The museums, in 194j, could receive their collections back in approximately he Same conditions as in 1939. The public was impatient to see them again. Their

Most of our municipal museums were not built as such. The Carnavalet is mansion with, it is true, extensive annexes. The Cerntlschi is also a privatemansion.

Victor Hugo’s house and the Cognacq-Jay, again, are ordinary dwellings more or less converted. The drawback of premises such as those of the Carnavalet, designed for private living or for entertaining, is that they are sometimes ill adapted to the ex- hibition of museum pieces. Display technique has to conform to the exigencies of the premises in the historic part of the building.

The preservation of these places in their original state presents many problems for curators. The right relation between old parts and later additions calls for experience of the house and the collections, for discretion and judgement only attainable with timc. For if the buildings make demands, so does the logical and systematic presentation of the history of Paris. This imposes a strict order: a visit to the Carnavalet should be like turning over the pages of a book.

The efforts of the curator, François Boucher, were directed to matters of light- ing, and to the cleaning of the premises and specimens. A window was pierced here, a fireplace moved there, a ceiling altered elsewhere. Then followed a redistribution of the collections in order to observe a stricter chronological order. The location of certain sections had to be entirely changed.

In the ninetecnth century, historical museums tended to slip easily into the accumulation of bric-à-brac à la Goncourt, with a taste for chiaroscuro and overcrowding. This kind of pitfall has still to be constantly guarded against and must be combated with cleanliness, bright backgrounds, ventilation and light so as to avoid, at any cost, the former dusty effect. A new display of the Carnavaftt pictures, much more spacious, made other modifications necessary, and the result was to emphasize the lack of space in premises too small to contain such treasures.

Unlike the Carnavalet, the Muée Victor Hz4go0, a solid house built in the reign of Henri IV for a wealthy bourgeois, contains no modern parts. A large number of pic-

on its walls. On the other if the house is to

was begun immediately.

tures, drawings and engravings have to be hand, Victor Hugo’s furniture must not retain its intimate atmosphere. continued pug# r r7

LE MUSÉE CARNAVALET (1945-1948) éininstaffation R La réinstallation des collections du Musée Carnavalet, évacuées pendant les

cinq annCes de guerre et d’occupation, s’est poursuivie depuis 1941 et a permis à ce jour la réouverture de cinquante salles, dont vingt-cinq ornées de boiseries des XVIIe et XVIIIe siècles: on a pu ainsi présenter l’ensemble des objets intéressant l’histoire de Paris du XVIe siècle à la fin du XVIIIe siècle, ainsi qu’une partie des Costumes du XVIIe siècle à 19 14.

Douze salles sont en cours de réinstallation pour les objets datant de 1800 au Second Empire. Dans quelques mois, treize autres salles, dont plusieurs ornkes de boiseries, pourront etre rouvertes et rkservées aux objets relatifs au XVIIr siècle ct à l’ancienne tnunicipalité parisienne.

Enfin, dès l’achèvement de travaux en cours, il sera possible de prksenter, dans l’annexe de la rue Payenne, les collections de prkhistoire et d’archéologie, des origines l~squ’au XVIc siècle, qui n’avaient pas été montrées depuis plusieurs années.

A ce moment Sera exposé l’ensemble des objets se rapportarit à l’histoire de Paris, depuis les origines jusqu’au milieu du XIXe siècle.

Prisentatioti

par AF R A N Ç O I S B O U c H E R

On s’est cfibrcé, au cours de cette rkinstallation, d’appliquer le plus strictement

I o repartir les objets dans les sallcs selon l’ordre chronologique des CvCneinents ; Possible les rkgles suivantes :

r

86

MIJSÉE CARNIVALET. Collections de la Rtvvlution : Nouvelle présentation. Collections of Revolutionary I’erind : Ncw display.

2~ présenter ces objets avec le plus d’espacement possible, jamais sur plus de

o réserver les salles principales aux objets d’intérêt majeur, historique ou deux rangées en hauteur ;

artistique ; 4 o grouper les objets d’intbret secondaire dans les galeries annexes ; I o améliorer la dkoration d’un certain nombre de salles par l’emploi de tissus.

Tj-Maux scientz3qaes rétablissement d’un inventaire scientifique comprenant des fiches principales

Wec photographies des objets, des fiches secondaires de references-matières et des dossiers annexes, a été achevé pour toutes les séries principales (peintures, dessins, sculptures, boiseries, mobilier, enseignes, armes), ainsi que pour l’ensemble de la section archéologique, soit environ 3 1.000 objets. I1 est poursuivi pour les autres series et est presque achevé pour les pitces de réserve du Cabinet des Estampes et les series principales du Cabinet de Numismatique. I1 est en cours pour les collections de costumes.

Documentation contemporaine Le Cabinet des Estampes a reçu plusieurs milliers d’épreuves photographiques

relatives au fonctionnement des divers services publics de la Ville de Paris, aux Cvtnements de l’occupation et de la libération de Paris, ainsi qu’aux opérations de transformation de certains quartiers anciens.

Cette documentation, poursuivie en liaison avec la Prefecture de la Seine, doit &tendre aux événements contemporains de l’histoire de Paris.

THE M U S E E C A R N A V A L E T (1945-1948)

by F R A N C O I S B O U C H E R eturn of Collections R The reinstallation of the collections of the M d e Carnavalet, which were

evacuated during the five years of war and occupation, has been going on since 1945. Up to the present we have been able to reopen fifty rooms, twenty-five of which were adorned with seventeenth and eighteenth century panelling. We are thus able to display all the material interesting for the history of Paris from the sixtecnth to the end of the eighteenth century as well as part of the costumes collection, from the seven- teenth century to the year I y 14.

Twelve rooms are at present being prepared for displays dating from 1800 to the Second Empire. In a few months’ time, it will be possible to reopen another thirteen lmms for the display of cxhibits of the sevcntccnth century and of the old munici- pality of Paris, scveral of which are panelled.

Finally, as soon as the work at present in progress is completed, it will be pos- sible to display, in the Annex in the rue Payenne, collections of prehistory and archaeology dating from the earliest times to the sixteenth century, which have not been shown for many years.

The entire collection, illustrating the history of Paris from the earliest times to the middle of the nineteenth century, will then be on view.

OiSplg ofExbibits

following rules : In rearranging the collections, we have tried as far as possible to observe the

1. to distribute the exhibits in tlie gallerics according to the chronological order

2- to give each exhibit as much space as possible, avoiding more than two

3 . to reserve the principal rooms for exhibits of major historical or artistic interest; 4. to arrange exhibits of lesser interest in the side galleries ;

of events;

rows of pictures;

to use fabric wall coverings to improve some of the rooms.

Sdentgc work A scientific inventory (cotlsisting of master index cards with photographs of the

objects, subsidiary index cards giving references by subject, and supplementary files contintred page r r J 87

The Petit Palais, built for the World Exposition of 1900, was originally only intcnded to house con- temporary art. It was to be a sort of municipal Mube du Luxembourg. It was barely finished, however, when the City became richer by gift of the Dutuit Collection. The building then took on a new character, since, before arriving at contemporary art, its collection from then on began with anti- quities, Etruscan vases, Tanagra statucttcs, con- tinuing through paintings of the Flemish and Dutch Schools.

Instead of being divided between paintings and sculpture, the Petit Palais was going to housc a large variety of works of art: porcelain, medallions, books, jcwcllery, ceramics, prints.

The question of the reinstallation of thc Petit Palais was complicatcd. The only museum of the City of Paris to be occupied by the enemy, it had also been the only one damaged in thc battle for liberation.

While the workmen were still busy cleaning and restoring the building, its immense collections were returned. They are largc cnough to occupy premises three or four timcs as big as the Petit Palais.

But just when these collections were coming back, the State was faccd with the problem of the Louvre, wherc extensive construction, delayed by thc War, prevented displaying the works of the French school. It was important, after the cruel war-years, that Paris should see the masterpieces of French painting, and become once more aware of her greatness in onc of its most attractive manifes- tations.

The collections of the Petit Palais, so varied in school and nature, had thcrcfore to give way be- fore the common effort of the whole country, and of the City of Paris in particular, in order to put in thc forefront the glorious achicvements of our painters. Their exhibition was arranged by André Chamson in an entirely new spirit, distinguishing two main aspects: greatness and charm.

The painters of reality fell within the first cate- gory, from the Christian Universe of the Middlc Ages to Manet, by way of Le Nain, Poussin, Char- din, David, Géricault, Ingres, Delacroix, Corot, Courbet and Daumier. The second category com- prised the courtly Middle Ages, the Fontainebleau- School: Le Sueur, Watteau, Boucher, Fragonard, Greuze.

There is inevitably something rather arbitrary in so strict a division of a great school into two categories. But skill, taste and talcnt enablc curators to extricatc themselves from any diffi- culty, and the presentation of the French School at the Petit Palais gave striking proof of this to a dazzled public.

While the paintings of the first category were shown with no elaborate arrangcmcnt, depending for their effect cntirely on how they were hung. The paintings of the second that of charm and grace were presented in appropriatc surroundings amid panelling, precious hangings, furniture, objets d’art, porcelain, even bookbindings of the samc period as the paintings - an exquisite marrying of decorativc art with art. At times even the help of a bunch of flowers was not despised, flowers and furnishings making thcir contribution to the charm of the whole by throwing into relief the human side of our old masters and opcning a door for the public into the lifc of their times.

Resuming an excellent tradition of pre-war years, the Petit Palais was also used to housc thc cxhibition of the Treasures of Vicnna. This once again was the occasion for considerable and particularly successful efforts in the field of installation.

In France religious buildings are generally the property of the municipalities. Apart from Notre Damc, which is national property, and a fcw churchcs

I I 8

of no grcat artistic interest, the City of Paris owns the majority of Catholic and Protestant churches and Jewish synagogucs, and is rcsponsiblc for thcir upkcep, undcr the control of the Department of Historical Monuments, when the edifice is in part or, wholly, un the list of protected monuments.

At the beginning of war, whcn works of art were evacuatcd from the churches, some fifty reli- gious sculptures were put for safety in the very heart of Paris, in the deep crypts of Saint Sulpicc. Aftcr the Liberation, before they were returned to the churches, these sculptures, which included works by Germain Pilon, Odmé Bouchardon, Coysevox, Pi- galle, Falconet, Pajou, Le Moyne, Coustou, Houdon, Barye and Rude, were shown to the public in their shelter without any claboratc prcparation: Thc museum of a momcnt, open for no mure than a fcw wccks.

At the very same time soinc of thc statuary from Westminstcr Abbcy was being presented to thc English public and put on display in the Victoria and Albert Museum before bcing returned to the tombs and niches of the Abbey.

The exhibition in the crypt of Saint Sulpice had one merit: it surroundcd thc works with the unusual atmospherc of the catacombs, imparting them with an absolute sincerity, for the statues remained in their places in the vaultcd shelter. All that was done was to light thcm.

In general, church paintings receive less atten- tion than those in museums. They are disturbed only for compelling rcasons and remain for many years exposcd to dust and the smoke of tapers. When these paintings were brought back to Paris, inspired by Jean Verrier, thcscrvices of the Historical Monu- ments department and those of the City of Paris, taking advantage of the fact that the pictures were down, all unitcd to clean and, where necessary, to back or transfer them.

In this way the pictures were givcn lcisurcly study. Beside thc physical treatment, they were the subject of research work which allowed them to become better known and many erroneous attribu- tions to be corrccted. Thus the cleaning permitted dates and signatures to be discovered, for example, that of Luca Giordano, or that of Claudc Vignon on a canvas prcviously attributed to Tintoretto. Again it was possible for an Adoration oftheS6epberds, previously unknown and disfigurcd by rc-painting, to be attributcd with some degree of certainty to Tintoretto.

The comparison of certain picturcs with prints and drawings also led to discoveries, which enabled in particular a very fine Exta-y of M a v Maxdalene to be attributed to the Sienese paintcr Manctti. On examining certain Disciples of Emmau several critics were lcd to believe they had come across a Rubens up to then considered lost.

The combined cfforts of the Historical Monu- ments scrvice and the Municipality were further directed to the restoration of the staircase of the Hotel Lauzun on thc Ile Saint Louis. The completely blackcncd ceiling of this staircase was hidden beneath the coats of varnish accumulatcd through thc ages. Thanks to carcful cleaning, it has recovered its brilliance without any restoration whatsoever of the painting.

T H E M U S E E C A R N A V A L E T continued from puXe 87

of documcnts) has been completed for all major categories (paintings, drawings, sculptures, panel- lings, furniture, signboards, wcapons) and of the entire archaelogical section - in all some sj,ooo ex- hibits. The inventory is being continued for the other categories and has bccn almost completed for the items of the Print Department and for the principal series in the Numismatics Department. It is being prepared for the Costumes collections.

Contemporary Documents The Print Dcpartmciit has bccn given scvcral

thousand photographs illustrating the operation of the various public services in the city of Paris; events during thc Occupation and Liberation of Paris and architectural changes being made in soinc of the old quarters.

This collcction of documents, which we arc compiling with the co-operation of the Prefecture of the Seine, is to be extended to includc contem- porary events in Paris history.

T H E P E T I T P A L A I S contìnwed from page 88

In order to increase hanging space for the pic- tures and to lcssen the reflection of light, recesses at an angle were constructed for the picturcs along the walls of the galleries, lightcd by long windows.

Diffcrcnt fabrics, of colours varying to suit thc pictures hung against them, were used as a back- ground. In addition to daylight, artificial lighting was used, thrown onto the paintings at an angle. A circular gallery at the top of a staircasc was completely hung with tapestries of cloth of gold, brilliantly illuminated by floodlighting from the ceiling.

All these devices, which wc hope to improve still further, will be used for the new display of the permanent collections at the Petit Palais - thc Dutuit and Tuck Collections and the Municipal Collections - which are shortly to be installed in the rooms vacated by the exhibition of Viennesc Trcasures.

L E M U S E E C E R N U S C H I S ~ i t e de la page 91

des salles adjacentes, où de grands placards dissi- mulés dans les murs permettent de vidcr lcs vitrines ct d’entreposer lcur contcnu en lieu sûr, avec le minimum de temps et de fatigue.

L’éclairage électrique est assuré par des vasques dcsccndant du plafond; de nombreuses prises de courant permettent, si le besoin s’en fait sentir, d’uti- liser réflecteurs et installations provisoircs. Dans la grandc sallc, l’éclairage du plafond se compltte par des rampes disposérs lattralement dans les vitrines inférieures. Des rampes horizontales avaient été éga- lcment prévucs; lcs difficultés actuelles ont fait diffé- rer leur installation, mais il est à espérer qu’elle s’ef- fectuera aussitôt que possible, car l’éclairage latéral, favorablc aux céramiques qui y sont habituellement exposées, s’y avèrerait insuffisant pour les peintures.

Tout en dotant son musée d‘unc iiista!lation modcrnc, la Villc dc Paris lui a donné une orienta- tion nouvelle. En tant que centre d’archéologie chi- nuise, le musée doit assurer une fonction d’enseigne- ment. La prkscntation des collections est donc de- venue plus didactique : étiquettes plus nombreuses, notices générales discrktement disposées sur les murs, résumant l’évolution historique et artistique d’unc tpoque ou d’une technique, cartes, plans, documen- tation photographique accompagnent et encadrent lcs objcts sans jamais chercher B les supplanter ct permettent aux visiteurs de trouver, sur place, les renseignements néccssaircs pour la compréhension d’un art encore étranger ;I beaucoup. Ce principe didactique est au reste en accord avec les tendances générales des musécs dc la Ville de Paris. Il a de mkmc présidé a l’élaboration des expositions tempo- raires dont des catalogues succincts, mais qui cher- chent à ètre substanticls, n diffusentr les données les plus récentes sur le sujet traitt.

La guerre vint arrèter l’activité du Musée Cer- nuschi, dont les meillcures pitces se virent abritées dans dcs dépòts de repli ou dans les caves meme de l’avenue Vélasquez. Mais, sur l’initiativc de notrc directeur, M. Y . Bizardel, il rouvrit ses portes dts le début dc 1941 et, depuis lors, le travail de rtorga- nisation mustographique s’y est poursuivi sans arret.

LE PETIT PALAIS

par S U Z A N N E K A H N a venue à Paris des ((Trésors du Muste de Vienne)) a posé pour le Petit Palais, L où ils devaient être présentés, un certain nombre de problèmes muséogra- phiques. C’était la première fois, depuis l’exposition du Prado à Genève, qu’un grand musée européen entreprenait une ((tournée)); il fallait lui organiser un cadre digne de lui.

Le double circuit des salles du Petit Palais permettait de conserver, dans les salles intéricures, les chefs-d’ceuvre de la peinture française du Louvre et de con- sacrer les salles extérieures au Musée de Vienne, les deux expositions ayant chacune leur entrte indépendante. La série des tapisseries commandées par Fransois Ier au Primatice fut présentée dans un large couloir obscur cherchant à rappeler la galcrie de Fontaineblcau. Ce n’était pas une reconstitution historique mais l’évocation d’une atmosphtre.

L’armature de cette galerie, en tubes métalliques, fut tendue de jute ignifugé, sur lequel on accrocha les tentures. Le fond des murs ainsi constitués, de même que le plafond, étaient de couleur sombre. L’éclairage par tubes luminescents, aux couleurs soigneusement choisies et réparties afin de ne pas changer le coloris des (riivres exposées, était dirigé sur les tapisseries de faSon qu’elles seules soient é clai- rées. Cette antichambre des Valois était garnie de précieux objets d’art ayant ap- partenu à la famille royale de France. Disposés dans des vitrines éclairées intérieure- ment et invisiblement par des tubes luminescents, ils rayonnaient au centre de la galerie.

Afin d’augmenter la longueur des cimaises et aussi de diminuer les reflets, dcs alvéoles à pans coupés furent aménagées pour les peintures dans les galeries éclairées

LA GAI.FRIE vALOTS. Effet des tubcs lumines- cents sur la tapisserie du Pritiiatice. THE V*r.ors G A L L E R Y . The Primaticci0 tapestries displayed wit!) fluorescent tubular lighting.

latkralement par de hautes fenêtres. Des tissus de matière et de tons diflkrents, suivant les œuvres accrochées, furent choisis pour servir de fond. A la lumière du jour s’ajou- pait ]’éclairage artificiel dirigé, suivant un certain angle, sur les chefs-d’euvre. Le pourtour d’une rotonde d’escalier fut entièrement tendu de tapisseries, toutes d’or tissbes, violemment éclairées par des projecteurs placés au plafond.

Tous ces dispositifs, que l’on s’efforcera encore d’améliorer, serviront à la nou- velle présentation des collections permanentes du Petit Palais : collection Dutuit, col- lection Tuck, collections municipales qui vont incessamment etre installbes dans les salles laissées libres par I C départ des Trésors de Vienne.

en the “Treasures of the Viennese Museum” were brought to Paris, we, Wh Curators of the Petit 1’ului-r where they were to t e shown, found ourselves faced with a number of museographical problems.

It was the first time, since the exhibition from the Prado was shown at Geneva, that an important European museum had “gone on tour”, and we had to devise a setting worthy of it.

The arrangement of the Petit Palai-r, with its two series of rooms, made it possible to keep the Louvre’s collection of Masterpieces of French Painting in the inner rooms and to use thc outer galleries for the Viennese Museum, each exhibition having its own entrance. The set of tapestries which François I had made by Primatic- cio was displayed in a wide, dimly-lit corridor, reminiscent of the gallery at Fontaine- bleau. Our aim was not to reconstruct their historic setting but to create a similar atmosphere.

The tubular metal framework of this gallery was covered with fireproofed jute cloth, on which the tapestries were hung. The luminescent lighting was so arranged that only the tapestries were illuminated; the colours were carefully chosen and dis- tributed so as not to affect the tones of the works exhibited. This Valois anteroom was adorned with valuable works of art formerly belonging to the French royal family. Arranged in glass cases lighted from within by concealed fluorescent tubes, these treasures glowed brightly down the centre of the gallery.

THE P E T I T P A L A I S

by S U Z A N N E K A F I N

twtnmw/ p q e I r 8 88

The Petit Palais, built for the World Exposition of 1900, was originally only intcnded to house con- temporary art. It was to be a sort of municipal Mube du Luxembourg. It was barely finished, however, when the City became richer by gift of the Dutuit Collection. The building then took on a new character, since, before arriving at contemporary art, its collection from then on began with anti- quities, Etruscan vases, Tanagra statucttcs, con- tinuing through paintings of the Flemish and Dutch Schools.

Instead of being divided between paintings and sculpture, the Petit Palais was going to housc a large variety of works of art: porcelain, medallions, books, jcwcllery, ceramics, prints.

The question of the reinstallation of thc Petit Palais was complicatcd. The only museum of the City of Paris to be occupied by the enemy, it had also been the only one damaged in thc battle for liberation.

While the workmen were still busy cleaning and restoring the building, its immense collections were returned. They are largc cnough to occupy premises three or four timcs as big as the Petit Palais.

But just when these collections were coming back, the State was faccd with the problem of the Louvre, wherc extensive construction, delayed by thc War, prevented displaying the works of the French school. It was important, after the cruel war-years, that Paris should see the masterpieces of French painting, and become once more aware of her greatness in onc of its most attractive manifes- tations.

The collections of the Petit Palais, so varied in school and nature, had thcrcfore to give way be- fore the common effort of the whole country, and of the City of Paris in particular, in order to put in thc forefront the glorious achicvements of our painters. Their exhibition was arranged by André Chamson in an entirely new spirit, distinguishing two main aspects: greatness and charm.

The painters of reality fell within the first cate- gory, from the Christian Universe of the Middlc Ages to Manet, by way of Le Nain, Poussin, Char- din, David, Géricault, Ingres, Delacroix, Corot, Courbet and Daumier. The second category com- prised the courtly Middle Ages, the Fontainebleau- School: Le Sueur, Watteau, Boucher, Fragonard, Greuze.

There is inevitably something rather arbitrary in so strict a division of a great school into two categories. But skill, taste and talcnt enablc curators to extricatc themselves from any diffi- culty, and the presentation of the French School at the Petit Palais gave striking proof of this to a dazzled public.

While the paintings of the first category were shown with no elaborate arrangcmcnt, depending for their effect cntirely on how they were hung. The paintings of the second that of charm and grace were presented in appropriatc surroundings amid panelling, precious hangings, furniture, objets d’art, porcelain, even bookbindings of the samc period as the paintings - an exquisite marrying of decorativc art with art. At times even the help of a bunch of flowers was not despised, flowers and furnishings making thcir contribution to the charm of the whole by throwing into relief the human side of our old masters and opcning a door for the public into the lifc of their times.

Resuming an excellent tradition of pre-war years, the Petit Palais was also used to housc thc cxhibition of the Treasures of Vicnna. This once again was the occasion for considerable and particularly successful efforts in the field of installation.

In France religious buildings are generally the property of the municipalities. Apart from Notre Damc, which is national property, and a fcw churchcs

I I 8

of no grcat artistic interest, the City of Paris owns the majority of Catholic and Protestant churches and Jewish synagogucs, and is rcsponsiblc for thcir upkcep, undcr the control of the Department of Historical Monuments, when the edifice is in part or, wholly, un the list of protected monuments.

At the beginning of war, whcn works of art were evacuatcd from the churches, some fifty reli- gious sculptures were put for safety in the very heart of Paris, in the deep crypts of Saint Sulpicc. Aftcr the Liberation, before they were returned to the churches, these sculptures, which included works by Germain Pilon, Odmé Bouchardon, Coysevox, Pi- galle, Falconet, Pajou, Le Moyne, Coustou, Houdon, Barye and Rude, were shown to the public in their shelter without any claboratc prcparation: Thc museum of a momcnt, open for no mure than a fcw wccks.

At the very same time soinc of thc statuary from Westminstcr Abbcy was being presented to thc English public and put on display in the Victoria and Albert Museum before bcing returned to the tombs and niches of the Abbey.

The exhibition in the crypt of Saint Sulpice had one merit: it surroundcd thc works with the unusual atmospherc of the catacombs, imparting them with an absolute sincerity, for the statues remained in their places in the vaultcd shelter. All that was done was to light thcm.

In general, church paintings receive less atten- tion than those in museums. They are disturbed only for compelling rcasons and remain for many years exposcd to dust and the smoke of tapers. When these paintings were brought back to Paris, inspired by Jean Verrier, thcscrvices of the Historical Monu- ments department and those of the City of Paris, taking advantage of the fact that the pictures were down, all unitcd to clean and, where necessary, to back or transfer them.

In this way the pictures were givcn lcisurcly study. Beside thc physical treatment, they were the subject of research work which allowed them to become better known and many erroneous attribu- tions to be corrccted. Thus the cleaning permitted dates and signatures to be discovered, for example, that of Luca Giordano, or that of Claudc Vignon on a canvas prcviously attributed to Tintoretto. Again it was possible for an Adoration oftheS6epberds, previously unknown and disfigurcd by rc-painting, to be attributcd with some degree of certainty to Tintoretto.

The comparison of certain picturcs with prints and drawings also led to discoveries, which enabled in particular a very fine Exta-y of M a v Maxdalene to be attributed to the Sienese paintcr Manctti. On examining certain Disciples of Emmau several critics were lcd to believe they had come across a Rubens up to then considered lost.

The combined cfforts of the Historical Monu- ments scrvice and the Municipality were further directed to the restoration of the staircase of the Hotel Lauzun on thc Ile Saint Louis. The completely blackcncd ceiling of this staircase was hidden beneath the coats of varnish accumulatcd through thc ages. Thanks to carcful cleaning, it has recovered its brilliance without any restoration whatsoever of the painting.

T H E M U S E E C A R N A V A L E T continued from puXe 87

of documcnts) has been completed for all major categories (paintings, drawings, sculptures, panel- lings, furniture, signboards, wcapons) and of the entire archaelogical section - in all some sj,ooo ex- hibits. The inventory is being continued for the other categories and has bccn almost completed for the items of the Print Department and for the principal series in the Numismatics Department. It is being prepared for the Costumes collections.

Contemporary Documents The Print Dcpartmciit has bccn given scvcral

thousand photographs illustrating the operation of the various public services in the city of Paris; events during thc Occupation and Liberation of Paris and architectural changes being made in soinc of the old quarters.

This collcction of documents, which we arc compiling with the co-operation of the Prefecture of the Seine, is to be extended to includc contem- porary events in Paris history.

T H E P E T I T P A L A I S contìnwed from page 88

In order to increase hanging space for the pic- tures and to lcssen the reflection of light, recesses at an angle were constructed for the picturcs along the walls of the galleries, lightcd by long windows.

Diffcrcnt fabrics, of colours varying to suit thc pictures hung against them, were used as a back- ground. In addition to daylight, artificial lighting was used, thrown onto the paintings at an angle. A circular gallery at the top of a staircasc was completely hung with tapestries of cloth of gold, brilliantly illuminated by floodlighting from the ceiling.

All these devices, which wc hope to improve still further, will be used for the new display of the permanent collections at the Petit Palais - thc Dutuit and Tuck Collections and the Municipal Collections - which are shortly to be installed in the rooms vacated by the exhibition of Viennesc Trcasures.

L E M U S E E C E R N U S C H I S ~ i t e de la page 91

des salles adjacentes, où de grands placards dissi- mulés dans les murs permettent de vidcr lcs vitrines ct d’entreposer lcur contcnu en lieu sûr, avec le minimum de temps et de fatigue.

L’éclairage électrique est assuré par des vasques dcsccndant du plafond; de nombreuses prises de courant permettent, si le besoin s’en fait sentir, d’uti- liser réflecteurs et installations provisoircs. Dans la grandc sallc, l’éclairage du plafond se compltte par des rampes disposérs lattralement dans les vitrines inférieures. Des rampes horizontales avaient été éga- lcment prévucs; lcs difficultés actuelles ont fait diffé- rer leur installation, mais il est à espérer qu’elle s’ef- fectuera aussitôt que possible, car l’éclairage latéral, favorablc aux céramiques qui y sont habituellement exposées, s’y avèrerait insuffisant pour les peintures.

Tout en dotant son musée d‘unc iiista!lation modcrnc, la Villc dc Paris lui a donné une orienta- tion nouvelle. En tant que centre d’archéologie chi- nuise, le musée doit assurer une fonction d’enseigne- ment. La prkscntation des collections est donc de- venue plus didactique : étiquettes plus nombreuses, notices générales discrktement disposées sur les murs, résumant l’évolution historique et artistique d’unc tpoque ou d’une technique, cartes, plans, documen- tation photographique accompagnent et encadrent lcs objcts sans jamais chercher B les supplanter ct permettent aux visiteurs de trouver, sur place, les renseignements néccssaircs pour la compréhension d’un art encore étranger ;I beaucoup. Ce principe didactique est au reste en accord avec les tendances générales des musécs dc la Ville de Paris. Il a de mkmc présidé a l’élaboration des expositions tempo- raires dont des catalogues succincts, mais qui cher- chent à ètre substanticls, n diffusentr les données les plus récentes sur le sujet traitt.

La guerre vint arrèter l’activité du Musée Cer- nuschi, dont les meillcures pitces se virent abritées dans dcs dépòts de repli ou dans les caves meme de l’avenue Vélasquez. Mais, sur l’initiativc de notrc directeur, M. Y . Bizardel, il rouvrit ses portes dts le début dc 1941 et, depuis lors, le travail de rtorga- nisation mustographique s’y est poursuivi sans arret.