADAGP, Paris 2023
M E T R O P O L I TA N
MUSEUM
JOURNAL 5 8
ARTICL ES

An “Effaced Itinerary”: Joanna de Silva

M E T R O P O L I TA N M U S E U M J O U R NA L
by William Wood
Adam Eaker

After a Long Cruise by John Carlin:

Mutiny and Maritime New York
Daniel Finamore

The 1869 Regensburger Silberfund:

A Seventeenth-Century Hoard of Silver
Allison Stielau

Souvenirs in Silver: Daguerrean

Constructions by Joseph Cornell
Virginia McBride

R ESEA R CH NOT ES

A Byzantine Censer and the

“Flaming Womb” of the Virgin
Evan Freeman

Drawings of Parade Carriages for

Cardinal Francesco Maria de’ Medici
Romina Origlia

Persimmon and Peonies: Orange-Colored

Glass and Enamels from the Qing
Imperial Workshops
Julie Bellemare, Federico Carò,
Karen Stamm

An Early Etching by William

Welles Bosworth
Andrea M. Ortuño

2 02 3
VO LU M E M E T R O P O L I TA N
MUSEUM
58

JOURNAL 5 8
P R I N T E D I N I T A LY