Mildred and Robert Woods Bliss, the founders of Dumbarton Oaks, were not, per se, collectors of American art. Nevertheless, they acquired interesting and, at times, important examples of American paintings, drawings, etchings, and sculptures. Such acquisitions were but a part of an overall collection which comprised ancient Chinese, Greek, Roman, Byzantine, Pre-Columbian, and European old master artworks as well as rare books, literary manuscripts and correspondence, important furnishings, unusual bibelots, and concert-quality instruments. The American artworks that remain at Dumbarton Oaks offer an important insight into the Blisses’ remarkable breadth of vision for their collection.

This volume catalogues the American art collection at Dumbarton Oaks and is published in conjunction with an exhibition, “American Art at Dumbarton Oaks.” An introductory essay describes the formation of this collection by Mildred and Robert Woods Bliss and their parents Anna and William H. Bliss, while the subsequent catalogue entries elaborate on nineteen artworks by James Abbott McNeill Whistler, Elihu Vedder, Walter Gay, Childe Hassam, Albert Edward Sterner, Henry Golden Dearth, and Bernice Cross. Richly illustrated with color plates and comparative illustrations, this catalogue will be an important and enduring reference for scholars, students, and admirers of American art.

Based on the comprehensive study of one of the most important collections of Maya art in the United States, Ancient Maya Art at Dumbarton Oaks is a scholarly introduction to one of the great traditions of sculpture and painting in ancient America. Assembled by Robert Woods Bliss between 1935 and 1962, the collection is historically important, as it was one of the first to be established on the basis of aesthetic criteria. The catalogue, written by leading international scholars of Maya archaeology, art history, and writing, contains detailed analyses of specific works of art along with thematic essays situating these works within the broader context of Maya culture. Monumental panels, finely worked jade ornaments, exquisitely painted ceramic vessels, and other objects-most created in the first millennium ce-are presented in full color and analyzed in light of recent breakthroughs in understanding their creation, function, and deeper meaning in Maya ritual and history. Individual essays address the history of the Dumbarton Oaks collection; Maya culture, history, and myth; and Maya aesthetics. They also study specific materials (including jade, shell, and fine ceramics) and their meanings. Scholarly yet accessible, this volume provides a detailed introduction to Maya art and culture.

This volume, the third in a series of catalogues of Pre-Columbian art at Dumbarton Oaks, presents the outstanding collection of Aztec, Mixtec, Zapotec, Teotihuacan, and Classic Veracruz sculpture, jewelry, and painting. Four leading scholars present essays on the ancient art and archaeology of Mexico’s Central Highlands, Southwestern Highlands, and Gulf Lowlands as well as extensive catalogue entries of over one hundred objects of jade, shell, fine ceramics, wood, and other materials. The catalogue is richly illustrated with color plates, comparative illustrations, and diagrams presented as black-and-white figures. This catalogue will be an important and enduring reference for scholars and students, as well as an attractive volume for admirers of Pre-Columbian art.

This illustrated handbook presents a concise history of the development of the coinage of the early Arab caliphate in the seventh century, tracing its transition from coins that closely resembled Byzantine issues with imperial images to purely aniconic specimens with inscriptions in Arabic. This so-called “Arab-Byzantine series” sheds light on a pivotal period in the history of Syria, Palestine, and Egypt, as formerly Byzantine provinces were slowly Arabicized and Islamicized following the Arab conquests of the 630s and 640s. The historical introduction, which includes descriptions of all the basic types, is followed by a summary catalogue of the recently acquired collection of Arab-Byzantine coins at Dumbarton Oaks.

The combined Dumbarton Oaks and Fogg collection of Byzantine seals is one of the largest in the world, containing 17,000 specimens. Volume 5 in the catalogue includes seals with place names from the East, Constantinople and its environs, and seals with uncertain readings. Each section begins with a short essay on the region’s history. Each seal is illustrated and is accompanied—where appropriate—by full commentary regarding the specimen’s date, biographical information on its owner, peculiarities of orthography, and special features of iconography. These seals contribute significantly to historical geography, the evolution of the Byzantine imperial administration, development in the Greek language, and decorative vogues.

Dumbarton Oaks houses the largest collection of Byzantine lead seals in the world, with approximately 17,000 specimens. Volume 7 of the ongoing series of Dumbarton Oaks catalogues presents a distinct part of the collection: 572 anonymous seals bearing sacred images on both sides. The seals, almost all previously unpublished, are fully illustrated and accompanied by a detailed commentary that provides transcriptions of the identifying sigla. This volume represents the first attempt to analyze this group of seals chronologically and typologically.

The depictions of Christ, the Virgin, and a remarkably wide array of saints and narrative scenes offer rich and untapped material for scholars interested in Byzantine piety and culture. Discernible trends within this body of seals help to track the popularity of various saints and the changes in devotional images over time. The variety of these images, enhanced by reference to examples in other collections, will also enable scholars to compare the renderings of holy figures on lead seals to those appearing in other Byzantine religious images.

The combined Dumbarton Oaks and Fogg collection of Byzantine seals is one of the largest in the world, containing 17,000 specimens. Volume 6 in the catalogue presents the seals of emperors and patriarchs of Constantinople. Imperial seals are presented in conjunction with a representative coin of the appropriate emperor or empress to help the reader compare the iconography. Also included are select seals from patriarchs of Constantinople. More than 250 seals are illustrated and accompanied—where appropriate—by a full commentary regarding each specimen’s date, biographical information on its owner, peculiarities of orthography, and iconographic features. These seals contribute significantly to historical geography, the evolution of the Byzantine imperial administration, development in the Greek language, and decorative vogues.

The vast collection of 17,000 Byzantine lead seals in the Harvard collections has long been recognized as an important source for the study of the Byzantine provinces. This volume is the fourth in the series of catalogues of geographical seals, and presents photographs, descriptions, and commentaries on the seals from the East.

The combined Dumbarton Oaks and Fogg collection of Byzantine seals is one of the largest in the world, containing 17,000 specimens. Volume 3 in the catalogue includes seals with place names from west, northwest, and central Asia Minor and the Orient. Each section begins with a short essay on the region’s history. Each seal is illustrated and is accompanied—where appropriate—by full commentary regarding the specimen’s date, biographical information on its owner, peculiarities of orthography, and special features of iconography. These seals contribute significantly to historical geography, the evolution of the Byzantine imperial administration, development in the Greek language, and decorative vogues.

The combined Dumbarton Oaks and Fogg collection of Byzantine seals is one of the largest in the world, containing 17,000 specimens. Volume 2 in the catalogue includes seals with place names from south of the Balkans, the islands, and the south of Asia Minor. Each section begins with a short essay on the region’s history. Each seal is illustrated and is accompanied—where appropriate—by full commentary regarding the specimen’s date, biographical information on its owner, peculiarities of orthography, and special features of iconography. These seals contribute significantly to historical geography, the evolution of the Byzantine imperial administration, development in the Greek language, and decorative vogues.

The vast collection of 17,000 Byzantine lead seals in the Harvard collections has long been recognized as an important source for the study of the Byzantine provinces. This volume, the first in a series of catalogues of geographical seals, covers the Empire’s western territories and its possessions North of Thessaly.

The sections begin with a short essay on the region’s location and history. Each seal is illustrated and is accompanied—where appropriate—by full commentary regarding the specimen’s date, biographical information on its owner, peculiarities of orthography, and special features of iconography. These small seals are a large contribution to historical geography, the evolution of the Byzantine provincial administration, prosopography, development in the Greek language, and decorative vogues.

This is the first fully illustrated catalogue of a major collection of late Roman and early Byzantine imperial coins. It follows the general layout of the Byzantine volumes in the Dumbarton Oaks series, with a substantial introduction dealing with the history of the coinage, including iconography, mints, and the monetary system.

Marvin Ross’s groundbreaking catalogue of jewelry in the Byzantine Collection at Dumbarton Oaks was first published in 1965. The volume has long been out of print, but its enormous popularity and enduring status led to a reprint, this time with color photographs. Accompanying the reprint edition is an addendum by Susan Boyd and Stephen Zwirn with twenty-two new objects acquired by Dumbarton Oaks Collection between 1962 and 1999.

The final volume in the series, this catalogue follows the general plan of volumes II–IV but differs from them in its use of the sylloge format for the catalogue proper. The collection of Palaeologan coins at Dumbarton Oaks is by far the largest that exists, and the field is one in which great advances have been made over the last half-century. This volume supersedes the previous accounts of Palaeologan coinage, and is definitive in its field.

Part I includes the introduction, appendices, and bibliography, while Part II continues with the catalogue, concordances, and indexes.

The fourth in a series of five catalogues, this volume’s sections have a more extensive treatment, featuring imperial costume and regalia, their importance in coin designs; the coordination, control, and methods of coin production; and an excursus on the main issues of the years around 1204. The introductions to each reign have also been expanded to take account of the historical and numismatic complexities of the period, and many more specimens from outside Dumbarton Oaks have been illustrated, offering a greater degree of coverage.

This volume is in two parts. Part I covers the reigns of Alexius I to Alexius V (1081–1204), and Part II covers the emperors of Nicea and their contemporaries (1204–1261).

The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.

The third volume in this catalogue is in two parts. Part I examines Leo III to Michael III (717–867) and Part II covers the period between Basil I and Nicephorus III (867–1081). Continuing the practice established in volume two, an extensive general introduction treats the historical background, the monetary system, mints and mint activity, and types and inscriptions, while the introduction to each reign covers chronology, main features of the coinage, and types issued by mint.

The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.

The second volume in this catalogue is in two parts. Part I examines Phocas and Heraclius (602–641) and Part II covers the period between Heraclius Constantine to Theodosius III (602–717). The extensive introduction treats the historical background, the monetary system, mints and mint activity, and types and inscriptions. Each reign also includes a longer introduction that covers chronology, main features of the coinage, and types issued by mint.

The 12,000 coins in the Dumbarton Oaks Collection and the Whittemore Collection at the Fogg Art Museum form one of the greatest specialized collections of Byzantine coins in the world. The catalogue, edited by Alfred R. Bellinger and Philip Grierson, publishes the majority of these coins, dating between 491 and 1453, in five volumes.

The first volume in the catalogue covers the coins of Anastasius I through Maurice, and includes a history of the collections.

This catalogue highlights the fifty-two sculptures in the Byzantine Collection at Dumbarton Oaks. The objects range from the third-century BC miniature portrait head of a Ptolemaic emperor to the sixteenth-century lindenwood “Queen of Heaven” by Tilmann Riemenschneider.

These sculptures are not representative of any one culture or period, but rather are characteristic of the Blisses’ wide-ranging tastes and extraordinary connoisseurship. About a quarter of the objects are Greco-Roman in date, and nearly two-thirds of the remainder are Late Antique, predominantly limestone carvings from Early Byzantine Egypt. Sculpture from the Middle Byzantine period is very rare, making the four pieces in this collection especially significant.

Dumbarton Oaks houses the extraordinary art collection begun by Mildred and Robert Woods Bliss. In this book the museum publishes the specialist collections in Byzantine and Pre-Columbian art, along with examples from the Blisses’ superb European collection, for the first time.

When Robert Bliss recalled handling a jade Olmec figurine in 1913, he said, “That day, the collector’s microbe took root in—it must be confessed—very fertile soil.” The Blisses’ passion for art bore fruit in a remarkably diverse collection: Flemish tapestries, Renaissance furniture, and paintings by the likes of El Greco, Renoir, and Degas. The celebrated Byzantine collection includes floor mosaics from late antique Antioch, sumptuous jewelry, carved ivory reliefs, liturgical silver, and a comprehensive coin and seals collection. The Pre-Columbian collection showcases fine jade carvings, gold jewelry, monumental sculpture, ritual weaponry, colorful ceramics, and intricately woven textiles.

The publication of this new guidebook coincides with the complete refurbishment of Dumbarton Oaks and the creative reinstallation of the galleries. The curators offer highlights of the collection, accompanied by a lucid and thought-provoking text. Dumbarton Oaks: The Collections is intended as a valuable resource and a pleasure to read for scholars and nonspecialists alike.

Four Seasons of Flowers is an illustrated volume that presents a selection of the manuscripts, herbals, and printed botanical texts from the Rare Book Collection at Dumbarton Oaks. Representing pivotal works in the intellectual history of Europe from the sixteenth to the twentieth centuries, these drawings, books, and manuscripts are among the most significant materials conserved in the Rare Book Reading Room. They offer an illuminating overview of the history of botany as a modern science, from its inception to the present day. Each text is accompanied by a remarkable set of botanical illustrations. Their scientific accuracy and aesthetic beauty testify to the importance of the visual image once the efficacy of the printing press as an instrument for the furtherance of knowledge in the sciences and technology—from anatomy to zoology and from astronomy to botany—had been fully recognized. Botanical illustrations constitute an indispensable source of information for historians of not only botanical sciences but also garden and landscape architecture, thus shedding light on the study of plants in different periods, as well as on the evolution of the visual arts in areas where the representation of the plant world played a central role.

Founded by Constantine the Great, rebuilt by Justinian, and redecorated in the ninth, tenth, and twelfth centuries, the Church of the Holy Apostles in Constantinople was the mausoleum of emperors, patriarchs, and saints. It was also a key station in the ceremonies of the city, the site of an important school, a major inspiration for apostolic literature, and briefly the home of the patriarch. Despite its significance, the church no longer exists, replaced by the mosque of Mehmet II after the fall of the city to the Ottomans. Today the church is remembered primarily from two important middle Byzantine ekphraseis, which celebrate its beauty and prominence, as well as from architectural copies and manuscript illustrations.

Scholars have long puzzled over the appearance of the church, as well as its importance to the Byzantines. Anxious to reconstruct the building and its place in the empire, an early collaborative project of Dumbarton Oaks brought together a philologist, an art historian, and an architectural historian in the 1940s and 1950s to reconstruct their own version of the Holy Apostles. Never fully realized, their efforts remained unpublished. The essays in this volume reconsider their project from a variety of vantage points, while illuminating differences of approach seventy years later, to arrive at a twenty-first-century synthesis.

Mildred and Robert Woods Bliss were consummate collectors and patrons. After purchasing Dumbarton Oaks in 1920, they significantly redesigned the house and its interiors, built important new structures, added over fifty acres of planned gardens, hosted important musical evenings and intellectual discussions in their Music Room, and acquired a world-class art collection and library.

The illustrated essays in this volume reveal how the Blisses’ wide-ranging interests in art, music, gardens, architecture, and interior design resulted in the creation of the Dumbarton Oaks Research Library and Collection. Their collections of Byzantine and Pre-Columbian art and rare garden books and drawings are examined by Robert Nelson, Julie Jones, and Therese O’Malley, respectively. James Carder provides the Blisses’ biography and discusses their patronage of various architects, including Philip Johnson, and the interior designer Armand Albert Rateau. The Blisses’ collaboration with Beatrix Farrand on the creation of the Dumbarton Oaks Gardens is recounted by Robin Karson, and their commission of Igor Stravinsky’s Dumbarton Oaks Concerto and its premiere by Nadia Boulanger is examined by Jeanice Brooks. The volume demonstrates that every aspect of the Blisses’ collecting and patronage had a place in the creation of what they came to call their “home of the humanities.”

Olmec Art at Dumbarton Oaks presents the Olmec portion of the Robert Woods Bliss Collection of Pre-Columbian Art. It illustrates all thirty-nine Olmec art objects in color plates and includes many complementary and comparative black-and-white illustrations and drawings. The body of Pre-Columbian art that Robert Bliss carefully assembled over a half-century between 1912 and 1963, amplified only slightly since his death, is a remarkably significant collection. In addition to their aesthetic quality and artistic significance, the objects hold much information regarding the social worlds and religious and symbolic views of the people who made and used them before the arrival of Europeans in the New World.

This volume is the second in a series of catalogues that will treat objects in the Bliss Pre-Columbian Collection. The majority of the Olmec objects in the collection are made of jade, the most precious material for the peoples of ancient Mesoamerica from early times through the sixteenth century. Various items such as masks, statuettes, jewelry, and replicas of weapons and tools were used for ceremonial purposes and served as offerings.

Karl Taube brings his expertise on the lifeways and beliefs of ancient Mesoamerican peoples to his study of the Olmec objects in teh Bliss collection. His understanding of jade covers a broad range of knowledge from chemical compositions to geological sources to craft technology to the symbolic power of the green stone. Throughout the book the author emphasizes the role of jade as a powerful symbol of water, fertility, and particularly, of the maize plant which was the fundamental source of life and sustenance for the Olmec. The shiny green of the stone was analogous to the green growth of maize. This fundamental concept was elaborated in specific religious beliefs, many of which were continued and elaborated by later Mesoamerican peoples, such as the Maya. Karl Taube employs his substantial knowledge of Pre-Columbian cultures to explore and explicate Olmec symbolism in this catalogue.

The final installment in the definitive series of catalogues of the Robert Woods Bliss Collection, Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks examines a comprehensive and expertly curated collection of jade and gold objects from Costa Rica, Panama, and Colombia. This lavish catalogue provides over two hundred detailed and illustrated descriptions of objects that span approximately two millennia. Illustrated in detail with hundreds of high-quality photographs in full color and with stunning clarity, these breathtaking works of art reveal the ingenuity, skill, and vision of Indigenous artists and artisans.

With a dozen accompanying chapters by thirty contributors from the United States, Europe, and Latin America, this landmark publication describes the objects in the context of a history of the collection, production techniques, technical analyses, iconographic interpretations, and evaluations of material from specific archaeological sites. Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks is a major watershed in the archaeology of the Isthmo-Colombian Area, representing an essential contribution to scholarship on fascinating cultures from an area located between Mesoamerica and the Andes, with ties to the Antilles and Amazonia, in the center of the Americas.

While we often approach gardens as things to be seen—thus engaging the rational, intellectual part of the human brain—Sound and Scent in the Garden explores the more elusive experiences of sound and smell. These senses are important dimensions of garden design and performance and often have a powerful effect on the human body, yet they may also be ephemeral and difficult to study.

The contributors to the volume explore the sensory experience of gardens specifically as places where people encounter landscape in a staged manner, as a result of intentional design. How do the senses shape the experience of those places? In what ways are plants, gardens, and landscapes produced so as to stimulate the senses? What evidence do we have of historical sensory experiences? What is lost when we forget to acknowledge the sensory environment of the past or simply overlook its traces?

The volume demonstrates a wide variety of approaches to apply to the study of sensory history and illuminates this important dimension of the experience of gardens—past and present, East and West.